Boris Wild: Boris Wild's Lecture

Boris Wild is a French magician known throughout the world for his work on marked decks. He explains his marking system in his lecture notes cleverly titled Boris Wild’s Lecture along with a few of his other routines. Here’s what is included:

Kiss Count- This is a slight variation in handling of Brother John Hamman’s Flushtration Count. It is a little more complicated, but the retention of vision created when each card is placed to the table is strong. Also, this count appears more flourishy than its counterpart. This will appeal to some, but the fact that the count requires a working surface will force most cardmen to stick to the original.

As a side note, I must mention that this section does not discuss any routines using the move. For a utility move such as this, I have no problem with this. However, Boris re-explains the count in the next routine. While this is a minor concern, I fail to see the reasoning behind explaining the count separately only to include the same instructions in the next effect.

Chain Reaction- Two decks of cards are introduced, one “normal” and one “special.” The “special” deck of cards is shown to consist of an entire deck of double backers. A few double-backed cards from this deck are tabled. A selection is made from the normal deck, let’s say it’s the Ten of Hearts. The selection is used in a brief Wild Card routine as the double backers on the table are one-by-one transformed into the Ten. Finally, the entire “special” deck changes into the Ten of Hearts, and everything is examinable.

Despite the possibility for confusion, the routine, if handled correctly, would be very powerful for a lay audience. The Wild Card phase is especially well thought out. Best of all, the routine is easy to do. Still, while the routine is strong, there are certainly better All Backs and Wild Card routines in the magic literature. I mention this not to discount Boris’s effect, but for a working professional to justify carrying around extra props, the effect must be as powerful as possible. I’m not sure this trick qualifies. In short, while the routine is worthy of study, it may not be something you will ever actually perform.

The B.W. Marked Deck- Let me preface my comments on Boris’s contribution to the world of marked decks by admitting that I have never really used one in the past. As a result, I cannot offer much of a comparison between Boris’s version and past solutions. That being said, I was immediately struck by how easy it was to use. The marks on the backs are easy to read; there is no complicated memorization involved in learning to read the marks; and each card can be located quickly when the deck is spread on the table or in the hands. It seems the only difficult thing to do is to actually make up the pack. Again, since I don’t have any experience with marking decks, I do not know how difficult Boris’s version is to create with respect to others. However, I can tell you that once the deck is made, it would be a very powerful tool to add to your arsenal.

Inexplicable- This is the kind of stuff I love. Basically, this is Dai Vernon’s legendary “Trick That Cannot Be Explained” performed with a marked deck. This makes the final revelation, whatever it may be, even more impossible. While this kind of an effect is very difficult to describe in print, Boris provides some useful “outs” to make sure the ending always kicks the spectators in the teeth. The only problem I have with the write-up is the author’s claim that a particular ruse works 99% of the time. The laws of probability simply don’t agree with this assertion. At any rate, the experienced performer will be able to slay laymen and magicians alike with this idea.

The B.W. Memorized Deck- Boris’s stack makes it fairly easy to calculate which card lies at a specified number. Likewise, it is easy to compute the number at which a specified card lies in the deck. As a result, this stack can be a great utility device in some situations. However, if you are serious about working with a stacked deck, I must warn you that Boris’s stack has some severe limitations. First, the stack does not appear to be random at all. This may not be a problem for many performers since the cards can be shown casually with a dribble display. However, they cannot be viewed for very long or a pattern will become immediately apparent. Second, mathematical calculations can never make up for truly knowing the stack by heart. Sure, the mental calculations make locating a card or position easier in some ways, but the calculation will take time. In some effects, this extra time is simply not available.

Miracle!- This is Boris’s solution to the venerable Any Card At Any Number plot. The effect is as follows. A blue deck is tossed out into the audience. A red deck is introduced and a spectator shuffles the cards. Another spectator names any number from 1 to 52 (let’s say she names 23). The magician takes back the red deck without looking at the faces and the spectator selects a card (let’s say it’s the 7 of Clubs). The magician asks the spectator to remove the blue cards and count down to the 23 card. Of course, it is the 7 of Clubs.

The effect and method are both fairly straightforward. As you might have guessed from the contents of these notes, the routine requires both Boris’s stack and marked deck. He uses both principles intelligently to construct a routine that should completely fool any audience. Once the performer becomes familiar with these two ideas, there is very little work to do at all. I should mention that this routine does not satisfy most of the “impossible” conditions magicians usually associate with the ultimate solution to the ACAAN plot, but for the performer who is only concerned with entertaining an audience, Boris has created an extremely powerful routine.

Pure Telepathy- This is absolutely worth the price of the lecture notes. In fact, if it were marketed separately, it could probably sell for even more. The effect to any audience is completely impossible. In fact, I distinctly remember being flabbergasted when I saw another magician use this routine to fool a room full of magicians. Pay close attention to the conditions of the effect.

The magician shuffles the cards and leaves them on the table. A spectator is called on stage as the magician withdraws to a corner of the room. The spectator is asked to cut the cards wherever she wants and to remember the bottom card. She then shuffles the cards in her hands as much as she likes. The remainder of the deck is put in the box and placed away. The magician returns to the stage and retrieves the cards, but he never looks at the faces. The cards are spread in front of the lady’s eyes as she is instructed to concentrate on her card. Little by little, the magician drops all the cards except one: the card the woman is merely thinking of.

· There is no pumping, fishing, forcing, estimating, or peeking.
· There are no stooges or assistants.
· The spectator has a completely free choice of a card.
· The magician truly never sees the selection being made.
· The cards are legitimately shuffled.
· The spectator never has to say a word.
· The magician never sees the faces of the cards.
· The effect can be immediately repeated.

The best part of the whole thing is that the routine is relatively easy to perform, yet it could be built up to be completely impossible. In fact, it is strong enough to be performed as a closer. If you're still not convinced, take a look at a demo from Boris's site: http://www.boriswild.com/boriswild_uspure.mov

The routines and ideas included in the notes are obviously things that Boris has used for real audiences. The explanations are clear his writing style is easy to read. In short, if you are looking for card material with a mental flavor, these notes are definitely worthy of purchase. The price is low and the material is strong. Recommended.

-Available from http://www.lybrary.com/boris-wilds-lecture-p-342.html

Tyler Wilson: Dominatricks

Tyler Wilson is a new force on the magic scene, and, if the quality of his book is any indication, he is here to stay. I honestly can’t find much bad to say about it. His attention to detail is nearly unparalleled; every element of every routine is completely thought out; and he is careful with crediting which, unfortunately, seems to be a dying practice in the magic world.

With regards to his writing style, he has continued in the tradition of authors such as David Acer and Paul Harris in that his explanations are clear, concise, and downright entertaining. I will admit I laughed out loud on multiple occasions. Tyler’s write-ups make me eager to see him perform in person. Perhaps the greatest compliment I could give this book is to say that you will want to read it in one sitting. That is not true of most books in the magic literature.

With the praise I have given the Dominatricks so far, you are probably wondering about what is explained.

First, Tyler uses his creativity to breathe a little fresh air into a few standard moves. Most notable are…

Rub’n’Tug- Besides being the first of many innuendos found in Tyler’s chapter titles, this move looks really good. In effect, this is a face up Rub-A-Dub Vanish. For those not familiar with the original version from Expert Card Technique, a card is placed under a performers hand only to vanish when the hand is lifted.

Tyler Insults Tilt’s Totally Inexplicable Elegance and Simplicity- Tyler explains several Tilt convincers and subtleties that really impress upon an audience that the card is inserted into the middle of the deck. It is obvious that he has put a lot of thought into improving the weak points of the classic Vernon/Marlo technique. While some may argue that these ideas take too much effort for such a simple move, Tyler has no mercy on his audience. His routines strive to leave his spectators with nowhere to run. His efforts to improve even the most mundane aspects of his performance speak volumes about the standards he sets for himself.

Pitching a Tent Vanish- Again, Tyler vanishes a card, this time in the context of supposedly palming it off the deck. The technique may be used to “vanish face up cards on a face down deck, face down cards on a face up deck, red backed cards on a blue backed deck, a single card on a card box, ad infinitum.” It could even be done with a credit card on top of a wallet. Also included in this section is a nice tip to improve the standard Tent Vanish that may be of interest to those who do not want to learn Tyler’s new version.

Now to the routines…

Compost It- Tyler has a knack for updating standard plots with a new approach. This time he attacks the venerable ambitious card routine with Post-It notes of all things. Luckily, Tyler spares his audience from merely watching a signed card come to the top nine thousand times. Instead, he provides a goofy, entertaining presentation that justifies why the magic happens. For the finale, the deck slowly vanishes leaving only the signed card.

Release the Chocolate Hostage- A spectator signs a card. Let’s say it is the Four of Hearts. The card is left reversed in the middle. Another card, let’s say the Three of Hearts, is introduced. One at a time, two pips visually jump off the Three. This causes the card to change into a Two then an Ace. When the deck is spread, the signed selection is seen to have caught the two pips. The spectator’s name is now across the Six of Hearts. Keep in mind, the routine is fairly easy to do and requires no gaffs.

Dirty Stinkin’ Ape in the Middle- Before you dismiss this as just another sandwich trick, look at what Tyler brings to the dance. He combines a loading sequence that will even catch magicians off guard with a clever presentation to form an entertaining sandwich effect that can be performed at any time with any shuffled deck. Don't believe me? heck it out for yourself for free at www.AndiGladwin.co.uk.

