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Michael Jay
www.magicbunny.co.uk
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Michael Jay
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Michael Jay
work with because later easier things will be quickly adapted. I suggest the reverse of this with the classic palm. To my way of thinking, the classic is hard enough with something that is comfortable for you, there simply is no sense in making this a more difficult job than it needs to be. Once you've learned it and are comfortable with it, then you can start challenging yourself to work with harder devices. Both of those sleights out of the way, the next two most useful sleights are the thumb palm and the Downs palm. After you've become very comfortable with the finger palm and you are getting in shape with the classic, start working on the thumb palm. The thumb palm will help to get you in shape for using a convincing Downs palm. Being a pedantic sort of chap, I suggest that you remember that the Downs palm is always capitalized in writing. This is because it was "invented" (or at least given its first treatise) by T. Nelson Downs. Never forget that the history of our art is equally as important as the performance of magic itself. Once you've started working on the thumb palm, you'll realize just how difficult it is to get into position without motion or movement from your thumb as the coin is deposited. That's okay. Just get used to the mechanics of getting the coin where it needs to be. Once you have that down and are capable of doing it slowly and smoothly, begin training your hand to get the coin into position with no movement or motion from the thumb. Most magicians will tell you that putting a coin into thumb palm without motion of the thumb is unnecessary. I'm telling you that proper training of the hand is, in fact, necessary and you must be able to do this with no thumb movement. This comes down to commitment. We magicians really are a lazy lot, aren't we? Do what I tell you and how I tell you to do it and you will evolve into a slick coin magician...Sorry, I don't allow for lazy students. As you begin to master the thumb palm, begin working on your Downs palm. You will note that after mastery of the thumb palm, the Downs only seems to be a natural evolution. The motion is much the same, just a very slight alteration of finger movement and muscle control. Next, train your hand to go from thumb to Downs with as little motion as is necessary to get the coin into position. Put it back with as little motion as possible. Get comfortable with moving it from one to the other, quickly and subtlety. Of important note, this is work that is going to take you weeks to months in the mastery. This will not come overnight, so don't expect it to. Persistence and practice are the key, here. And, again, work at your own pace. Don't feel that you must learn this in a particular time frame. You'll find that your muscles will become cramped if you overwork your hand - avoid this. Once the cramping starts, it is time to stop. Massage your hand. Give yourself a break and come back later in the day, or tomorrow. It's alright, you know. There is a difference between careful commitment and laziness. Now, here comes the hard part...The really hard part: After you've become smooth with these sleights, teach your other hand to do them just as well. You should be competent with all of your sleight in both your left and right hand.
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Michael Jay
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Michael Jay
Do this very slowly at first - as slowly as you possibly can and still make it look real. Never forget, magic should be slow and obvious, not fast and furious. In fast motion, you will find two problems: 1) Speed of movement draws attention. In magic, you're trying to control attention and put that attention where you need/want it. As soon as you move quickly, attention is immediately drawn to the fast action. This is, of course, to be avoided. 2) Speed of movement gives your audience an explanation - "The Hand Is Quicker Than The Eye." We all know this is tripe, but your audience believes it. If you move quickly, they will simply dismiss your magic as the hand being quicker than the eye. This also is to be avoided. So, take 15 or 20 minutes and really teach yourself this vanish. Of course, you'll be putting in more time to polish this vanish and make it absolutely perfect, but in the course of a quarter of an hour, you now have a trick. In and of itself, it's not a big deal, but once you put it into the context of an overall routine, it will be fantastic...And, we will get to routining so don't get ahead of the class. For now, it is enough to have a good coin vanish. If, at this point, you vanish the coin, you are left "dirty." If you are seated, you can easily lap the coin as you feign to hand it to someone. Easily done. Or, if you "throw" the coin to someone, eyes will follow the imaginary coin, giving you a fraction of a second to pocket the coin. Voila! A coin vanish. Again, the sleight that you have above is a false transfer, specifically it is called a fake put. However, I would be remiss here if I did not cover Lady of Mystery's favorite false transfer - The French Drop. The French Drop is a fake take, specifically.
