The Genii Session Roberto Giobbi major phenomena, IN THE “GENII SESSION” for January 2006 | made an atternpt at gathering all the methodological concepts that make card magic work from a procedural point of view ‘and which help protect the secret workings of a card trick The next step to gaining a better understanding of card magic is to ty to name and define the major phenomena, ‘or call them basic effects if you vill, on which all card tricks ate based. The third and temporarily last list, planned for a future columo, will then be the listing of all the most mpor- tant card plots (or themes) which are derived from the basic effects listed here, Most items in the following list will have ane or more subcategories, some of which | have defined as separate categories, some | haven't and | find it dificult to explain why in certain instances—! doubt that even in science everything can be rationally explained. Also, | insist that this is by no means to be considered the last word on the matter, but I think that it is at least of great practical value—more on this at the end of this essay. In order to keep the text within reasonable length, | will have to assume that my readers have a good grasp of mag) already, although | will accasionally add some short exp rations and examples for the benefit of our very welcome newcomers to the art Here is the list in alphabetical order, numbered for easier loca tion in case you want to rofer to in your ov writings or in discus sions with others, Please fee! free 10 quote from this essay without asking permission if you find it useful for your own work, It owes @ lot to Juan Tamariz, who did most of the pre-work on this list, but who kindly asked me to con- tribute ideas and expand on the The next step to gaining a better understanding of card magi is to try to name and define the or call them basic effects if you will, ‘on which toms listed as part of the prepera- allicond tricks tory work for the Escorial Card fare Based: Conference of November 2005, the subject of which was an attempt to trace a History and a Classification of Card Magic its major inventors, perform: ers, and authors as well as their infuences on the develop. ment of magic, such as the creation of specific schools of thought, styles, tendencies. This list is just a point of departure for a huge woxk stil to be undertaken, 1, Animations. Single or several cards move without apparent cause, such as “The Rising Cards," Al Baker's "Haunted Pack” or Finn Jon's “Esoteric,” floating oF flying of cards). ent List of Basic Effects of Card Magic 2. Coincidences. Of two cards, uch as “Do as | Do” with ‘one, two, or more decks; of the order of two or more decks, such 22 Tamar's “Coincidencia Tota”; of quant- 3. Discoveries. Of a single or of several selected cards, such as Peter Kane's “Shooting Joker,” the "Korner Car." or Dan Harlan’ “Cardtoon." 4. Distant Magi. Card tricks where the oudience repeats the actions together wth the performer lve, such a¢ Dat Vernon's "Vernon's Variant” with immediate audience nteraction, ¢.., over the phone \ohn Northern Hilliard telephone trick), through the radio or TV; or without immediate interaction of the audience, where @ set of inetruction previously dofined it ‘olloned and the offect happens, such as corespondence magic (ia letter, e- snail, fax, ete. (gee Tamara’ latest sensetional book in Spanish Verbimagia 5. Divination, Mentol Of thought-of card, chosen card: of single card or of various cards wth or without @ medium 6. Divination, by Super Powers. Such as “secing” with the fingertips or knowing numbers of cards by weight 7. Flourishes. Display of dexterity by close-up performers, but also by stage manipulators, such as fan, fancy cut, spreads, catching packets, etc 8. Gage with Cords. Without magic effect, such a8 blow ing into the side of a deck and music is heard (thats why they are called playing cards"); or wth magic effect, such 363 "fof Clube 9. Gatherings. Most important sub-category of “Traveling Cards": Aces gathering in one packet, all at once, one by one, progressively, wth diferent back colors, etc 10, Hypnosis & Hallucinations. One spectator or the whole audience ie made to see or Deleve certain stuatons 1 Intelligent Deck. The cards themselves seem to devel- ‘op human or superhumen features, such as in the Calculating Deck,” where cars perform mathematical cerations leading to information or location of cards, or the “Lie Detector,” or apparently order themselves such as “Call tothe Colors.” 12, Magnetism and Equiibrivm. Such as 2 complete or a arial deck sticking to the hand, or Gaetan Bloome Standing Card” etc 13. Mathe-Magical Curios with cards, ete 14, Multiplications. Endless production of cards, such as Six Card Repeat,” Edward Victors “11 Card Trick,” some fan productions of stage manipulators, etc 15, Penetration, Solid Through Solid. Such as "Card Through Handkerchie,” Dai Vernon’ “Staring Him in the Face” (card penetrates card case), Bro. John Hamman's ‘ings Through the Table,” et 1s. Such as Magic Squares16, Predictions. Of one or several cards, of the order of several cards, or any facts related to the cards. 