Clean Sanchez- Tyler uses the same loading sequence from the previous routine for a totally different effect. It is clever and commercial. What more could you ask for?

B52 Shooter- I am tempted to describe this routine with one word: wow! In short, this is perhaps the most refreshing addition to Dai Vernon’s Triumph plot in years. Sure there are a hundred in-the-hands versions and even more with a color changing deck kicker, but Tyler took the plot in a totally new direction. A selection is returned to the deck and the cards are shuffled face up into face down. The performer claims that he will sort out each individual face up card from the face down deck with one shuffle with one hand. Amazingly, he delivers on his promise as face up cards shoot out of the deck across the table. When the shuffle is finished, the face down cards are spread to reveal only one face up card. It proves to be the selection.

Coke Inhabit- I won’t spoil the surprise by telling you what happens, but this is definitely not your standard coin-in-bottle effect. I say this both to intrigue you and to warn you. If you are looking for the newest method of slamming a coin into a solid bottle, this is not what you are after. However, if you are looking for a quirky, off-beat trick to seriously screw with you spectators, this may be right for you.

Matrimoney- Tyler describes this routine as a “Celebrity Death Match between Coins Across and Ring Flight.” After a quick Coins Across routine, the spectator’s ring changes into a quarter. Later the ring is found in the performer’s wallet. The routine requires no gaffs or special wallets. It does, however, take a bit of guts to pull off the somewhat bold method of loading the ring. I should also mention that this loading sequence can be added to your existing Coins Across routine as it is independent of Tyler’s routine.

Stick It To The Man- This is truly a “packs flat, plays big” mentalism routine that leaves plenty of room for improvising with the audience. The effect is direct and powerful. Best of all, it uses Post-It notes. (Tyler really has a thing for those, doesn’t he?) At any rate, the CD-Rom that accompanies the book includes the graphics needed for the trick. I will say that the drawings from the disc look homemade while still looking professional. By this, I mean that they look like something you could make on your home computer with clip art. This makes the trick seem a little less like it came from the magic shop. That’s always a plus.

Paul Mase’s Trick- At its roots, this is just a Technicolor version of the classic Open Travelers plot. His justification for creating this variation is sound: he demonstrates not only how to palm the Aces, but also how to find them in the deck. In Tyler’s words, “This creates an additional three magical moments for the plot without deviating from its core concept.” This is one of the more difficult routines in the book, but if the plot interests you, it may be worth the work. However, even if this effect is not you style, the unique presentation is worth a study. I won’t spill the beans here, but suffice it to say that any magician that can logically integrate the Konami Contra code into a magic routine is my kind of guy. Nintendo Power!

Scarred Warp- Probably the most talked about routine from Dominatricks will be Tyler’s addition to Roy Walton’s classic Card Warp. Again Tyler does not just offer a small variation to the standard handling. Instead, he adds to the effect. I won’t spoil the surprise, but I will tell you that the effect looks super weird. It is the kind of thing that is fun to perform in front of a mirror. For the finale, the cards are handed out to the spectator after being formed into a nice souvenir. As a side note, since Card Warp is still a marketed item, Tyler had to be careful about revealing too much of its inner workings. Kudos to him for still explaining his version clearly.

Sven Who?- Using a principle that will convert your deck into a pseudo-gaffed weapon, Tyler causes the faces of the cards to change twice before revealing that the selection has a different colored back.

Sloppy 30 Seconds- Tyler’s strength lies in creating effects that go beyond where most magicians usually stop. In other words, most magicians stop thinking too early; Tyler does not. For that reason, I feel I must keep you in the dark about yet another routine. Let’s just say, Tyler turned the standard two card transposition on its head.

Finally, the CD-Rom included with the book contains videos of a few of the moves as well as a left-handed version of the book in PDF format.

With all the positive things I’ve said about Tyler’s work, I must mention the two problems I have with Dominatricks. First, the book’s layout and cover design are awesome, but I found myself a little frustrated at times that the book wouldn’t lay flat when opened. In other words, I had to hold it open with something while trying to learn a move. This isn’t a huge deal, but it was a bit annoying.

My second complaint is perhaps a little more serious. Quite frankly, I’m a little upset that Tyler won’t be able to publish material as fast as I can read it. Darn you, Tyler! Highly recommended!

-Available from http://www.andigladwin.co.uk/

Dan Harlan: Pack Small Play Big Kid's Birthday Show

Dan Harlan's Pack Small Play Big series released by L&L Publishing is designed to show performers how to entertain an audience with props that can fit into a standard briefcase. In this volume, Dan discusses how to build an entertaining kids' show using a few marketed props and gimmicks you can make at home. Here is what is explained...

Let It All Out- This vanishing and reappearing handkerchief routine is designed to teach the kids how to react to the show. It's a simple warm up that Dan believes gets everyone ready for the magic that is to come. While it is certainly best to have some type of warm up effect, some may feel that this encourages the kids to get a bit too wild. Still, it provides a look into how one performer likes to begin.

Gosh Man- This is a sponge ball routine with a bit of a twist inspired by the classic Slydini Paper Balls Over The Head. I felt the performance was a little rushed and confusing to the children. The "move" was a little too blatant and quickly done. This may have been an attempt to keep the rest of the audience from telling how the trick was done, but the speed sacrificed the comedy that could come from the situation. Dan finishes with the marketed Sponge Ball to Cube. While he does not bring much new to the table, his performance may convince many kids' show performers to add this underused prop to their act.

Sucker Suckers- The magician introduces a bag and displays four jumbo lollypops one at a time: each one is a different color. The performer decides to keep one for himself and places it into his case. When the bag is opened, the others have vanished. Finally, the magician produces a real jumbo lollypop for the child to keep. Dan explains the construction of the simple gimmick needed for the effect. Unfortunately, the trick itself is a bit weak. Still, some performers may be able to create their own routine using this clever prop.

Balloon-atic- Dan performs a few standard bits of business while making a big balloon sculpture for the birthday child. Most experienced performers will have seen this type of sillyness before. No magic is performed during the routine.

This Century- Dan's version of the classic 20th Century Silks effect adds nothing much new to the effect, but the method is quite clever. Ungimmicked silks are used throughout the routine and everything may be examined after the routine. Unfortunately, this effect really isn't strengthened by having the props end examinable, so it is no better than the original gimmicked version.

Party Hat- This effect was a little weak for me. While, producing candy or party favors for the children is a classic idea, this version isn't all that magical.

Coloring Book- If you are a children's performer, you probably already perform this classic routine. In fact, you probably perform nearly the exact same routine as every other magician and clown around...including Dan Harlan. There is absolutely nothing new brought to the trick. The advice he gives is common sense. Think of this as more of a dealer demo than a new routine.

Shake It Up- This was definitely the highlight of the DVD. Here's the dealer ad:"With the help of one of the children, the magician attempts to make a milkshake starting with milk and ice cream, but he doesn't have some of the ingredients so he substitutes ketchup and mustard for chocolate, then adds salt and pepper for more flavor! Harlan has taken the hassle out of this routine by eliminating all liquids, although you'll swear he used some!"

The ad is 100% accurate: you will believe he used some sort of liquid. You place a container on top of a child's head as you procede to fill it with ingredients. You actually SEE the liquids going into the container, yet there are none used whatsoever. While the gaffs you will have to make up may be difficult to come by, they are among the coolest I have ever seen in magic. The climax to the routine is a production of a bunch of candy bars. The only weak point in the routine is the load of the candy into the container. I would recommend purchasing Don Alan's classic Comedy Egg Can to use with Dan's otherwise fantastic routine.

Candy Man- For his finale, Dan produces enough candy for everyone in the crowd out of a previously empty bag. Again, this is nothing spectacular, but the kids will be happy they get to eat the treats.

Overall, the DVD left me wanting more. However, some may find the "Shake It Up" routine worth the price of admission. If the routine sounds like something you would like to perform, and you are willing to do some hunting for the materials necessary to create the props, this DVD may be a wise investment. Otherwise, I would look elsewhere.

---Available from http://www.llpub.com/

Nate Kranzo: Things With Cards

Things With Cards focuses on Nate Kranzo's card material. Included in the book are false cuts, card routines, utility moves, and four of a kind productions. According to Nate, "The material is anywhere from dead easy, to very difficult. It’s all visual." Here's what is explained...

In the Hands Freeman- Four Aces are produced in the midst of a riffle shuffle. Not much else can be said. This is a quick, practical method for producing any four-of-a-kind.

Stick 4- This is another visual four-of-a-kind production that is pretty simple to do. I will not describe the exact effect for fear of tipping the method, but I will say that this is one of the only effects in the notes that cannot be done with a completely straight deck. However, the gimmick involved is minimal and allows for a ultra visual appearance of the Aces (or whatever.)

For Instant- One card explodes into four. This is a bit knacky, but I imagine it would look very good. Unfortunately this seems to be one of those things that would be easier to learn from seeing it in action on a video.

Trans AM- This is a visual two card transposition between a selection resting on the back of your hand and a card placed in your pocket. It feels risky to perform but everything is surprisingly secure.

Invisible Elasticity II- This was my favorite effect from the notes. An invisible rubber band is wrapped around the deck. A signed selection is slid beneath it. When the selection is pulled to the right is snaps back. Next, the magician drops the cards into the spectators hands where a rubberband visually appears encircling the deck. Finally, the selection is placed face up into the center of the pack and is visually pulled up through the deck and rubberband. A demo video of this effect can be seen at Nate's site (http://www.hismagic.com/?page_id=15). Scroll down to the Things With Cards section and click to play the embedded YouTube video.