You'll find instruction for the French drop in chapter 3 also. Just as above, get in front of that mirror. Actually take the coin, at least 6 times and watch your muscle and finger movement. When doing the French drop, mock those movements exactly. You are free to ditch the coin (should you decide to simply vanish the coin as a stand alone trick) the same as above. Instead, though, try this: Showing the coin in right hand and put it in the left (simple vanish). Vanish the coin and with your right hand, reach behind your knee and produce the coin. Toss it onto the left hand, show it to the folks on your left, explaining that this is a magic coin (or any good story for the coin that you can muster) and do a French drop. Vanish the coin and with your right hand, take a spectator by the wrist and hold his hand slightly in the air. Now pluck the coin from their elbow (simply push it from finger palm to the tips of your finger whilst making a downward motion at their elbow). Spend the next hour working on your two false transfers. Use your mirror and make the false transfer match the reality exactly. This gives you one good fake put and one good fake take. These will become not only useful tools for you as we continue along, but they will be necessary in the making of coin magic. And, you will use these two sleights for the rest of your life, in one way or another. It is here, after working through these two important sleights, that you are to skim through chapters 3, 4 and 5. Check stuff out. If something catches your eye, give it some time and give it a try. Make notes in your notebook (don't have a notebook? Then stop, right now, go to your
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Michael Jay
local store and purchase a notebook) about the specific tricks (chapter and page number) that you'd like to be able to do if you cannot get to them this instant. But, familiarize yourself with these chapters. Don't read them word for word, skim until something catches your eye and either work on it a bit, or notate it in your book. As an example, in chapter 5 "Quick Tricks," you'll find "Coin Production From Two Cards." Right now, take a look at that one. It can be a cool way to introduce a coin for the beginning of a routine. Play with it - give it a try if you like it. There are a plethora of good tricks like that in those pages, so have a look and pick out a couple for yourself. We shall be going back to these chapters for a closer study later, but for now you have a lot on your plate. Also, as we go back and take a closer look at these chapters, your notebooks will be of great use to you, so please do keep those notebooks. As time goes on, you'll find that those notebooks will become important tools for you and you will refer back to them for years to come. Keep those notebooks. Just as with step 1, teach both hands to do these sleights equally well.
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Michael Jay
Step 3: Technique
Reference: Chapter 2 As we move into the study of basic techniques in coin magic, your finger palm should be perfected, your classic palm should be on its way (possibly at 50% of where you think it should be to be perfected) and your thumb palm should be strong, if not perfected (possibly at 80%). You should further be working on, or familiarized with, a couple of other concealments from chapter 1 and your natural curiosity should be leading you to at least consider studies outside of Bobo (for example, what, exactly, is a "Spellbound" change?) like Sankey's "Revolutionary Coin Magic." Also, you should have a couple of rudimentary coin tricks that you can do out of chapters 3, 4 and 5 of Bobo. Basically, you should be playing with your coins and seeing what you can do with them. You should further be writing notes in your notebook that deal with which tricks you want to learn and putting patter/story lines to the ones that you do. Never forget that your work should be scripted... At this point you are setting the ground work for taking your coin magic to the level of "magic." Let's make a differentiation between a puzzle and magic right here and now. This differentiation should be leading you to the study of theory in magic. There are many books out there, to be found, on the study of theory. "Absolute Magic" (Brown) is an excellent choice. "Mastering the Art of Magic" (Burger) is another excellent choice, as is "Strong Magic" (Ortiz). All that aside, let's take a look at some basic coin technique: There are 10 headings in chapter 2 that give you basic technique. Of those, there are two that are almost absolute requirements. The first is the Bobo Switch and the second is the Utility Switch. The Bobo switch manifests itself in many routines outside of coin magic. Further, almost every coin worker uses the Bobo switch at one point or another in his/her routines. Study this one, learn this one, make it yours. Furthermore, the Bobo switch allows you to put the switched coin quickly into finger palm, classic palm or thumb palm. This gives you a great many choices in where you shall go in any given routine. Once you have familiarized yourself with the Bobo switch, take a look at the Utility Switch. The utility switch is a form of misdirection. This misdirectional tool is called "prevarication." It is telling a lie without coming right out and telling a lie. It can be a powerful tool when employed subtly and properly. In the general scheme of things, the utility switch is easy to learn (the Bobo switch will take some work to get perfected, however). Your job is to learn and perfect both the Bobo switch and the utility switch. While you work on those, though, let's take a look at some of the other techniques that you will be able to employ in your coin work.