17 Productions. OF ingle or muitple cards, such asthe pro- duction of the Aces, of one or more cards between other ‘ards (any sandwich type of effect, including Waltons. “Collectors,” etc], catching cards by stage manipulators, etc 18, Speling. This is a subcategory of discoveries and a parallel category of card at number, but due to its numer- ‘ous interpretations and idiosyncratic nature, it is estab- lished a3 a category of its own 19, Stories with Cards. Lin Searles’ “Cannibal Cards,” the classic "Soldier's Prayer Book" of which "Sam the Bellhop" is a more modern variation, Hamman’s “The Marx Brothers," and the Christ/Diaconis "Hotel Trick” are just a few prominent examples. 20. Superpowers. Demonstration of extraordinary mem- ‘ory, such as memorizing the order of a deck; or demonstra- tion of strenath, such as the Tearing of a Deck; or demon- stration of the ability to control any card in the deck, such as Gambling Exposes and Gambiing Demonstrations, etc. 21. Topological. Tricks where surfaces of cards or other objects cause the effect, such as the Walton's “Card Warp." Terry Rogers’ "Star Gate,” or Paul Harris's “Imma- culate Connection.” 22. Torn ond Restored. Direct restoration, such as. Hollingworth’s "Reformation’; or delayed restorations, such as a torn card that reappears restored in orange, pic- ture frame (sometimes minus a comer which as been retained by the spectator for identification), ete. 23, Transformation. Of one or of more cards, of the com- plete deck; of faces (color change): of back colors and designs; of sizes, such as “The Diminishing Cards” or Peter Kane’ “The Elongated Lady"; ono or more carcs) trans- form(s) into other object ithese could also be listed under Topological since surfaces aro altored); ote 24. Tronspostion. Of two or more cards, such as “Rapid Transit" or “Dr. Daleys Last Trick”; of sets of cards, such as Paul Haris "Reset" or Dai Vernon’ “Follow the Leader" etc 25, Traveling cords. Of one or several cards (including the whole deck), travel one by one or together, from packet 10 packet (of seen, chosen, or thought-of cards), to the pocket, up the sleeve, to a distant location (out of window, etc) 26. Tumavers. One or several cards) turn over, such as Dai Vernon's "Triumph"; a deck faced half and half rights itsof, such as in Lo Paul's “A Reverse Card Routine,” exc. 27, Vanishes. Of a single card, such es Rub-2-Dub-Dub, from the center of 8 packet, such as "Cannibal Cards” or Elmsley’s “Point of Departure,” from the center of the deck, of several cards or of a packet, of the entite deck (under a handkerchief, in the hands), etc. | can recognize several reasons why such a list is impor- tant when approaching magic, in particular card magic, as an artistic and academic discipline. ln no particular order | will mention a few: ‘When composing a routine or an entire act, i is of pri mary importence to understand that part of the dramatic construction resides on the variety of phenomena and basic effects used. Its usually wise not to repeat the same phenomena, but to vary them in order to maintain interest, 2d iningue, and to tap into diferent sets of emotions. So four Queens might appear change into four Aces and then ‘assemble or travel to different locations, meking for at least three different basic efecte, There willbe occasional excep- tions, of course, but generally | would consider this to be a practical rule. In these exceptions the repetition of the same categories of effect could be used 10 build to a cl- max, such as doing @ short "Oil end Woter” sequence with +x cards to show the basic properties ofthe cards teparat- ing, then doing a kind of “Call to the Colors” effect as the major body of the routine, and ‘eventually show that the entre deck has separated into reds and blacks a8 the resolution of aecatiaal Reape) GRR which each card trick is based of primary wil alow making educated (but importance ‘also intuitive!) decisions rather to understand than jut following a taste with- that part of the out criteria, dramatic ‘As Ihave already mentioned construction in my list of methods, overviews resides on: such as the present list satisfy ister tatyot the scientific curiosity of the Ree scholar, | believe that under- Pp standing things increases our Rode a pleasure when we are actually performing these things—any- body who does what he does with pleasure and some know: ‘edge will be more complete. The accomplished card expert will want to have one or several card pieces in each category of phenomena and keep studying and refining them for the rest of his Me. you can come up with any other category that is clear- ly different from those mentioned above and is not an ‘obvious sub-category (not mentioned for practical purpos- €5 of space-limitation), I'd appreciate hearing from you via the Genii Forum or Richard Kaufman, who forwards all ‘messages to me, ‘My next article will be an attempt at identifying the mast important card plots/themes and tricks within each cote~ gory of basic effects/phenomena If you like you can try to ome up with your own list and then compare it with mine. Here's a hint and teaser: My ist of card tricks and plots has allitte over 100 entries ... « effects used. uty 2006 When composingThe Genii Session Roberto Giobbi 20 Y . ¢ THIS IS AN ATTEMPT ot isting ll the great themes and effects of contemporary card magic. I can be looked at as complementary to the list on methods published in my “Genii Session” of January 2006, but above al tothe list on basic eflects/phe- nomena published in my *Genii Session® of July 2006, Due to its length | wil divide this essay in two columns— First of all lets define our terms, Gentlemen—and Ladies, might add, for since Samuel Johnson we have had ‘As | compiled ths lst and the previous ones it became painfuly obvious to me how ambiguous tho terminology wwe are using in aur art can sornetimes be. | vl give a brief efinition with examples of the terms most used in this essay, ie basic effect, theme, elect, and trick Let’ start from the smallest uni, which I wil calla trick (Although I'd like to call ta pieco to take away the profane connotation of trick, | would be fighting against windmils {did by to establish it) A tricks avery specific perform Slow Motion Aces—Second Method!” by Dai Vemnon as published in Stars of Magic p93, Ifsomeone loos itcfforently than written, he has another trick Third Method, etc}, but itis the same effec, which | wil dino a5 the next category, The effect in our example is the ‘Slow Motion Ace Atsemily,” defined a threo Aces gatn- ering one by one in the packet ofthe fourth Ace. A differ. tent effect i f the Aces are shown to have vanished one after the other and then, atthe end and forthe frst te, ‘ace shown to hove gathered inthe some packet, this being "Simple Aco Assembly," such as Alex Elmaloy’ trick “2001 Aces." These various effects are. assombled in themes. The present examples belong to the theme of ‘Ace Assomblos.” And various thomes make up 3 basic ftect. The basic effect is the broadest and most funder mental concept, it the phenomenon which the trick lls trates and proves: n ths case ft would be “Gatherings, wthich | establish 28 a seperate category, although some wil argue that it is @ sub-category of “Traveling Cards.” Another less complex example than the above would be Traveling Cords (basic effect/ohenomenon), Cards to Closed Containers (theme), Card to Wallet (effect, Roberto Giobbis “Wallet Bound” from Card College Volume Five, p75 (rick U hope you ean appreciate the dificuity of composing such a lit, 'm not wing ths to fish for compliments but becaue it cooms in tho nature of such an undertaking that {will have missed a few (hopefully not many) themes and ticks, Some of the effects listed are actually individual cen The Great Themes, Effects, and Tricks in Card Magic, Part One tricks, like "Cardtoon” or "Unshuffled” that have under: gone relatively few variations and are more or less per formed es the versions originated by their creators, In my opinion they have become sufficiently popular as to be considered separately. Other items such as Gambling Demonstrations ere fairly large themes that are made up by numerous effects and several hundreds of tricks ‘You will find a few items such as “Predictions” repeated Inboth lists on basic eHects and this one, and some will say this is a contradiction, I won't argue this but simply say that it serves the purpose and that practical considerations have won over academic principles—tim not always in favor of this approach, but in this particular case | am. AS Groucho Marx once said: “I have my principles. But if you don't lke them, | have others.” Some confusion is created by different effects having the same title, ike "Homing Cord"—see items 48 and item 49 in the list below—but s8nce they are established titles, | have kept them. ‘Again I gladly acknowledge Juan Tamara’ frst ist of this type which | have merely slightly enlarged and comment- fed upon—it was used as a starting point for the Escorial Card Conference of 2005 which dealt with a Comprehensive History of Card Magic. Here is the list | will give a few explanatory remarks on each item—this is mainly for newcomers to card magic, since most others will immediately know what is meant, The lists in alphabetical order ofthe titles and also numbered, 0 the items can be referred to in discussions, You are wel ‘come to quote from this essay if it serves your own work. 1. Acos & Kings Transposition. Four Kings and four Aces change place together or one at the time, such as Robert-Houdin’s “Les as et les rois voyageurs” or, more recently, Paul Harris "Rosot,” where the cards travel back, are excellent trick examples of this effect 2. Aces te Order. The Aces ate produced or cut to one after the other as they are freely called by a spectator. 