Standing Up to Ray and Bill- Nate's handling of the classic Triumph effect has a few things going for it. First, everything can be performed completely in the hands without the need for a table. Second, it is relatively simple to perform. Finally, Nate has managed to change the effect by altering the revelation. Instead of the cards magically righting themselves after being shuffled face up into face down, Nate causes the cards visually right themselves before the shuffle is completed. Best of all, the change happens with the cards held in only one hand. Believe me, this looks really cool.

Thumb Variation- This is Nate's touch on a color change inspired by John Cornelius's "Winter Change" and Steve Draun's "Starfish Change." As I'm not familiar with the aforementioned changes, I cannot really comment on Nate's additions.

Unnecessary Cut- This cutting sequence that does not alter the order of the cards, but I do not prefer it to most other false cuts (including the other one included in this book). I have a feeling that I might like this better if I could see it in action as it is another piece that would be a little easier to grasp from watching a video.

Small Packet Reversal- In Nate's words, "I do not plan on explaining any routines using this sleight because I feel that it is versatile enough to be used in just about any small-packet routine." Unfortunately, this is once again something that would be easier learned from a video.

Sekel Tuc and The Dancy Revelation- Luke Dancy's false cut is fairly simple to perform compared to most other fancy cutting sequences. It can also be used to produce four of a kind in a quick, visual manner. This was featured on Luke Dancy's Magic For The Eyes DVD. Those who have witnessed it can attest to how visually shocking the production can be.

You will notice I have mentioned that a few of these effects would be easier learned from a video. I make this comment as a warning to readers who have difficulty learning from the written word. This is not a bash at the author for not explaining things clearly. The effects are explained clearly and can be learned in this format; my assertion is just that things would be easier to understand if they could be seen in action.

My only complaint with the explanations of the effects is that there was a little less attention to detail than I would have wished for. For example, the instructions may call for the Aces to be set up on top of the deck. However, later in the explanation, the author may reference the Kings. This is a minor mistake that will not interfere with your understanding of the material.

Overall, the material is good but not for everyone. If you are in to slick card moves and fancy productions your money will be well spent. Others may feel more satisfied from Nate's other tremendous material available for instant download from his website. (Check out my review for his In The Heat of the Desert Lecture Notes.) While you don't have to be a finger-flinger to enjoy this e-book, Nate's other offerings are more suited for the magician looking to quickly add a few things to his repetoire.

-Available from http://www.hismagic.com/?page_id=15

Steve Mayhew: Angels May Shuffle But The Devil Still Deals

Steve Mayhew's Angels May Shuffle But The Devil Still Deals e-book is not just a cool name for a publication, it is a wonderful resource for a few very powerful gambling routines and one equally powerful principle that many performers will enjoy exploring. Here is what is explained...

The Ultimate Double-Duke- The performer shuffles the deck a few times and invites a spectator to riffle shuffle and cut. The magician then claims he will cull a Flush in Spades to the bottom of the deck. An audience member selects which player in a four-handed game will receive the perfect Flush. The cards are dealt fairly to every player except the designated "partner" who receives cards dealt from the bottom. The partner is left with a perfect Flush, but the magician receives an even better hand.

The effect requires a bit of riffle or overhand stacking. While the author briefly explains simple systems that will do the trick, those not familiar with these techniques will most likely want to perform one of the other routines in the book. Also, while a bottom deal is involved, the structure of the effect allows you to expose the deal as part of the demonstration. In other words, since you tell the audience you are going to deal off the bottom, you don't have to deal a deceptive bottom to perform the routine.

The Ultimate Gardner-Marlo- The cards are riffle shuffled by the spectator and given a cut. A six-handed game of poker is dealt with the dealer dealing a bottom to himself. Amazingly, the dealer has managed to deal himself a perfect Flush from a shuffled deck. The demonstration is repeated. This time, however, the cards appear to be dealt fairly off the top. For the finish, the dealer reveals that he dealt himself an even better hand than before.

This is simply an amazing routine. If the effect appeals to you, I do not doubt that this routine alone would be worth the price of the notes. The best part is, it is completely self-working. The authors even mention that it is possible to have the spectator perform the routine.

Ten Card Finale- After the spectator riffle shuffles the deck, ten cards are dealt to the table. The spectator deals the cards between himself and the performer. The spectator receives a perfect Flush, but the magician still receives the winning hand.

This is not a stand-alone piece; it is designed to be an add-on to any existing Ten Card Poker Deal. Therefore, its success will largely depend on the routine that proceeds it. Also, the authors do not describe the handling of the classic effect; they only offer a solution to the primary problem with many versions of the trick: there is no ending. While this application of Mayhew's principle results in a good finish, it requires the performer to use a somewhat difficult sleight at bad time, since the spectator will be burning the performer's hands. This is the weakest effect in the notes.

Blackjack- The cards are riffle shuffled by a spectator and four Blackjack hands are dealt. The spectator is asked to play a game against the magician. To make things extra fair, the spectator is allowed to choose the three hands he would like to play, leaving the magician with one. The spectator turns his cards face up to reveal each hand adds up to 20. The magician states that he won't even look at his cards. "In fact, you can look at them and decide if I should take a hit... no matter what value my hand is!" The magician's cards are turned over to reveal 21 (Ten and an Ace). The magician turns around and realizes he is in a bit of a pickle. The spectator's tell him to hit. Amazingly he still wins the game by receiving another ten (Ten + Ten + Ace = 10 + 10 + 1 = 21).

Steve has managed to get a lot of mileage out of combining a simple switch with his "Angel Shuffle" principle. The result is an entertaining routine that strays from the beaten path of most gambling routines.

Freedom- The Mayhew Poker Deal- In short, the cards are shuffled face up into face down. The performer then proceeds to deal all the face up cards from the center (the top card remains face down during the dealing.) For the finale, the four Aces are dealt face up from the center. The cards are spread to show that all the face up cards were dealt.

Allan Ackerman calls this routine "one of the most popular dealing demos ever." It is a bonus that has nothing to do with the principle used in the previous effects. While it is definitely not suited for the beginner as a lot of false dealing is involved, an intermediate to advanced card man could gain quite a reputation with the routine. It will surely have a tremendous impact on any lay audience. The author mentions the primary two reasons why this routine is so good:

1. It's fun to watch.
2. It doesn't require the spectators to know anything about gambling.

If you take the time to master the routine, your audiences will believe you are capable of anything with a deck of cards.

Overall, the routines are well structured and the "Angel Shuffle" principle begs to be played with. Even the casual hobbyist will recognize its power. My only concern with a couple of the effects (The Ultimate Double-Duke and Ten Card Finale) is that many spectators will have no grasp of the rankings of every poker hand. In other words, while most people recognize that a Royal Flush beats all other hands, many do not know that a Full House beats a Flush. This, of course, does not mean that these routines should be tossed aside. It only means that the performer must be careful to only perform these effects for those who have a background in poker. This is not a weakness of all of the effects, but I think it needs to be mentioned.

At any rate, if you are looking for gambling good gambling demonstrations, look no further than Steve Mayhew's Angels May Shuffle But The Devil Still Deals. Recommended.

-Available from www.Lybrary.com

Paul Wilson: Absolute Zero Evolution

Absolute Zero Evolution is a small PDF file available for instant download at rpaulwilson.com The cost is just $5. Here's the advertisement:

"Want to know how Paul Wilson fries magicians with their own deck? This is one of his most baffling ruses. You borrow ANY shuffled deck and have it cut it into three piles. Each pile is shuffled and a card is fairly selected and lost. The deck is then cut. All of this happens while the performer’s back is turned. Taking the deck, you can find the selected card INSTANTLY without looking through the faces! No set-up, the deck is genuinely shuffled. Nothing is added or taken away. Best of all, it’s so easy it hurts! Can even be performed blindfolded. Requirements: Any deck of cards (may be borrowed).

Difficulty: Easy."

Basically you're just paying for a killer card location that will fool you're audience whether it be magicians or laymen. The method is dead easy; it's just SOOOO simple. Don't discount the method because of it's simplicity. It's strong and that's what counts. Here's a list of conditions straight from Paul:

1. ANY shuffled deck may be used.
2. You NEVER look at the face of a single card.
3. You can perform the entire trick blindfolded.
4. The spectator cuts three piles, shuffles them, selects a card, loses it amongst the shuffled packets then cuts so you cannot possibly estimate – all while your back is turned (or you’re blindfolded).
5. You take the deck and find the card INSTANTLY. No fishing, no uncertainty – you have the card as soon as you have the deck.

For only $5, it's worth the investment. My guess is that you'll be put off by it's simplicity at first. Once you get over yourself, you'll start to use it and you will FOOL people. (at least that's what happened to me) Recommended.

-Available from www.RPaulWilson.com

Daniel Garcia: Next

Next is a 17 page PDF file that showcases the magic of Daniel Garcia. It includes six routines designed to be done totally impromptu. The effects make use of a variety of objects from paper clips and bottle caps to matches and rubber bands. Here is what is explained.

Cliptrip- A spectator straightens a borrowed paper clip and hands it to the magician who proceeds to bend it with the power of his mind. This is not a mind blowing stunt given that everyone knows it is not difficult to bend paper clips, but the trick only takes a few minutes to master for a lifetime. It may just come in handy sometime when someone tells you to "do a trick." While this is not as impressive as bending spoons or forks, it is also much less destructive. My only concern with the effect is that many laymen will assume they know how it is done even though they have not guessed the true method.