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Michael Jay
First, let's consider The Coin Flip. This is a subtle proving technique. The general belief is that the human hand is incapable of doing two things at once. In this case, flipping and catching the coin cannot be done if a coin is hidden in the hand. While we, as magicians, know this to be incorrect, the laymen do not. So, by flipping a coin and catching it, you are proving your hand empty of anything but the flipped coin. This can be a powerful tool when employed at the right time. It is worth learning, as a general rule. Next, The Click Pass. Bobo offers 3 methods for this. The click pass can be employed in specific situations. In the general scheme of routining, it becomes a powerful weapon - but it needs a purpose for being. I suggest that you learn the mechanics of it, but unless you have a specific need of use, it can be passed over. As you become more advanced in your coin work and routining, you'll find uses for the click pass. Presently, though, it is enough to understand its mechanics and why it exists. Now, let's take a look at The Change-Over Pass. This is one that I highly recommend that you learn and master. An excellent move for proving both hands empty, this is what we call an "acquitment." As has been recommended earlier in this thread, sleeving is an excellent tool to use and have at your fingertips...But, what if you are wearing a t-shirt or other short sleeved shirt? The change-over pass becomes a powerful tool at this point. Moreover, the change-over pass can be translated into other fields of work in magic. For example, I use the change-over pass in conjunction with a TT. Whether stealing from thumb palm with a coin or stealing from the tip of your thumb with a TT, the method is the same. With the coin, you steal with the middle and ring fingers, with the TT you steal it immediately into finger palm. Still, the methodology remains the same. Sidebar: Learn to use techniques from one genre of magic and translate them into other genre of magic - it will make your work much, much stronger in the long run. By way of example: Using a classic palm, you have a copper hidden. You take and show your silver to the spectators, giving it a story. While you let the spec handle the silver, you move the copper into finger palm. Taking back the coin, you throw it to the other hand (Bobo switch) then show that the silver has changed to copper. Handing the copper to the spec, you prepare to show both hands empty via the change-over pass. A minor miracle when it is proved that, with no sleeves, the only coin that you possess is the copper which was formerly a silver. Throw in a Spellbound change at this point and you'll blow them away! Next up: The Bottom Steal. This is another that requires a need of use, like the click pass. In and of itself, it is nothing special. Again, though, as you advance, you may just find yourself in a position where it will become a useful tool. So, it is important that you know of it and understand it. Look it over and know that it exists. Next: The Shaw-Judah Switch. This is much like the Bobo switch and, again, one that is important to note. And, yet again, this is going to be used in a routine where there is a specific need of it. Look it over, know that it exists. Lastly (and yes, I have skipped a couple), an important part of this chapter is Taking Advantage of a Fumble. Pay particular attention to this treatise. The fact of the matter is, regardless of how much you practice, no matter how perfected your technique, you will ultimately fumble. Be aware of what can be done to turn a fumble into a success. Play with this section and let your imagination run wild. A fumble can actually be a good thing!
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Michael Jay
Okay, one last "lastly:" The One-Hand Switch can be a dangerous weapon when employed properly. I suggest that you learn this one.