3: Acrobatic Jacks. Sometimes called “Elevator Trick,” where four-ofa-kind, traditionally Jacks, travel through the deck. 4 All Backs. Started by Dai Vernon in Expert Card Technique; other remarkable vanations by Elmeley, Ascanio, Cervan. 5. Ambitious Card. One or more cards repeatedly come to the top. One of the most memorable card effects The master routine is and remains Dai Vernon in Stars of Magic: 6 Backfire Assembly. The samo as “Four Ace Assemblies" but with the added climax that after hav-ing assembled in the packet of the fourth Ace, three ‘Aces travel back into their original packets. 7. Between your Palms. Maybe Alex Elmsley’s most popular effect. contribution 8. Brainwave. A thought-of card is soen to be the only reversed card in the deck and to have a back with a dif ferent color. Perfected and popularized by Dai Vernon. 9. Coll to the Colors. A shuified dock orders itself nto red-black order, then red-rec:black-black, then ted: red-red-black-black-black, including in any order called by the spectator 10. Connibal Cards. Lin Searles's creation is one of the very few successful and magical “story tricks.” V1. Caleulating Deck. The carcs of the deck ave used to compute information regarding selected cards, etc. such as Hofzinsors “Strange Harmony” whore two freely selected cards add up to the number of cards freely cut off by another spectator 12. Cord at Number. One of the eaviost effects, aleady mentioned in Cardano's De Subtilitate ca.1550). In the most famous version of this theme, a freely named card appears at a freely selected number in the deck 13. Card in Anything. A card reappears in any fruit, usually a lemon o° an orange, in a ball of wool, in a cigarette, ete, This 's a large theme and | have listed several cffects as separate items, like the "Card in Wallet” or the "Folded Card to Box,” which belong to this catego- ry but have become much varied effects oftheir own. 14, Card Through Handkerchief. The deck is enclosed in a handkerchief which s held by its four comers. Shaking the handkerchief, one or more selected cards seemingly penetrate the fabric of the hank. An oxcuiste effect that seems to have gone out of fashion in recent decades. 15. Card on Ceiling or Wall A ceck is thrown against the wall or ceiling, all cards fall down except the selected card which sticks to the wall oF ceiling. Most famous version is Pinettis, where the selection is shot against the wall with a pistol Cord to Wollet. Fis: desciibed by Rober-Housin, a card—usually signed—appears inside the performers wallet (later in @2ipper compartment and sometimes 2 sealed envelope) 17. Cards and Cases. A category of its own with various basic effects and themes such as productions, transfor. ‘mations, assemblies, but always using the cerd case es part of the mathad and effect. 8. Cards and Coins. 19, Cards and Dice. 20. Cord\s) Through Table. Ove or more cards penotrato the table top, an excellent trick in this category being Bro. Hamman's “Kings Through the Table” (p.18 in Le Pauls The Card Magie of Bro. John Hamman 21. Cards Across. One oF more cards, sometimes physical- ly or mentally selected, travel from one packet to the ‘ther, each packet being held by a spectator 22. Cords to Pocket or Up The Sleeve. 0 eaily versions, the whole dock was sent up the sleove orto the pock et, later a reduced number was used, typically 10 or 12, such as in the versions of Charles Bertram, Dai Veron, Jacob Daley, Arturo de Ascanio, Pat Page. 23, Cardtoon. Dan Harian's creation has become a classic with several variations in presentation and handling the most remarkable being by Juan Tamariz 24, Clock Triek. 12 cards are dealt out in a clock forma tion, then a card is selected—the performer divines both the card and the hour it eccupied. Originally just based on a mathematical principle, this plot has seen endless variations in method and staging 25. Coineidencia Total. Juan Tamar's multiple cone: dence has to be the last word in this category 26, Collectors. Three previously selected cards ae caught between fourof-a-kind 27, Color Changing Card. A spectotor’s card chenges the color of its back; the most popular version being “Chicago Openes” Many so-called off-color effects fall into this category where the backs of certain cards are shown to be different asa kicker 28. Color-changing Deek. The backs of the deck change from one covor to another in the case of the "Rainbow Deck" to al different colors and patterns. 29. Color Divination. The performer (or one of the spec- tators) divines the color ofthe cards, 30, Cutting the Aces. Vernon's famous wick where the performer cuts to the four Aces during a dramatic presentation. 