No Smoking- This will likely be the favorite effect from the notes for many magicians. Daniel has spiced up the classic traveling match trick by mixing it with a ultra cool bar stunt. In effect, the magician removes a few matches and lights the rest of the matchbook on fire. The book is closed and handed to a spectator. One of the removed matches is vanished as smoke emerges from the magician's mouth and blows towards the matchbook. When the book is opened, an unburned match is found still attached inside.

I have to admit that the idea of the effect sounds intriguing, but I was unable to produce very much smoke from my mouth after repeated attempts. Others on internet forums, however, have claimed to have had no trouble. At any rate, I can attest to the fact that it takes a bit of guts to try the method for the first time. Daniel assures his readers that the effect is completely safe, but it may not be a bad idea to do a little research before trying this every night.

DiscHOVER- The author's description of the effect reads, "at any time the magician causes a credit card to float without any setup or gimmicks...whatsoever." This is a cute stunt that is at least fun to perform for yourself. However, I highly doubt the method will fool anyone for more than a few short seconds. While the illusion of the card suspended is neat, it is not deeply fooling. It may trick the eyes, but it won't trick the mind.

Addict- This reminded a lot of something that Paul Harris would have created. The magician places a lit cigarette through the cellophane of the cigarette pack. With a magical correction, the cellophane restores itself; the holes are gone. This is another trick based on an old idea that Daniel has reworked to improve the effect. The only downside is that only smokers will really be able to use this item as it is not advisable to perform the effect using a borrowed pack.

Whassup!!!- Daniels solution to the impromptu cap in beer bottle effect is brilliant. The preparation takes a couple of seconds and could even be done in front of the audience. A bottle cap is displayed in the magician's left hand as he holds the bottle in the right. The bottle is slammed down on the cap and the cap is seen and heard inside. The bottle is turned upside down, but the cap is too big to fall out. Finally, the magician extracts the cap and hands everything out for examination. Those who frequent bars or functions where beer bottles are available will likely add this to their performing repertoire. It is easy to do (the author claims it only takes five minutes of practice) and fun to perform.

Stretch- This is a three phase ring and rubber band routine that has many visually shocking components. A borrowed ring is threaded onto a rubber band. Another band is introduced and the ring jumps from band to band. One of the bands vanishes as does the ring. The ring is reproduced and melts off the band for the finale. This is by far the most difficult routine in the notes to master. The author admits that it is difficult to describe in print. More than once, I was confused on a piece of instruction. Unfortunately, items such as this are often better taught on video. Still, if you are experienced with rubber bands and are willing to work a little harder to understand what occurs, you will have a ring and rubber band routine that looks great.

Overall, the notes were decent, but I do not believe they deserve all of the praise that has abounded over them on internet forums. Clip Trip and DiscHOVER are nice throwaways, but nothing spectacular. Addict is best suit for smokers. No Smoking is a nice addition to an existing routine, but many may shy away due to its method. Whassup and Stretch were the highlights of the notes, but the rubber band routine is a little difficult to grasp at times.

My biggest complaint is the writing style and presentation used to convey the author's instructions. Instead of traditional grammar and sentence structure, Daniel decided to present his ideas in a sort of stream of consciousness style of writing. This is annoying at best. Also, the layout of the pages is sloppy and confusing. For example, there are instances where a few words are separated from the body of the text by images. This interrupts the reader's flow and looks unappealing. It could have been avoided if more time were spent on the layout. Also, the pictures themselves are out of order. I am not sure what the author was attempting with this page layout, but the results are frustrating for the reader. Unfortunately, what I assume are his attempts to be cool detract from some of the wonderful ideas he has to offer.

I do not recommend these notes for everyone, but bar performers may pick up a few cool tricks. I would bet that others, however, could find a better use of their $15.

-Available from www.Lybrary.com

David Regal: Premise, Power, and Participation Vol. 4: Regal Stands Erect

Before I attempt to review this item, I must admit I am a little biased; David Regal is my absolute favorite magician. I have been fooled more times watching his DVDs than I care to count. My favorite quality of his is the fact that he will stop at nothing to fool his audience. His attention to detail shows in his performance scripts and the structuring of his routines. He is a true professional who knows how to entertain an audience. He is one of the few magicians with whom I feel comfortable purchasing material before even reading an ad. In the final volume of his latest L&L Publishing DVD series, David tips his stand up routines. Here is what is included...

Journey To Love- David says this is his presentation for Larry Becker's Hotel Room Mystery. The effect is simply stunning. A woman and three men are invited to the stage. They decide on a Hotel and a room number through a procedure that seems impossibly fair. It seems there is no way David could have predicted the outcome, yet he produces a room key with the spectator's seemingly free selections engraved into it. The nice thing about the effect is there are no multiple outs. It works every time; the prediction you show in the beginning is the exact one you reveal at the end of the effect.

The trick is basically self working, but this is not something you can immediately add to you repertoire. While David tips the workings of the effect, I cannot imagine many people will be able to pull off his presentation. In fact, this is one of the things I love so much about David: his performances reek of his style. He is truly one of a kind. Still, if you can build your own presentation, this may be something you will use for a long time to come.

Got A Light?- David performs a simple sympathetic matchbox routine with two examined matchboxes. For the finale, one of the matchboxes magically rises and opens. Everything is immediately handed out for examination. This was the weakest effect on the DVD for me. First, the performance seemed a little hurried. Second, it appears that this is one of the effects where the whole is not greater than the sum of the parts. The positive, of course, is that the matchboxes can be inspected. Unfortunately, this is at the expense of the eeriness of the routine. The sympathetic phase simply does not look as good as the standard marketed effect. However, while I was not impressed with the routine, David has a very clever line used to introduce the effect that brought a smile to my face.

Swindle Transpo- David has devised an almost self-working cards across effect that uses almost no moves. The magician introduces two decks of cards: one red and one blue. Ten cards are removed from each deck to form a red and a blue pile. The spectator selects one of the piles and selects and signs a card. Both packets are sealed into window envelopes. After a magical gesture, the envelopes are opened. Let's assume the spectator's card was blue backed. The blue backed cards are examined; the selection has vanished. The red backs cards are spread to reveal one blue backed card; it is the signed selection. The effect is clear and uncluttered. There are no extraneous moves. Everything seems fair throughout the routine. It is not a blockbuster effect, but it is within the reach of most cardmen.

The Very Last Card- This is David's favorite platform effect. In effect, an examined deck is shuffled and fifty one cards are tossed into a trash can. The one card that remains is the very card the magician predicted in the beginning. The workings of this effect are extremely clever, but, once again, his presentation is what makes this play so big. Those looking for a card effect to play on the largest stage will certainly enjoy this routine. Finally, even if you are already familiar with the routine from David's Constant Fooling books, seeing the finale with David's picture of Billy McComb is priceless.

(Bonus) After Hours- This is David's take on the story deck. He has devised a completely new story that is full of jokes and bits of business that will delight any crowd. I was especially impressed with David's extreme attention to every detail of his performance. For instance, he explains how to set the deck to make sure the Jokers come out facing the audience. This is just one example of the thought that goes into each of David's routines. Bar magicians looking for an alternative to the popular Sam The Bellhop will definitely find a use for David's off beat routine. For those familiar with other story decks, Regal's version is shorter than Simon Lovell's Who Killed Lilly Longlegs presentation but longer than the aforementioned Sam The Bellhop.

As always, David's teaching style is friendly and clear. Nothing is left out. The only issue I have with the DVD from a technical standpoint is that it seemed that the L&L studio is not suited for stand up performances. During a few of the routines, the shot seems crowded. In fact, some participants cannot even be seen. This has nothing to do with David or with the viewer's ability to understand what is going on, but it is a little distracting.

If you have never witnessed David's magic, pick up one of his earlier releases as I do not think this is his best work. Those looking for material to immediately add to their repertoire, however, are also advised to look elsewhere. On the other hand, if you are looking for stand up routines and are willing to put in the necessary time to polish your presentation, you will not be disappointed. The fact that I am recommending what I think is David's weakest DVD to date says a great deal about the quality of his material. In a word, brilliant.

-Available from www.DavidRegal.com

Marty Grams: The Art of Card Splitting

I found myself facing a dilemma when I decided to review this DVD. First of all, I am adamantly opposed to Magic Makers profiting from copying the intellectual property of creative magicians such as Lee Asher and Anders Moden. Their knockoff versions of Asher's Asher Twist and Moden's Healed and Sealed infuriated many in the magic community including myself. Still, if I am to provide honest reviews about the quality of magic products, I must first place aside any personal misgivings I have against the authors or manufacturers of a particular product. That being said.

Despite my reservations with the practices of Magic Makers Inc., I have nothing but good things to say about The Art of Card Splitting. First of all, the material taught on this DVD is not "lifted" from Marty (better known as Martini in the magic world). He signed on to the project and obviously put a lot of work into providing the viewer with his best tips and tricks for creating gaffed cards.

The material is based on Marty's book, Lickety Split, but contains information not covered in the book such as how to create acrobatic cards. Marty is not a newbie when it comes to creating gaffed cards. He is also not new to teaching other magicians how to do the same. His time spent lecturing shows. As a result, it seems nothing has been left out.

I should also mention that the title does not reflect the total content of the DVD. Marty does not just teach how to split cards; he goes through the entire process of creating the gaffs. Double Facers, double backers, split cards, acrobatic cards, and the Hofzinzer card gimmick are fully explained. However, the information can be used to create any number of other card gimmicks. There is no limit to what can be done. He even covers where to procure the needed items and mentions that the products should cost you around ten dollars. That is not a bad price for a new hobby that may keep you entertained (and frustrated) for years to come.