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Michael Jay
Just as with working through Bobo slowly, as we are doing and learning the basics which will give us a strong foundation for more advanced work, so to with routining. It is better to start off basic and work up to advanced...In other words, you've got to crawl before you can walk and walk before you can run. So, take a moment and consider what you've learned at this point, get out your notebook and try to build a routine from what you have right now. This routine doesn't have to be anything huge or amazing, just a logical set of tricks hooked together to make an overall routine. Here is a very, very basic example: The performer takes out a coin and shows it around, explaining that it is a magic coin. For effect, the coin should be old and possibly worn - a coin that is a good luck piece handed down from father to son over generations. While the amount of luck that it has brought is questionable, it does have some interesting qualities that you've noticed over the years... Perform "Through the Leg" (first trick, chapter 5) and immediately follow it with "Rubbed Through the Leg" (second trick, chapter 5). While the effect itself is much the same for both of these tricks, the method is very different. As a result, it is okay to do "the same trick twice" because the methodology will lose them. In fact, it is rather good to do this two times in a row, because quite often, when doing a trick, the spectators will say, "Do that again!" By doing it twice, you've gotten rid of that desire to see it again (call it a "preemptive strike" if you will) and by changing up the method, they think they've seen it twice but won't be able to figure it out. The performer then displays the coin at the outstretched tips of index and middle fingers while explaining that that isn't even the most impressive of what that coin can do... Thumb palm vanish the coin, use a change-over pass to prove both hand empty then, with a snap of the fingers, the coin comes back. In fact, the performer explains, oftentimes he/she even questions the existence of the coin, even though it is always found in his/her pocket. Using any false transfer, throw the imaginary coin into the air and simultaneously ditch it whilst the spec's eyes follow the upward arc of that imaginary coin. -FinThere you have it - a very simple and direct routine. The coin is introduced, it is proved to have "other-worldly" qualities and ultimately vanishes completely. A beginning, a middle and an end. At this point in your study of Bobo, you should be very comfortable with coin work. Your notebook should have a couple of tricks that you like listed in its pages as well as a routine or two that you are either working on or have worked on to the point that you are showing it to your inner core of friends and family who are generally privy to your beginning work. Moreover, you should be coming to the realization that coin magic requires a bit of body motion and body language to really sell it. With coins, minor nuances and subtlety go a long way in creating a visual effect that is realistic. This is, of course, where your mirror comes in because the study of your hands and the muscles of your hands is extremely important.
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Michael Jay
In a moment, we will enter the realm of coin vanishes. As you go through your book and look these "tricks" over, you need to keep in mind that many of these aren't just vanishes, but ways of transferring a coin from one hand to the other in a convincing manner. You will not always want to vanish a coin when you apparently transfer it - just keep this in mind. Also, some of these vanishes are going to require that you go back and learn a different concealment or technique in order to make them work. As long as your main concealments and techniques are strong, then it is suggested that you take the time to learn new ones. This will give your repertoire a greater variety and allow you more scope when putting routines together. You are slowly building your toolbox
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Michael Jay
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Michael Jay
The Flyaway Coin (fake put) is another that could easily become a reputation maker, but it will test you acting and misdirecting skills. Not technically hard to do, but difficult to use as a convincer. In the right hands, this is another that could easily become a reputation maker. Behind the Back (trick) is another knacky one, but could be used to good effect. The French Drop (fake take) is just simply one that should be known by every magician. The Reverse French Drop (fake take) is a good way to go if you need the coin immediately put into classic palm. The Elusive Silver Dollar (fake take) is powerful, but highly technical. It will require a strong commitment to practice. The Wrist Watch Vanish (fake put) requires, of course, that you are wearing a wrist watch. It's a good "ditch" to know, though, as it sets the coin into easy position for a steal to get it back. The Pulse Trick (fake put) requires the use of a strong back palm. Given the commitment to practice, it can be an excellent trick in the hands of a competent performer. The Cranium Vanish (trick) is an overlooked gem. It has certain performance requirements which hinder its use in general, but when your audience is below shoulder level, this is a fiendishly powerful trick. Vanish with the Aid of a Handkerchief (trick) does two things: 1) It introduces the use of another prop that can come in handy in coin magic (a hank) and 2) it gives the student his first look at the subtlety that we now call "The Ramsay Subtlety." The Ramsay subtlety is "Fig. 3" on page 44 (hard back) and a terrifically powerful convincer move when used sparingly and properly. The "Heads and Tails" Vanish (trick) introduces the student to a multiple coin vanish. Whilst the trick itself is limited in scope, it is worth a look for the mechanics alone and could be used in the making of a routine, where it may just prove to be a useful vanish. Vanish for Several Coins (fake put/trick) offers two ways of using the click pass (technique). The first is used by Doc Eason regularly. The second I've never seen done by anyone (while I don't doubt that it could be done, technically it is really rather odd). A Trio of Vanishes (routine using fake puts) is a series of vanishes, ending with the coin fully vanished. This routine introduces sleeving and also uses the Ramsay subtlety. This should be looked over closely by the student, even if not learned, because it teaches subtlety in conjunction with an overall routine and shows that you can do the same trick several times in a row if you switch up the method. Well worth your time in study.