31. Diminishing Cards. The dock crows smaller and smaller unt it vanishes—usually demon strated by fanning it and plac- ing a “witness card” aside (Edward Victor’ dea). Occa- sionally they reappear and/or are stretched. Remarkable version by Tommy Wonder, where the cards held in 2 fan shink visibly 32. Do As 1 Do. Spectator and performer go through the same actions, each using 2 diferent colored deck (there are one-deck versions), ond fend up with one or several coincidences 33, Dr. Deley’s Last Trick. vo red Aces and two black Aces are shown and change places. 34, Dunbury Delusion. Onginally invented by Spanish magician Partagas, it was elaborated by Victor Farell ("The Partagas Sel”) and made forous by Charlie Miler. 35, Elongated Lady. Peter Kane's original affect where a Queen placed between two other cards stretches and then goes back to normal size 36, Eeoterie. Also “Haunted Pack” and similar, where one card 07 several cards "move" out of deck 37, Everywhere and Nowhere. Ono of the truly great themes originated by Johann Nepomuk Hofzinser where three indiferent cards al change to a previous ly selected card: A remarkable impromptu version is Juan Tamarie's “Hypnotic Jokers.” Fingerprint Cord Trick. Tho performer discovers a previously selected card, apparently due to the fin gerprints left on it by the spectator. Popularized by himself as an creating and for the rest of his life. SEPTEMBER 2006 eternal Student, will find part of his pleasure by The accomplished Master, who regards practicing in depth ‘each of the items identified in this and the other lists 2Dai Vernon—briliant versions by Fred Kaps, Arturo de Ascanio, Tony Giorgio. 99, Folded Card te Box or other place. invented by Bruno Henning and popularized by Fred Kaps—a selected and signed card ends up folded in a box. The effect of finding a folded card in a wal: nut, a purse, or @ shoe (for example), is much older. 440, Follow the Leader. Rod and black cards, separated into wo packets, mysteriously follow their leader card. 41. Four Ace Assomblies. Four separated Aces assemble in one: packet, some of the most famous versions being Hofzinser’s “Powers of Faith" (aka "McDonald's Aces"), Elmsley’s "2001 Aces,” Vernon's "Slaw Motion Aces,” “Progressive Aces,” the “Collins Aces,” “O. Henry Aces," Kane's “Jazz Aces,” and Jennings’ "Invisible Palm Aces." 42. Four Ace Productions. Four-of-a-kind, mostly the Aces, are pro: duced in a magical way. 43, Gage with Cards. With normal and special cards (Three and a Half of Clubs, long 10 of Diamonds, etc) 44, Gambling Demonstrations. Magician's interpretation of 9 gam bling situation, Real explanations are usually not given oF a seem: ingly real explanation turns out not to be what it looked like. Gambling Demonstrations have one or several surprising, mystity- ing, and therefore magical elements. A typical example is to seem- ingly explain how to deal yourself the Aces and when the demon stration is repeated you give the other players good hands and yourself a Royal Flush, e.g., Dai Vernon's "Poker Demonstration." 45. Gambling Exposés, The performer openly explains and demon: strates various gambling sleights and procedures used in real play, such as doing and exposing any kind of false dealing tech: hique or switches of hole cards in Poker or Blackjack 46. General Card/Universal Card. Sometimes called “Everybodys Card:" An indifferent card takes the identity of various previously selected cards, then transforms back into the card it was. One of the most remarkable versions is Persi Diaconis’ “Les Cartes Diaconis." 47. Haunted Deck. See “Esoteric.” A previously selected card mysteri- ously moves out of the deck, sometimes called "The SelfCutting Deck” and fathered by Al Baker Homing Card (to packet). Frances Carlyle's piéce de résistance from Stars of Magic where a signed card travels to the performer's pocket—twice, 49. Homing Card (Brave/Kaps). A litle-known trick by Fred Braue that inspired Fred Kaps to create one of his masterpieces with cards: a red card, albert placed aside repeatedly, keeps coming bback into a packet of black cards. Mystifying and hilarious, 50. Hotel Trick, Four sets of four-of-a-kind, usually the court cards plus the Aces, are separated and then assemble. Several versions with minimal sets. | believe that such a list can be very useful to better understand the nature of card magic. Hopefully you'll also experience a lot of pleas- ture by checking whether you have a minimum of one version of each item in your repertoire or have at least studied one or more versions inthe past. You may safely consider yourself an expert if you can com: petently execute one or more versions of each of the over 100 themes or tricks which will ultimately make up the complete list. The ‘accomplished master, who regards himself as an eternal student, vil find part of his pleasure by researching, studying, creating, and prac ticing in depth each of the items identified in this and the other lists for the rest