As far as the actual magic is concerned, the effects taught on the tape range from interesting to forgettable. Most of them are well known, classic effects, but I cannot imagine any of them fooling many magicians. Almost all of them have been improved upon tremendously since their creation, but it is nice to see how the original versions looked. At the very least they provide a start for those looking to find a use for the gaffed cards they worked so hard to create.

This DVD will be a great asset to beginning card splitters as well as those who have attempted splitting before but never really found success. Personally, I fell into the latter category. Other magicians had attempted to teach me their techniques for creating gaffed cards in the past. Unfortunately, I was never able to master the art; my final products always looked sloppy and the difficulties I encountered along the way made the whole process seem not worth it. Marty's tips gained from years of trial and error made all the difference in the world. Recommended.

-Available from www.MagicMakersInc.com

Peter Duffie: England Up-Close

England Up-Close is an enormous e-book with over 70 routines from a long list of contributors including Jon Allen, Jamie Badman, Anthony Brahams, David Britland, Sean Carpenter, Harold Cataquet, Roger Crosthwaite, Wayne Dobson, Shiv Duggal, Nicholas Einhorn, Mark Elsdon, Kevin Fox, Andi Gladwin, Brian Glover, Paul Gordon, Paul Hallas, Justin Higham, Andy Hurst, Rob James, Lewis Jones, Walt Lees, Shaun McCree, Iain Moran, Andy Nicholls, Jack Parker, Mike Rose, Al Smith, Stephen Tucker, and Dominic Twose.

The book is put together in an easy-to-navigate format. Thankfully, there is not a lot of wasted space as in many other e-books on the market. The effects are organized by author and are preceded by a short biography and a website link (if available) for each magician. Since many of the performers were unknown to me, I found this very helpful.

There are 173 pages full of content ranging from self working material and mathematical principles to sleight-of-hand techniques and “workers.” If I had to describe this book in one word, it would be “variety.” Needless to say, there is something in this book for every card man. However, not all of the routines use cards. The book also contains non-card material including an effect with coins, one with bills, and some clever work on magic squares. Since there are so many routines, I’ll give you the highlights.

Trial Separation (Jack Parker)- Jack has created an interesting routine utilizing an underused Simon Aronson move in a very clever manner. The effect is straightforward even if the handling is a little convoluted. The magician places a joker outjogged face up in the middle of the deck. Two spectators freely select a card; one from above the joker and one from below. When the cards are turned face up and spread, the selected cards are seen to have vanished. When both spectator's name their card, it is discovered that they had impossibly chosen the same one. The joker which was placed on the table earlier is turned face up and seen to be the selection. Despite the potential for audience confusion, if the effect is performed smoothly, the routine is very powerful.

Insertion Techniques (Sean Carpenter)- This is one of the most commercial routines in the entire book. It is also extremely easy to do, meaning you can immediately add it to your repertoire. In short, a card is selected and shuffled back into the deck. The spectator inserts your business card into the deck randomly. On the back of the card is written a prediction: "12 Cards Away." The magician counts 12 cards down from the insertion point and the card is discovered.

Named! (Sean Carpenter)- Sean strikes again with another commercial effect. This time a spectator selects a card only to find that it is the only one in the pack with his own name on the back. What's clever is that Sean provides a method of performing this routine without ever knowing the spectator's name before the performance. Also, the magician never has to write anything during the entire routine. For laymen, this really packs a punch.

Progressive Jacks (David Britland)- This is a simple variation of the standard sandwich routine that elevates the effect significantly. Four Kings are removed from the pack. A card is selected and lost. The spectator decides which Kings will find the selection. Let's assume he chooses the red Kings. The red Kings are placed together into the deck and cut to the middle. The other Kings are also placed together into the middle of the deck. The cards are immediately spread. The black Kings have trapped the red Kings which trap one face down card. Of course it is the selection. This is another commercial effect that most will be able to immediately add to their performances.

CAAN (Stephen Tucker)- This is an unusual approach to the Any Card at Any Number problem. While the routine is a less direct than simply finding the spectator's card at the spectator's number, it is still impressive. I should warn you, however, that the effect is not exactly the same as the standard ACAAN. It is difficult to describe in print, but suffice it to say that Stephen is a very clever guy and this is a very clever routine. Still, those looking for the "Holy Grail" of the ACAAN plot would be better suited looking elsewhere (perhaps even Stephen's ACAAN routine for sale at his website www.stephentuckermagic.com)

A Freer Chance (Stephen Tucker)- Stephen's version of Bill Goldman's Free Chance routine from Goldman's Two For The Money DVD is a clever packet effect to carry around in your wallet. From the audience's point of view, a spectator selects two cards from a face up arrangement of six. The selected cards are then shown to have contrasting backs to the others. The routine is extremely simple and easy to do. Don' t expect any groundbreaking techniques, but laymen will be completely fooled.

Ring Flash 2 (Wayne Dobson)- This is a beautiful routine with a borrowed finger ring. The ring is placed into the magician's fist. When a lit match is waved under his hand, the ring is poured on to the table. It has transformed into a gold chain. For the finale, the ring appears linked to the chain in a flash of fire. Like most of Wayne's work, this is a good enough for a pro but easy enough for a relative beginner.

Kicked Forward (Iain Moran)- This is Iain's version of Ryan Swigert's excellent KickBack routine. The effect is basically the same, but this handling allows you to flash the backs of the cards at the end. Still, I prefer the original handling as it is a bit more visual and free.

Canceled Out (Andy Hurst)- Andy's first contribution to the book is a mentalism type routine that is designed to "cancel out" all of the methods laymen usually associate with card tricks. It is a deeply fooling effect using a clever stack that works without you having to memorize it. His thoughts could definitely be applied to other routines.

Three Willy (Andy Hurst)- Andy provides another use of his clever stack in yet another baffling routine. It is quite a fooler.

No-exchange Do As I Do (Walt Lees)- This is one of the simplest yet powerful Do As I Do routines I have come across. It is wonderfully direct with no wasted movements. The magician and spectator both peek at a card in each other's decks. Amazingly, they match.

The Eradicator (Paul Gordon)- This is a very bold version of a sort of Out Of This World effect. I say "sort of" because the red/black separation comes as a surprise to the spectator; it is not even hinted at until the spectator's dealing has been done. Surely, some will enjoy this offbeat version of the classic effect.

Stand Up For CATO (Paul Gordon) and Hum Drum (Paul Gordon)- Those not familiar with Bob Hummer's CATO (Cut and Turn Over) principle will be fooled by its use. Paul provides a few ideas that use the principle to good effect. These are not blockbusters but may inspire further thinking.

Impromptu Pokertell (Paul Gordon)- This is a neat routine that takes place entirely out of the hands of the magician. The spectator deals out four hands of six cards each. He pulls out one card from any one of the hands and memorizes it before placing on top of any one of the other packets. He then picks up the packets in any order he pleases and gives the completed pile as many cuts as he likes. Finally, he calls off the cards in the order that they appear. The magician announces the card.

KiLocator (Mark Elsdon)- This is the perfect routine to fry your magic buddies with during those late night card sessions. Your friend cuts the deck and deals the top five cards to the table. He selects one with your back turned. Next, he cuts off the top third of the deck, and shuffles his card into it. He then looks at the other four cards and shuffles them into the cut off portion. You turn back around, give the deck one shuffle, and table the pack. You ask that he name the card. When he does, you cleanly turn the top card face up revealing it to be his selection. For the finale, your friend's head explodes.

ESP Mental (Harold Cataquet)- This is a quick, commercial effect that could be altered to be used in trade shows if you made up the cards using the company's logo instead of the ESP symbols. In short, it is a mental routine that evolves into a nicely routined wild card effect. It also resets instantly, making it great for walk around.

Cream Tea(sed) (Mike Rose)- Mike has adapted Roy Walton's Oil and Queens to create a commercial routine that culminates in the production of a pot of jam. The effect is definitely better suited for English magicians rather than those in the U.S. since the cards have the words 'Scone' and 'Cream' written on them. Still, with a little thought, the idea could be altered to be relevant in the states.

Overall, the material is impressive and the instructions are well written. I cannot imagine anyone not being able to find at least a few routines to add to their act. Some may be put off by the thought of paying $30 for an e-book, but if you are the type that would rather learn usable material than of have a book sit on a shelf collecting dust, you should definitely consider making this purchase. Recommended.

-Available from www.Lybrary.com

Nathan Kranzo: The Heat of the Desert Lecture Notes

Nate Kranzo has made quite a name for himself on the magic scene with his unique form of creative and visual magic. He is the star of three DVD's and his material has been published in many places including Magic Magazine, Genii, Penumbra, Channel One, and The Linking Ring. He is now offering a number of instant downloads from his website www.HisMagic.com. If you are unfamiliar with his material, this is the perfect place to start.

The Heat of the Desert is actually an electronic copy of Nate's lecture notes for the 2004 Las Vegas Desert Magic Seminar. While the routines will impress any group of magicians, it is obvious that these are pieces that Nate designed to use for real audiences on a regular basis. The material is top notch. Here's a look at the effects explained.

Trey Tip- Nate has taken an old idea and turned it into something that many will actually use. In effect, the spectator selects a card (which can be signed) and returns it to the deck. The magician removes three cards at random and stands them upright on the table. Two of the cards fall face up revealing that they are indifferent cards. The card in the middle, however, remains standing. When turned around, it proves to be the selection.