This gives you 25 sleights/tricks with which to choose from. I strongly suggest that you don't attempt to learn all 25 (although, if that's what you wish to do, then certainly more power to you!) but rather take a look at each of them and consider their strengths and weaknesses. Also, try to consider what each of these will bring to the table, giving proper consideration to routining the material.
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Michael Jay
My personal suggestion is that you choose 5 of these tricks, write them down in your notebook and begin working on them. You should already have 2 of them mastered at this point anyway, so that will cut down on some of your work load. Furthermore, do your best to teach both hands to do these sleights that you've chosen. Remember, when you do a false transfer, the coin is left behind, in the original hand. By being capable with these sleights with both hands, you will be able to keep the coin in either the left or the right hand which will open up a wider scope of what you can do in the context of a routine. Failing that, then at least teach your off hand one or two of the sleights. In this way, you will still be given some latitude in which hand the coin is left behind. For example, if you need the coin in the left hand, then teach your hands to do a French drop starting in the left hand and if you need a coin in the right, then teach yourself the simple vanish starting in your right hand. This will cut down on your workload but also allow you to set up a continuity in your routines. One last thing (and I would be remiss not to mention it here) is to give due consideration to "Vanish with the Aid of a Handkerchief." Do you remember the "word from our sponsor?" The magic mouse? By introducing a handkerchief into your routine, you allow yourself to segue into a silk or handkerchief routine. Now, the magic mouse isn't everyone's cup of tea, but what is important here is that you understand that it is more powerful to move from one routine to another by giving it a logical segue. By bringing an additional prop into your coin magic, you give yourself further avenues to explore.
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Michael Jay
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Michael Jay
clothing as well. Again, it is imperative that you learn to use every aspect of your environment when doing coin magic. Furthermore, this is something that cannot be practiced, as per se. You actually need a spectator when trying to pull off something like this. Can you do it? Challenge yourself and see. Bluff Vanish is just the height of having big, brass ba...Okay, look, coin magic requires subtlety of handling and this is about as subtle as it gets. Study this one, learn this one and if you do it with an inkling of panache, they will worship at your feet! Sucker Bluff Vanish is an extension of the bluff vanish, but I urge you to consider the ramifications of any "sucker" effect. It takes a certain personality to pull off such a thing and not set your audience against you or open you up to a "challenge" feel to your magic. Careful consideration is due this effect, should you decide to learn and use it. The Coin Fold is an excellent device that has some workable applications. Coupled with the use of flash paper and a one-hand switch (technique) this can be a dangerous weapon in the hands of a competent coin worker. The Envelope Vanish has its own set of applications. I'll leave this one to your own, fertile imaginations, though (since I've never had cause to use it myself...). I suggest that you learn three of these full vanishes. If you are doing a one coin routine, there is simply no better way of finishing it off than having the coin fully vanish at the end. Of course, there is always "the giant coin" finisher, but this still requires that the coin itself is ditched in one way or another. Either way, this is an important study of coin magic. Take your time and work through chapters 3 and 4 at this point. Using the notes above, you should be better able to make informed choices in which you'd like to master and which can be given a pass. I have gone back and edited my posts thus far to read, "Part I - Mastering the Basics." This post will encompass Step 5 of the basics and, since we will be looking at Chapter 5 of Bobo, it is the perfect segue to "Part II - Advanced Coin Work" because some of the tricks in Chapter 5 are moving into advanced coin work. Before we go over this last step of Part I, let's take a look at where we are now...