of his life. Finally, | hope it will inspire others to make a similar work for other fields in mage. # cen THE HUNGRY BOOKWORM & COUNTERFEIT DETECTIVE By G SPARKS, #1 Showing your audience a favorite book, you discover a hole in every page. ‘Out Jumps the Hungry Bookworm, (over 10 imto the audience #2 You borrow a bill nd make it into a tunnel, then give it a slight squeeze, Out Jumps the Counterfeit Detective Gimmick is controlled like a Dye Tube with ‘a squeeze release, Worm is day glow green fabric. Complete with Board Book, Ready to Jump. $35.00 SPARKS’ No SwiTcH BULLET CATCH Rare — 38 Special Nickel Plated Brass Shell With magnetic controlled bang gimmick You supply lighter $35.00 Send Payment to: G SPARKS 605 M St Centralia, WA 98531 USA 360 330-2922 [email protected] Paypal Free LS Air / Qverscas Air add SSThe Genii Session Roberto Giobbi yy. <1 AS PROMISED in my column of Septer ber, here s the second and last part of the com. mented list, which is an attempt at identifying the most important themes, effects, and tricke in card magic. The introductory and final remarks made in the September issue are valid for this list, too, and you ‘may want to road thom again to get back into context. The items aren’ listed in order of their importance—that would be a hopeless undertaking—but alphabetically under the name which | believe the majonty of us wil recognize. 51. Invisible Deck. A freely thought-of card is seen to be reversed in the deck. The “invisible” presenta: tion was created by Eddie Fields and made popular by Don Alan, 52. Lie Detector. Regardless of whether the spectator lies or tells the truth, the performer divines a selected card, 53. Lifting/Cutting any Number of Cards. The performer has the ability to cut off any number of cards called by the spectators 54. Linking Cards. Paul Harri. The center of two or more torn out and the cards linked. 1ed Cards. A group of cards mysteriously to the performer's hand and then falls to the table. 56. Matching the Cards/Magician Makes Good. Vernon ‘once said he considered this the most elective trick for laymen: three cards are cut to, but don't match @ prediction card, whereupon the three cards ere changed to suit the prediction card, 57. Memory with Cards. T! card 55. 2 order of a partial or whole deck is leaned by heart in no time and very quickly recited, sometimes combined with the revelation and/or prediction of one or several selected or thought-of cards, 58. Mental Poker Divination. Based on one o' est published mathematical principles (matrix), cards thought of by four persons from a packet of five carde are divined. 59. Multiple Card Discoveries, lost cards are effectively discovered in different ways. Most famous predecessor is Comte'’s and Robert-Houdin’s "Le Miroir des Dames” ("The Ladies Looking Gass") 60. Mutus Nomen Dedit Cocis. Since Decremps’ Testament de Jerome Sharp, whare Pinett’s drama presentation is described, this has been reduced to a mere mathematical curiosity and seen numerous vari the ear Several selected and GEN 61. 62. 63. 6a. 65. 66. 67, 68. 69, 70, 73H 72. 73. 74, 75, +] The Great Themes, Effects, and Tricks in Card Magic, Part Two ations and changes of formula: pairs of cards thought ‘of by several spectators are divined, Mystery Card. A cord is placed aside at the very aginning—the Mystery Card. A solected and signed card turns out to be precisely the Mystery Card Naming the Cards from Pocket. A shufiled deck is distributed in two or more pockets. Spectators call cards and the performer extracts them quickly from the correct pocket. Nap Hand Deal. The performer, standing in the aud ence, divines the cards of three players on stage—he also makes the player with the worst cards win. Nudist Deck. & deck shown to be blank on both sides magically prints faces and becks. Oil and Water/Color Separation. Iwo sets of cards, red and black, behave like oil and water by repeat- edly unmixing, Open Prediction. Paul Currys most famous card problem, where a prediction is made openly and then matched by 9 spectator who deals the whole deck face up with the exception of one face-down card which is seen to match the visible prediction Orders, Miraculous. Cards order themselves. Partial ‘or whole deck that arranges itself into colors, suis, numerical or other orders, such as some effects by Ivan Tamariz or Lennart Green Out of This World. Paul Currys classic, available in endless variations, is arguably the most memorable ctfect for laypeopie. Princess Card Trick. Henry Hardin. One of usually five cards is thought of by a spectator and divined by the Protean Deck. In Robert-Houdin’s original effect. three cards are selected and then the entire deck changes into each of the chosen cards one at a time. Ropid Transit/Two Card Transposition. Two cards change places Reading the Cards of Any Deck. The performer “reads” the identity of several cards with the tips of his fingers. Remember and Forget. Hofrinser’s great creation where three spectators each choose a pair of cards, remember one card and forget the other. The per- former locates the three remembered cards and then tums them into those previously forgotten Reverse Location. One or more selected cards appear reversed in the deck. Reverse Card Routine. The deck is faced half and half then the cards magically right themselves—this is.76. 