This is great bit that will definitely catch any lay audience off guard. Trust me, the card's suspension looks plain weird. The routine is easy to do; most will be able to add it to their repertoire after just a little practice. The best part is that it does not require the magician to carry any extra gimmicks that he would not usually carry to a magic performance anyway.

Flash Fold- The spectator selects a card from regular size deck. The magician then reveals that he predicted the card in advance. Removing a jumbo card folded into fourths, he asks for the name of the selection. Let's say the spectator says "the King of Hearts." The card is unfolded and shown to be a Joker. "Jokers are wild, right?" Groans, of course, follow until the magician makes due on his promise by turning the card around to show that "You will select the King of Hearts" is written on the back. This, in itself, is a very strong trick for laymen, but Nate takes it one step further. He removes a lighter and waves it under the jumbo Joker. In a flash of fire, it changes into the King of Hearts, the spectator's chosen card.

This is a neat idea for a card change that could also be used with regular sized cards. While the routine is simple, laymen will be completely fooled and entertained. This is yet another example of how Nate has taken simple plots and twisted them into something much more spectacular than they were in their original form.

Smells Like Aces- This is probably the most difficult effect in the notes. It is hard to describe without seeing it performed. Basically it is a straightforward four Ace production that happens all at once. Those who have never seen the production may feel inclined to skip over this when reading the description because of its difficulty. On the other hand, those who have witnessed its visual impact will be much more willing to put the time into perfecting this feat. I should also qualify my remark that this routine is difficult by explaining that, while this requires more dexterity than other routines in this set of notes, it is also not completely out of reach.

Funtac Inflation- A penny is borrowed from a spectator. When the magician rubs the coin, it grows to half-dollar size and his hands are seen empty. Next, he smashes the coin between his hands causing it to grow into a jumbo three inch coin. Again, his hands are shown empty; he is holding nothing but the jumbo coin. Nate describes this effect as "easy and fun." I agree. The title of this routine should give you some indication of the clever method used. While the use of this principle makes the changes more disarming, it also makes the routine less practical for walk around. Working pros may prefer to use standard sleight of hand techniques to achieve the Inflation effect when performing the routine more than once per night. Still, in many situations or for those who are willing to sacrifice practicality for effect, this routine may be the perfect fit.

Match's Coins- A book of matches is introduced. A match is removed and lit. Suddenly it morphs into a coin. Another match is lit and dropped into the magician's hand. Flames shoot out of his fist and a coin is removed. Finally, the magician closes his fist and smoke pours out as the final coin is produced. Those familiar with Nate's previous work may recognize some of these ideas from routines such as Hot Sauce and Volcanic Coin from his Outside The Box DVD. He has blended the best components of each to form a three coin production that looks unreal. Those who have never experimented with these ideas are in for a treat.

Homing Tie- "At the end of a marathon card routine, the signed selection finally ends up folded up and tucked behind the tag on the back of your tie!" Practical and powerful. There's not much else to say. It is a brilliant idea that is absolutely perfect for those times when you don't want to carry a card-to-wallet but still want to finish with an impossible location. The handling is simple and easy to do making this another routine that you can almost instantly add to your performances.

Overall, the material is great and Nate's teaching is clear and straightforward. Also, his writing style makes the notes an easy read. He doesn't get bogged down with drawn out explanations of standard moves. Instead, he opts for a conversational style that assumes the reader is familiar with the basics. For example, when asked to force a card, Nate directs the reader to use his "favorite method." While this is often regarded as a flaw in magic writing, in this case, Nate's casual presentation seems to be the best approach. His explanations are short and to the point, yet he takes time to credit others who helped inspire his routines.

Finally, I should mention that the format of the PDF document is different than that of many magic e-books. Nate has designed his product in such a way that, when printed out, the pages are in perfect booklet form. (Imagine a standard sheet folded in half.) All in all, the lecture notes are a great investment. $10 for strong, commercial material from a working pro like Nate is not only reasonable; it's a steal. Highly recommended.

---Available from www.HisMagic.com

Joshua Jay: Pro Carrier Wallet

With all the talk I hear from magicians regarding pocket management, I cannot believe I have not heard more about Joshua Jay's Pro Carrier wallet. My guess is that this is due to the fact that many magicians have a hard time shelling out money for props that don't "do" anything. After all, purchasing a new book, DVD, or trick is exciting, because we know we are going to get something new to play with. On the other hand, props such as tables and close-up pads are often more neglected by magicians. Although these items add to the show from an audience perspective, they do very little for the magician's inner child constantly craving a new "toy."

I think this partially explains the rather common situation of seeing a magician performing with 20 year old sponge balls or stained silks even though he just bought the latest "flavor of the month" DVD. I won't attempt to change this practice with this review; I just wanted to give you something to ponder. Now on to the wallet.

As you may have guessed from the introduction, Joshua Jay's Pro Carrier doesn't "do" anything. Rather it offers a solution to the age old problem of pocket management by providing a practical way to carry magic supplies. Here is the description from the website.

"The Pro Carrier is a small case that can fit into your pocket or be worn on your
belt. It is made of high-quality black leather. It has a slot for a deck of
cards, two slots for extra or gimmicked cards, a window for packet tricks, a
window for business cards, and a coin purse with a zipper. When closed or worn
on the belt, the business card window is visible to passersby."

Here are a few points about the wallet.

• Personally, I carry the wallet in my pocket as opposed to on my belt loop. I find attaching things to my belt to be a little too "fanny pack"-like. In other words, it's just cheesy. The loops, however, do not interfere with my use of the wallet.
  
• While the wallet is not designed to act as a card clip to keep your cards flat, I have found that the cards are still far less likely to become warped when protected by the wallet than if the box is carried loose in the pocket.
  
• Trying to organize business cards, gaffed cards, packet tricks, coins, and a deck is usually frustrating and fishing for objects in your pockets during a performance looks unprofessional. The wallet fixes these problems. There is no more spending forever loading and unloading pockets. All of these objects can be carried in a single unit.

For those still having difficulty thinking about purchasing a magic prop that does not directly aid in the workings of a magic effect, consider the following. How many packet tricks or gaffed card tricks do you leave at home in your magic drawer because you simply don't want waste that pocket space on one effect? With the wallet, you are free to bring them along for the day without feeling bogged down with props.

The price is reasonable at only $20 and the wallet is well made. Do yourself a favor and think outside of the DVD/trick mindset. Ask yourself what product is actually going to improve your magic. Highly recommended.

---Available from www.JoshuaJay.com

Underground-Collective.com: Cheetah's Handbook Volume 2

The Cheetah's Handbook Vol. 1 received some great reviews. However, I never had a chance to obtain the e-book before the end of its limited release. Therefore, I was extremely excited to get a chance to read through the second volume.

Under Control (Luke Dancy)- The author describes this as a "spreadless Convincing Control." Basically it allows the performer to control a card to the bottom of the deck while the selection supposedly remains outjogged in the middle. The move "works due to its perfect combination of sleight of hand and discrepancy." The control is not easy, but performed casually looks exceedingly fair. Those familiar with Jason Alford's Angled After Burner may enjoy this variation.

Sweet Cherry Living (Kostya Kimlat)- This is very neat impromptu routine where the performer picks up two cherries and fuses their stems together. The main problem this routine is that I don't imagine you will find yourself in a position to perform it all that often and carrying cherries around just to do this effect would obviously seem a little convoluted. The bright side is the moves used in the routine are simple and natural, so you won't have to practice in advance to understand the handling. This means that the next time you happen to be in front of a bowl of cherries, you are ready to do this routine.

BVA (John Bodine)- This is one of my favorite routines in the notes although it's also one of the simplest. In fact, the entire effect takes less than 20 seconds. The routine makes use of Lee Asher's Asher Twist (or Action Half Pass) but the move is not described. While I won't argue that this routine is better than the original Asher routine, it's nice to be able to perform something different on occasion.

21 Forever (Jamie Badman)- If you have read my review of Jamie Badman's Underground Change Manuscript elsewhere on this site, you know I am a big fan of the move. When the action is motivated, this utility move can be used to great effect. This is one of those effects. A spectator chooses two cards for himself and two cards for the performer to make two Blackjack hands. He is then given the option of exchanging his hand with two different cards from the deck. Finally, he is asked if he would like to switch cards with the magician. Despite his choices being completely free, the performer always ends with a perfect Blackjack. While I do not believe this routine is the most powerful use of the Underground Change, it is a strong effect. Those interested in further applications of this move are encouraged to check out the Underground Change Manuscript and the Underground Collection Volume 2.

Meester Twister (Jack Parker)- A demo video of this effect can be seen at http://www.underground-collective.com/effects/detail.php?product_id=16. Decide for yourself if you like this effect. Personally, I find the handling awkward and the effect rather weak. This was definitely the lowlight of all the routines.

Cherry Bomb (Tyler Wilson)- This will not suit everyone. Some magicians may even find this completely this disgusting. I won't pretend to argue with them. It is...but it is also very original. While I would never be able to make this trick "play," I can imagine this being the perfect offbeat effect for an offbeat performer. This would also be appropriate for many bar situations. In short a cherry is drawn on a card and placed into the performer's mouth. When the card is removed a second later, the cherry is seen to have a tied stem.

Just One Rubber & Get Your Knot Off (John Bodine)- This is a variation on the classic torn and restored rubber band. I must warn you that the author does not provide a method for breaking the band; he simply recommends the performer use his favorite method. The technique for effecting the restoration of the band is much the same as is used in many cut and restored rope restorations: a knot is tied in the band only to vanish leaving the band restored.