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Michael Jay
Simple Vanish The French Drop Thumb Palm Vanish* The Bobo Coin Vanish* Vanish with the Aid of a Handkerchief* Complete Thumb Palm Vanish* The Bobo Complete Coin Vanish* Bluff Vanish*
* These are subjective, but if you don't know any given one of these, then you should have another to fill it's slot. That is 19 sleights that you have either mastered or to which you are giving daily work /practice. Now, consider that for just a moment. That is 19 sleights or tricks. Nineteen different things that you can do and routine them together in various combinations. A full routine will probably require 5 to 8 of those sleights or tricks (quite possibly less). How many different combinations of 8 or less can you put together from 19? Don't waste your time trying to figure it out. The simple answer is: A sh*t load. It is very rare for anyone to stick to one manual when learning magic, whether coin, card, silk or rope or any other facet of magic. So, in a moment, I'm going to give you a list of DVDs and books that you may just be interested in and that will help you along as you study Bobo. What is important to keep in mind here is that there is very little on the market that doesn't have some roots in Bobo. For example, "The Messiah Vanish" (Sankey) which is marketed by Ellusionist (I think) under the name "The Devil Coin Vanish" is nothing more than "Smart Coin Trick" (Chapman, Chapter 5 of Bobo, originally published in "The Bat"). Also, Daryl has an effect marketed called, "Cross of India" which is nothing more than a version of "The Inseparable Pair" from Bobo. As mentioned earlier, David Roth's retention vanish of choice is, specifically, "The Illusive Coin Pass" (Crawford, originally published in "Greater Magic"). Please understand, I'm not suggesting that there is nothing new on the market, only that Bobo is about as complete a book/manual of coin magic as anyone can place their hands on. With some creativity and some work, you might just be the next guy to release a "new" coin trick that you worked out because of your time and effort spent in Bobo. What I'm saying is that your commitment to working through Bobo is an important step in your overall health as a coin magician, so don't stop here even if you do pick up some of the supplemental material that I'm about to suggest: Expert Coin Magic Made Easy - DVD - Roth Revolutionary Coin Magic - DVD - Sankey Palms of Steel - DVD - Kam Coin Magic 2000 - DVD - Dill Up In Smoke - DVD - Cummins The Magic of Michael Ammar - book - Ammar The Magic Book - book - Lorayne Apocalypse - 4 volume book set - Lorayne Expert Coin Magic - book - Roth Coin Magic - book - Kaufman
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Michael Jay
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Michael Jay
Double Penetration: This begins the basis of several marketed effects wherein coins penetrate handkerchiefs. It is well worth your time to study this particular effect, especially when you consider that this trick is covered quite often in lectures by some of our general heroes of the day - Michael Ammar and David Roth, amongst others. Pants Leg Miracle: This is an excellent study in coin transformations and will help to lay the foundation of transformation down the road. Half Dollar to Quarter: Another Milt Kort offering. Need I say more? The Charmed Coin: A good study in repetition as misdirection as well as a nice effect, particularly for kids entertainers. The Coin of Metamorphosis: Not only is this an important study in what the human hand is capable of when trained properly, the misdirection of this particular trick is of great import as well as seeing again where body movement comes into play for coin magic. I strongly suggest mastery of this effect, even if you never show it to a single spectator - this trick is that important. Further, the treatise of this trick gives suggested patter and is an excellent study in how to match movement and action to words. Overall, probably in the top three tricks that should be carefully studied in this chapter. Coin to Key: Another transformation, this time from one item (a coin) to an fully unrelated item (a key). Give this trick your careful consideration, as it is used to good effect by many magicians as an excellent one off. Done properly and with only a modicum of panache, it is a jaw dropper. Change for a Half: Much the same as Coin to Key but the transformation tends to make more sense, logically (well, as logically as magic can be, I guess!). Considering this trick and the former trick, Coin to Key, what else can you transform a coin into using this method? Use your imagination - it is your most powerful tool. Much from Little: While this is a difficult trick to pull off because of angles and set up, the fact is that this method is a very important theoretical idea in the realm of coin magic. Learn it, whether you use it or not. Study it and give due consideration as to where and when such a method could come in handy. It is an underused idea in the magic industry these daysYou might just make your reputation off of this silly, little trick. The Topsy Turvy Coins: I have yet to find a real use for this. But, the fact remains that it is an offering in Bobo and certainly worth a look. Ive always said that there are no bad tricks, only bad magicians. Can you find a use for this? The Impromptu Mint: This is a good exercise for you hand if you wish to work with back palming. It could also be a killer in the right hands. Smart Coin Trick: This is a full vanish of a coin and a killer when executed properly. So good is this trick that it has been given a treatise by Jay Sankey as well as sold professionally as a stand alone piece. The real trick to this effect is getting the coin back once youve vanished it and Sankey covers that in a different way than the Bobo way. Still, take a good, long look at this one! Impromptu Version: Another look at how to get that coin back from Smart Coin Trick.