7. 78. at. 82. 83, a5, 86. 87, 89. ” 92. 93, Usually repeated; sometimes done with three or four packets. Rising Cards. One or more cards rise verteally from the deck Roll.Over Aces. Derek Dingle. One of the very best multiple climax tricks, where the cards are shufled face up and face down, then the Aces are cut to, and the four royal flushes are produced, and the deck rights itself Sandwich Tricks. A brood category with many types of offocts Six Card Repeat. From a packet of six cards, three are ‘thrown away, but the performer still has six cords—this is repeated several tes. Soldier's Prayer Book. A story is told using the cards of the deck which has apparently been shuffled. A popular version is "Sam the Bellhop.” Solid Deck. Paul Harts’ creation where an ambitious card sequence is performed only to find that at the end the deck is a solid block Spectator Does Magic. A theme which includes any type of card trick where the spectator himself dos all the actions and obtains a magical result. Spectator Cuts to the Aces. The spectator cuts the shutfied deck himself and locates the Aces. Spellers. One or more cards are discovered by spell- ing to them, Stabbing, Card. One or more selected cards are located, sometimes blindfolded or wrapped. into paper, by stabbing them with a knife. Stop Trick. The cards are deait until a spectator calls stop—the stopped-at card is the previously selected Sympathetic Cards. Four cards placed at the four comers of @ newspaper sheet and assemble under Sympathetic Cards. Herbert Mitton. Two packets each containing all cards of @ suit—if one packet is shuffled, the order of the ether packet follows Tearing the Deck. The performer, apparently having superhuman strength, tears a complete deck in haf Telephone Card Magie. John Norther Millia. Effect done over the phone, radio, TV etc., with feedback or without Ten Care Poker Deal. A Poker demonstration with two players—the performer and @ spectator—ahere only 10 cards are used and the performer always wins. The 21 Card Trick. Arguably the most femous “dealing and counting trick” that is better than its reputation. The Trick That Cannot Be Explained, One of Dai Vernon's great contributions to modern card magic using the strategy of multiple outs 94. Think of a Card. A mentally chosen card is divined Dai Vernon's “Out of Sight, Out of Mind” being one of the most famous totaly impromptu interpretations. Endless. powerful versions are made possible by Using a partially or completely stacked deck (Tamariz, Aronson, ete) 95. Three-Card Monte. Probably the most populer and memorable gambling demonstration type of effect. 96. Topological Card Magic. Tricks where surfaces of one or more cards create the magic effect. such as "Card Warp,” “Cigarette Through Card,” "Stargate," ete 97. Torn and Restored Card. The title says it all Stupendous versions by Marlo, Mille, Ascanio, Bilis, Bloom, Hollingworth, LoPaul, to name just a few. %8. Travellers. Dai Vernon's classic effect and a master- Piece of artistic card magic where four signed cards travel to four diffrent pockats. 99, Triumph. A deck shufled face up and face down, tums all in the same direction with the exception of a previously selected card 100.7 the Aces. Four Aces are held face down and, one attor another, turn face up. One of the most varied card effects, originated by Dai Vernon 101. Unshuffled. Although the cards ofa deck are shuffled, they rearrange themselves in new deck order while at the same time the name of the card appears written fon one side of the deck, created by Michael S. Ewer 102. Vanishing Card. & card vanishes, lke in “Devilish Miracle” or *Rub-A-Dub-Dub.” 103. Vanishing Deck. The entire deck vanishes completely, in some versions leaving behind one or several select. ed cards 104. Visitor, The. Larry Jennings" trick where a signed card travels from between the red Kings to between the black Kings end back. Made popular in a simplified version by Frank Garcia under the title of "Surprise Package.” 