Three Card Location Too (Colin Miller)- "Three participants each cut a packet of cards from the deck, remember the card they cut to and then shuffle their cards." The performer then mentally divines each card with no pumping. The author admits this is a variation of Steve Ehler's Three Card Location where the magician divines not only the spectator's selected cards, but also each card in the spectator's cut off packet. This version is more likely to fool magicians that are familiar with the original Ehler routine, but does not end with the revelation of each card in the spectator's packet. You will have to decide for yourself which suits your needs best.

Full Mental Racket (Andi Gladwin)- This is Andi's version of a Syd Segal and JC Wagner's A Logical Lesson. The routine is quick, but the presentation is entertaining. The downside is that the effect may not be worth the six card setup that is required. It's not that a six card setup is particularly extensive, but the effect is not quite powerful enough to warrant having to arrange the pack.

Wings (Kostya Kimlat)- Kostya strikes again with another food related routine. This time he provides a method for the restoration of an eaten chicken wing. I know what you're thinking...why didn't I think of that? Yeah right. I won't explain much more to keep from revealing the method, but I don't imagine you will be practicing this effect much in your living room. Who knows, though? This could be just the routine you have been searching for. My favorite part is Kostya's advice on how to end clean: "ask your kind waitress for a moist towelette." Even if it's not practical in most situations, it is still refreshing to see the creative thinking behind it.

Two Minds Without a Single Thought (Jack Parker)- The spectator selects a group of cards from the center of the deck. Those cards are cut in half, and the top cards of each packet are revealed to be mates (ex: two red Kings.) The advertising blurb for this effect reads "I'm not sure what's more entertaining, the trick or the write-up." The answer is simple, the write-up. This is not to say that the effect is bad, but I imagine I enjoyed the write-up more than my spectator would enjoy the effect.

E.J. Sandwich (Rob James)- The four Aces are placed on the table. A card is selected and signed on the face. The card vanishes and is found face down in between the Aces. Rob's handling is direct, but many magicians will steer clear of the effect due to the somewhat advanced moves employed (ex: Classic Pass, etc.)

Cheetah's Cellphones (Luke Dancy)- Luke has some very clever ideas about how to turn an ordinary cell phone into a magical utility device. I won't describe the ideas here, but I will say some of them are excellent.

Nightmare (Robert Moreland)- This is the classic Cannibal Cards routine using Robert's Ascanio Spread Finesse which is explained in full detail. For those not familiar with the plot, three selections vanish as they are placed one at a time into a packet of four queens. For the finale, the four queens vanish leaving just the three original selections. The routine is well-thought out and the presentation is entertaining. Many on internet magic forums have said this is the best handling of the Cannibal Cards ever. I will not pretend to have enough knowledge of the plot to make this argument, but you should know that others have made this comment.

Whiplash (Andi Gladwin)- Two spectators select a card and the magician selects one as well. The three cards are placed into the magicians hands and the spectators place their hands on top of his. When the hands are removed, only the magician's card remains; the two spectator selections are found face up in different parts of the deck. The advertisement claims that this is an original plot. I am not convinced. At any rate, the handling is somewhat original and certainly interesting. The procedure for controlling the selections could definitely be applied to other effects.

Overall, I was pleased with the material but not completely crazy about it. There are better ways to spend $20, but there are certainly worse. If the effects sound intriguing, shell out your money and make the purchase. Chances are you will find something that suits you. The ideas presented will, at the very least, give you some things to play with. I should mention that if you are interested in obtaining this e-book, you better act fast. According to the website, they will only be on sale until 250 copies are sold or the end of May 2006, whichever comes first.

-Available from www.Underground-Collective.com

Simon Aronson: Red See Passover

Michael Close says "Red See Passover is one of the five strongest card tricks you can do, for anyone." I agree with him one hundred percent. Here's the effect description from the advertisment.

"Two spectators, Ginny and Dave, are asked to help with an experiment involving two decks of cards, one red-backed and one blue. Both decks are shuffled, and each spectator takes one. The spectators themselves each deal 12 cards face down from their respective decks. The rest of the cards are placed aside. No extra or additional cards are used.

Ginny concentrates on her mental selection. She then removes her hand from the red pile and she counts her cards face down and there are now only 11! Dave likewise counts the cards in his blue pile. He finds that there are now 13 and one of them has a red back!

The 11 red cards are then turned face up and all are fanned in front of Ginny. She is asked whether her mental selection is still there, and she finds it has vanished. Finally, the red card in the middle of the blue packet is removed and shown to be Ginny's mental selection!"

Trust me, it looks exactly as described. There are no palms, awkward counts, funny adjustments, or forces used during the entire routine. It simply could not be more direct. The routine is completely laid out in the 11 page manual explaining the trick. Simon not only gives you an explanation of the "work" involved, he also provides the script he uses when presenting the effect.

While this routine is not self-working, there is no difficult sleight-of-hand involved. The only thing difficult about the trick is that it may seem, at first, a little complicated with many things to remember. However, a few trial runs through the routine with cards in hand will convince you of how simple it really is. The most important thing is to move through the motions naturally. The routine will suffer if your actions appear to be studied.

For those afraid of using gaffed cards, I should mention that Simon describes a method of cleaning up that allows you to get rid of the gaffs when you put the red deck away leaving you with a complete blue deck ready for the next routine.

For $20 you get 12 custom Bicylce cards printed by the U.S. Playing Card Company, an 11 page manuscript detailing the workings of the routine, a complete professional script, and an impossible routine that will serve you well for a lifetime. You cannot ask for more from a product. The ads say this is the Ultimate Thought-of Card Across. While I am not usually one to declare any routine as the "ultimate," in this case, I am inclined to agree. Highly recommended.

---Available from www.llpub.com.

Patrik Kuffs: 7 by Patrick Kuffs

7 by Patrick Kuffs provides a tremendous value for the money. The routines are clever, and the descriptions are clearly written. The booklet contains material that has the possibility of playing very big for very little effort. If the effects appeal to you, purchase the booklet. I cannot imagine you will be disappointed with the methods.

French Lint- A card is selected and rubbed onto the magician's close-up pad. The magician introduces a lint remover that will supposedly pick up the D.N.A. of the card. He uses it to clean the close-up pad. When he removes the sticky sheet, the name of the card is revealed in lint. This is a fun idea that could play great for the right performer in the right situation. There are stronger revelations of selected cards, but this has got to be one of the most original.

Under the Table- The performer notices that the table he's working on is unstable. To fix it, he removes a card from the deck, folds it back outwards into quarters, and places it under the table leg. A card is then fairly selected. The deck is tabled and the magician snaps his fingers. Upon dealing through the deck, the selected card is found to be missing. The spectator is then told to remove the card from underneath the table leg. Amazingly, it is the selection.
This is a great piece to be used to frame a routine or show. Begin the routine by using the card to fix the table leg, and end the routine revealing the selection. Patrik's original version is basically self-working and extremely clean looking. However, he also provides a method for performing the routine with a signed card that takes a little more work on the part of the performer, but is completely impromptu.

Temporal Anomaly- Here's the effect. The magician borrows an analog watch. Another spectator also wearing an analog watch is asked to turn the watch dial while holding the watch behind his back to set it at a random time. The magician does the same with the borrowed watch. They bring the watches out from behind their backs without looking at them and trade watches. Finally, they draw the time depicted on each other's watches on two large pieces of paper. When the times are revealed, they match exactly.
Magicians have been performing these type of watch effects for awhile now. Often, however, the apparatus involved can set the magician's wallet back a couple of hundred dollars. This routine can be performed with two borrowed watches and no preparation. Still, this impromptu routine could play on the largest stage. The method is dead easy, but probably will not fool magicians. The routine may not look exactly as clean as it could if a gimmicked watch were used, but the fact that this is impromptu and does not cost the magician a dime makes this worth your consideration. Those interested in these type of effects should check out Richard Osterlind's Watch Routine on L & L Publishing's Mind Mysteries Vol. 1 available from www.llpub.com. Richard's routine is also impromptu and does not use a gimmicked watch.


Bottle Royale- Three paper bags are displayed. The performer asks the audience to select a bag. Once done, the magician slams his hand down on the selected bag, crushing it to the table. Again, he asks for a bag to be named, and again he slams his hand down to crush the bag. The unchosen bag is then revealed to contain a broken bottle with the jagged edge pointing up. I won't get into the debate over whether or not this idea was first conceived by Patrik or Scott Alexander. I will only say that the idea is brilliant. In Patrik's version, the audience is unaware of the contents of any of the bags. In this way, they are not aware of the danger inherent in the trick until the end. Some performers may choose to play up the danger element before the effect begins. The matter is one of personal preference, and this idea can be used to accomodate either one. This is something that audiences will surely remember.

Invisible Touch- A spectator places an X on one of the fingers of a picture of a hand drawn on the back of the magicians business card. The mark is seen be no one accept the spectator. The card is then pocketed in a business card wallet. Another spectator is asked to close their eyes and to extend their hand. The magician makes mystic motions around the spectator's hands, but does not come in contact with the spectator. Still the spectator announces he felt something touch one of his fingers. Of course, it is the finger originally marked by the first participant.
This type of routine, when presented correctly, seems very eerie to the audience. The method is dead easy and seems to be completely above board. Of particular note is Patrik's clever ruse to glimpse the information written by the spectator. This could be applied to other effects. The routine will be useful for street magicians as the props needed for the effect are minimal and the spectator reaction far outweighs the work involved. I can imagine this playing well for a TV audience as well.