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Michael Jay
The Switchover: Again, a look at how to move a coin around, unseen, under the cover of a completely separate prop - the pocket hank. The Appearing Half: Again, using a pocket hank in conjunction with coins. You are probably starting to notice a trend here. A pocket hank, or a silk, not only gives good cover to some stunning coin magic, but also allows you choices in routining. If you like silk or handkerchief routines, you can easily combine them with your coin magic. Certainly worth your due consideration. Coin Production from Two Cards: This is an excellent trick and now gives you the choice of routining card magic with coins. The Touch of Midas: Here we see the name Cardini coming out in Bobo. This alone should tell you that what you have here is an advanced coin effect. If you are hardcore in your desire to be a coin magician, youll want to pay close attention to this trick. It can also be used in conjunction with an opening for a close up version of Misers Dream. One to Four & One to Six: These two final tricks in this chapter will honestly test your willingness to practice. This is terrifically advanced coin magic, but given the proper time and practice, they are really strong magic. Worth study, even if youre not of a mind to put such work into your coin presentations. Again, as with certain tricks above, it will really teach you what the human hand is capable of, given the proper time and training. Next up, we get into Part II - Advanced Coin Work.
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Michael Jay
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you're ready. Again, I cannot stress strongly enough how valuable it is to borrow techniques from one genre of magic and apply them to other genre. Improved Method Here we see that you can make a minor change to a technique, but call it something completely different. This is the foundation of the advanced magic that we see on the market today - what we are all prepared to pay huge sums of money to learn from these "cutting edge" magicians by buying up their manuscripts and DVDs. If you learn nothing else from taking "Delayed Action Sleeving" and upgrading to the "Improved Method," then learn that the "new and improved" techniques of today are nothing more than a slight variation of something that is already there. So, pay attention to our first method offered and look at what the "improved" method brings to the table. -On a side note: "delayed action" means that you sleeve after the sleight is finished, "instantaneous" means that the sleeving operation happens at the point of the sleightThe "Pumpkin Seed" Vanish Here we have a difference in not only technique, but where the coin ends up overall. In the above two methods, the vanished coin starts and finishes in the hand that sleeved it. The "pumpkin seed" method, however, puts it in the opposite sleeve. Give your careful consideration in routining any given piece of coin chicanery as to where you want the coin to be accessible from as this will decide whether you go with delayed action sleeving or "instantaneous" sleeving. This will come down to your application in any given trick that you do. You see, you must understand that "advanced" coin magic is not only about sleights, but is about thought and process. In other words, you and I can do the very same simple trick, but because I am "advanced" in my handling of that very same trick, mine will appear miraculous while yours will appear clever in the eyes of the laymen. "Advanced" does not simply mean "greater skill," but rather greater thought to routining and more consideration given to the tools that are there for anyone's use, should they simply take the time to study, learn and use those tools. Routining is a tool. Sleights are tools. Sleeving, characterization and presentation are tools. Learn to use them in harmony with each other and you will elevate your trick to miracle status. Reverse "Pumpkin Seed" Vanish At first glance, this may appear to be something that immediately "gives the game away." Obviously, if you do a one handed vanish and the coin is gone, it must have gone somewhere (give your specs credit for intelligence). In this circumstance, you'll leave your audience with no choice other than to believe that it went up your sleeve. But, try this on for size: You have a coin classic palmed. You ask to borrow a coin from your spec (a similar coin to the one you have classic palmed). You take that coin from your spec with the same hand that has the classic palmed coin and you hold it in such a way (as you take the coin) as to do the reverse pumpkin seed vanish. Do the vanish as you flip your hand over and show the coin, sitting on your palm (actually showing the previously classic palmed coin, the other having been sleeved).