108. Weighing the Cards. The performer weighs a packet cut off by a spectator and divines the exact number of cards therein 106. Wild Card. A plot of Hofeinser’s reinventod by Brother John Hamman ("The Mystic Nine") and Peter Kane, leter popularized by Frank Garcia, Obviously every item mentioned has a more or less complex and sometimes very long history. Although some sources and originators are mentioned occasionally, it is not the intention of this essay to give a comprehensive genesis. But | believe that starting from this list, which would of course have to be amplified in some categories, it would be extremely interesting and useful to plunge into a historical research of the basic effects (phenomena), the methods (working principles, techniques, handlings), the themes, the presentational plots, and the tricks NOVEMBER 2005 ”themselves. But this would fill several large volumes and still would only be a part of a comprehensive "History of Card Magic.” It is my assumption, based on years of research and over three decades of reading literature in six languages as well as a life-long practical experience, that close to 90 percent of the methods and themes can be traced to italy, France, Spain, Portugal, England, Germany, and Austria and have been published before the American literature on card magic started, i.e., before the end of the 19° century, more than half of them even by the end of the 18” century, where the seminal works of (Ozanam, Guyot, and Decromps had seen the light of day. Even HofzinserS ideas (Austria) which were brought to our attention through Ottokar Fischers pen in the early 20" ccontury had obviously already been devised circa 1850. There is much food for thought—and another essay—if we dig deeper into this subject. hope to have made a first, partial contribution to this work and that it will inspire my knowledgeable col leagues around the world to expand on it. But, above GEN SPEAKS, conte fem page 13 lover of poker and poker music in this remarkable CD compilation that 1e5 the history, the language ‘and literature, the art and the music of poker. 21 songs of hustlers, rep- robates, blacklegs, scallywags and the passions and pleasures of the game. The deluxe gift box also includes a bonus DVD starring Ricky Jay performing some unbelievable deception at the card table, 2 72: page color book with an in-depth essay written by Jay and beautiful reproductions from his. incredible collection of art and memorabilia and if all that weren't celebr “We have our suspicions.” Gent! all, | have written this for the beginning magician. Like never before in the history of civilization, he stands in front of @ monumental amount of information that isp: stably sold to him with the most professional marketing tools ever available to mankind, Dazzled and blinded by stars made by TV and marketing, he is led into the Disneyland of Magic, where all is imitation. Going back to the roots opens the view for the original and the ‘and it i¢ the point of departure for personal creativity and artistic freedom. I would like to close by saying that understanding card ‘magic as a microcosm will lead to a much better under- standing of the macrocosm of general magic, its tech- niques and tricks, ts psychology 2s well as its philosophical ‘and antstic implications, but also of the cultural history of its ideas and their originators and performers. And if ‘we look at the whole of conjuring as a microcosm, which always reminds me of a Mandelbrot set in chaos theory, we will notice it reflects other disciplines as well as the macro- osm of life. Not bad for a few bloody card tricks. © ‘enough, a custom poker pack from the US. Playing Card Company. Instoresandonline November 21. « Bet you didn't know that Ricky Jay could be found singing on the new CD Rogue's Gallery: Pirate Bollads, Sea Songs, and Chanteys. Produced by Johnny Depp end Gore Verbinks! (director of the Prates of the Caribbean movies), this CD contains tracks by Sting, Bono, Nick Cave, Bryan Ferry, Van Dyke Parks, Lou Reed, and mary others—induding Ricky. You can purchase it for only $15 on amazon.com ond listen to samples of all the tracks (and if you'd like to help sup- port Genii, enter Amazon through the portals on the Geni Forum). # There's always been a lot of discussion about magicians copying effects and, sometimes, entire parts of another magicians act—even his patter and demeanor. You rarely see anything about this in public, bt when the ‘New York Times covers it you know something's afoot On September 27 in “Dueling Magicians: Whose Tick is it Anyway?” Times writer Campbell Robertson took magi: cian Eric Walton (now perlorming Off Broadway) to task for copying portions of Ricky Jay's shows with ever-so-sleight vanations: “Like Mr Jay, Mr Wakon uses antique and sizable words—'Brobdingnagian’ (Mr. Walton, ‘pachyder- matous' (Mr. Jay}—wears pinstripe suits and combines his act with professorial asides on magic history. Some wicks overlap t00...." Depertment of Inevitable Corrections: Nate Kranzo writes, “Just wanted to throw a credit your way. ‘Cued! by John Hostier is very similar if not identical to David Harkey “in Stitches.’ The only difference really is that Harkey adds an extra slement. He performs it wth one of those toothpicks that’s sealed in a plastic wrapper. Not only is it just as deceptive but maybe even more impossible. The effect was published in Apocalypse Vol. 1, No. 11, Nov, 1988 p 1565."