P.K. Card Stab- This is a clever version of the card stab, but better routines have been published. In effect, a card is freely selected, signed, and lost in the deck. The cards are then spread face down on the table and covered with a newspaper. The newspaper is lifted just enough to allow the spectators to reach under and mix the cards themselves. The newspaper is then replaced and a knife is stabbed at a spectator chosen point. The newspaper is ripped away revealing one card impaled by the blade. Of course, it is the signed selection. The title gives a hint to the method. From a spectator's point of view, I'm not sure this appears any cleaner than most other versions of the effect. However, this does have the added benefit that it fools magicians. In the words of the author, "This routine is far from impromptu. However, for special shows, it's worth the preparation."

Jackpot!- A wine glass holding five opaque envelopes is introduced. The magician explains that the envelopes could contain prizes worth thousands of dollars. Four spectators freely select an envelope, leaving one for the magician. The spectators open their envelopes to find lottery tickets. The magician cleanly opens his envelope to find not only a lottery ticket, but a one hundred dollar bill. Obviously, this is Patrik's take on the classic Bank Night plot. First, there are absolutely no forces and no word play involved. While this is not a blockbuster effect, it makes for a nice self-contained routine that plays big and is fun for everyone involved. Allowing the spectator's to keep the lottery tickets is a nice touch (admittedly borrowed from other performers such as Richard Osterlind and Lee Earle.) It takes away the "sting" involved in other Bank Night type effects while leaving the spectator with something that really could be worth thousands of dollars. Luckily, it only costs the magician one.

The booklet also contains a "conversation" between David Acer and Patrik Kuffs that is simply hilarious. For the price, you're not going to find a much better investment. David Acer's writing style makes the booklet not only informational but entertaining to read. In fact, my only problem with David is that he cannot publish material nearly as fast as I can read it. (Come on, David. Pick up the pace a bit, would ya?) Highly recommended.

--- Available from www.DavidAcerMagic.com.

David Harkey & Eric Anderson: Ah-ha!

David Harkey and Eric Anderson have put together a wonderful book very much worth your consideration. Ah-Ha! (Anderson-Harkey, Harkey-Anderson) provides the perfect mix of practical material specifically designed for working magicians as well as extremely creative effects that may only be performed in special situations. The ideas presented are, at the very least, inspiring. Many of them, however, are very workable in the real world.

Fingerling- In effect, you remove a small child's finger and magically restore it to their hand. Honestly, I have not tried the routine, so I can't speak to it's effectiveness, but I can't imagine many people believing this is "real" magic.

Torque- This is cool. Street magicians and others who love to perform seemingly impromptu magic will have fun with this. A borrowed quarter is placed into a cup of hot coffee. After a moment, the coffee begins to boil. After giving it a few seconds to cool, the spectator is invited to remove the coin with a spoon. The coin is retrieved and found to be severely bent. This strikes me as something David Blaine or Chris Angel could make great use of.

Scatterbrain- For many, this will be the highlight of the book. An audience member thinks of any word on a standard newspaper page. The magician tears the newspaper in half and the audience decides which half to keep. This portion is torn in half, and again the audience decides which half to keep. This process continues until one small piece remains. Someone in the crowd closes his eyes and points to a random word on the page. Finally, the magician writes this word on a notepad. Amazingly, it matches the spectator's mentally selected word. The method is extremely simple and direct. In fact, there is very little work involved at all; many will be able to add this to their act immediately after reading the explanation.

Airlock- This is an offbeat effect where the magician apparently locks his keys in his car and magically causes the door to unlock. The illusion is interesting, but any spectator is going to believe you simply pressed a button to electronically unlock the door (even though that is not at all what happens.) This effect would have been more workable when the book was originally released, but it is now a bit outdated.

Twins- The magician introduces two cards that have been stapled together face to face. Two cards are then selected and initialed. Guess what happens next...the stapled cards are ripped apart to reveal the signed selections. This is very practical. The only downfall in the routine is that the selection procedure is a bit too cozy, causing the cards to be handled a little awkwardly at times. The handling will pass by spectators who are not accustomed to the manner in which you usually have cards signed (i.e. removed from the deck and signed largely across the face), but audience members who have seen your previous performances may feel a sense that something isn't quite right.

Squink!- A silver dollar is dropped into a shot glass and heated with a lighter where it splits into two half dollars. The half dollars are placed into the glass and change to four quarters.

DBA- A visual transformation of a spectator's business card into that of the magician. The effect is a wonderful of example of situational magic. It is perfectly motivated: you pretend you don't have a card, so you offer to write your info on the spectator's card only to transform it into one of your own. However, the routine requires you to borrow an entire stack of business cards from your spectator. While this may work in offices where plenty of cards are available, most people do not carry a complete stack with them everywhere they go.

Shufflesque- Eric Anderson's false riffle shuffle is used by many magicians today without them even knowing who published it. The shuffle looks extremely fair since the cards are riffled together fairly to begin. The "work" is done after the initial riffle. Done casually, this looks couldn't look more perfect.

Zuzu's Petals- This is the most disappointing effect in the book. Petals are plucked from a flower as the magician plays the old "she loves me, she loves me not" game. Unfortunately, the count ends on "she loves me not." To save himself, the magician magically creates a single petal on the flower. The handling is simple. So simple in fact that I highly doubt anyone will be fooled by this.

Wingding- This is a great routine for restaurant workers looking for something cool to perform for children. The magician introduces a strip of butterfly stickers (though any type will do). A snap of the fingers reveals one sticker missing. When the child looks for the butterfly, he or she finds it stuck to the back of their hand. This is a sort of Ash Trick for children. It's extremely easy to execute and leaves the child with a small memento of your performance.

Flashpack- A small piece of paper is touched to a flame. Out of the fire, the magician instantly produces a pack of cards. There's not much else to say.

Bottom Feeder- An unknown card is sandwiched in between two jokers. The packet is placed into the card case. A card is selected. The card case is opened and the card between the jokers is revealed to be the selection. The effect itself is good, but the real value is the method of "secretly adding cards to a packet already sealed inside a card case." The technique is somewhat unnatural, but with the correct flow of motions, it is still convincing.

Feeding Frenzy- The method used is basically the same as in Bottom Feeder. Three unknown cards are placed into the card box. Three cards are freely named. The cards from the box are removed and revealed to be the named selections.

Schmobius- This is another disappointing effect. Actually, it's more of a puzzle. Somehow the magician manages to tie a single knot in a rubber band. Some audience members may be intrigued, but most will shrug it off. Even worse, the authors recommend that the band not be handed out as a souvenir due to the method involved.

Bonfire- This is another effect that most who read this book will never perform because of the needed supplies, but there's no doubt that the effect is cool. Several matches are dropped into a glass. Without touching the glass, everyone concentrates on the matches. After a few seconds, they burst into flames.

East Meets West Meets South- This basically impromptu version of the pencil through bill is very convincing. It is very similar to the version explained in David Harkey's Simply Harkey with one small addition. The routine is a collaborative effort from David, Eric Anderson, and Jay Sankey.

Tour De Cartes- This seemingly innocent interlude allows you to switch decks in front of your audience. Holding the deck in his left hand, the magician reaches his empty right hand into his inside jacket pocket to produce half of a deck. Adding them to the deck, the pack is seen to contain no more than a full pack. This is repeated once more. The magician now proceeds to destroy his audience with his favorite stacked deck trick.

Petrified- I would love to see this piece actually performed. In essence this is just another version of Paul Harris Solid Deception. This time the deck not only becomes solid, it actually becomes petrified in front of the audience, breaking in two when it is dropped to the table. There is a ton of work to be done to set this thing up. In fact, I wonder how many times the authors have actually taken the time to prepare for this trick. In the words of the author, "This trick does not reset."

If Looks Could Kill- This is a very powerful Q&A routine using nothing but a stack of business cards, a stack of coin envelopes, and a marker. The spectators secretly write information about themselves on the back of the cards and seal the cards themselves into the coin envelopes. The magician then reveals the information to each of the participants "without gaffs, forces, stooges, pumps, misses, bad angles, and without overtly unfolding each answer to stay one ahead." The method is easy in execution and very convincing.

Outsmart- This is just cool. The magician asks the spectator the name of his favorite card. The spectator freely names any one. The cards are uncased and the spectator deals one card for each letter as he spells "My Favorite Card." There is no need to shift any cards after the selection is made. In fact, no sleight of hand is used during the entire routine. If you're thinking that this effect sounds too clean to be accurate, you're somewhat right. To be fair, the above description is too clean to be true, you are somewhat correct. This is not exactly what always happens. However, each of the scenarios appear to your spectators to be very clean.

Fooling Pavlov- Basically you teach your dog to perform magic. For example, you ask your spectator for his favorite and least favorite foods. Let's assume he names pizza and carrots, respectively. You give your dog a piece of bread telling him that it's pizza. Of course, he eats it immediately. When you hold out the next piece, calling it carrots, he turns away refusing to eat.

Interestingly enough, even if you never plan on performing even one of the effects found in this book, it is still worth your consideration. For me, the feeling was much the same as when I first read Paul Harris material. I knew from the beginning that I would never use some of the ideas, but reading them seemed to "stretch" my magic brain. For the size of the book, the $30 price tag is a little steep, but you have purchased far worse for the same amount of money. Based on content and the enjoyment you will get out of reading, I highly recommend this book. However, those looking for the best value for their money may be better off looking elsewhere.