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Michael Jay
It will appear, to all the world, as if you took the coin and simply turned your hand over, dropping that coin onto your palm in the so doing. This is precisely the method that Bob King (discussed above) used when he blew a room full of magicians away. The illusion is amazing. You take the coin and flip your hand over, dropping it onto your palm as you do. In reality, you simply reverse pumpkin seed vanish the borrowed coin as you flip your hand over, revealing the classic palmed coin. This is a one handed coin switch that is so convincing that it will go unnoticed by anyone, laymen and magician alike. It is subtle, and in that subtlety, masterful...And yet it is within the grasp of a basic coin manipulator. Again I say that advanced coin magic is a matter of thought and process, not in a desire to spend every waking moment practicing near impossible sleight of hand. Be creative. Study every tool that is at your fingertips - you don't even have to learn how to use these tools, but consider, in your mind's eye, just how deceptive any given tool can be when used in combination with other tools. This is where you go from "basic" to "advanced." The Catapult (and variation) Another method that in and of itself must lead the spectators to wonder where the coin has gone. Again, these methods should be used in conjunction with a routine, rather than as something that stands on their own. Creativity, folks. Be creative. Study these tools and consider what use they are to you in routines or tricks that you already do. Judah Method This method, designed by Stuart Judah, is very interesting. It is a study in coin handling, if nothing else. Please understand that Judah was a coin master of his day, so pay attention to this vanish/sleeving technique. I cannot comment too much on this method, as I do not use it, nor do I find a use for it, in my own repertoire. So, I leave it to you to see if it is a workable idea in your own routines. But, again, it is important to note simply because it is Mr. Judah's pet way of sleeving a coin. And, it is also important to note the name of Stuart Judah, who was producing miracles before most of us were born. A Unique Sleeving Move Of worthy note, here, is the fact that this method is a variation of a variation. Because of this fact, it allows Ross Bertram to claim it as his own. Again, historical variations that have been claimed, which allow a magician (Bertram, in this case) to have his name associated with the effect/technique. Of most important note here is that Bertram did not publish a manuscript and sell it to all the magicians of that day - it is simply included in a larger treatise on coin magic. My apologies - I guess I get a little tired of seeing variations of variations get sold (now-a-days) as if they, and they alone, were of any monetary value to the magicians today who are more than happy to line up and pay for the "clever" ideas of guys who (mostly) don't even know where the hell the original sleights came from or, oftentimes, that they even existed. Now I'm just on my soap box, I guess... The Throw Study this method for the idea that lies behind it. This can be used in conjunction with a formal "Miser's Dream" presentation or any presentation where you want to continue to produce and vanish the same coin, over and over, whilst appearing to produce more than just the one that you are actually producing.
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Michael Jay
This is a theoretical technique that is used in many different genre of magic, including the cups and balls. While the method is different (obviously), the technique and theory behind using the same item over and over for producing an object with the idea that you are producing many items remains (much) the same. Well worth your time to give it due consideration. Kort Method What do you know? Here, again, we see the name Milt Kort pop back up. I guess that having personally known Kort tends to color my perceptions...But the fact remains, Kort is the most fecund name to appear in Bobo. This particular method is akin to a "retention of vision" vanish. Getting the timing down properly is the most difficult part of this technique. If, however, you can time this properly and routine it well, it really is a miraculous vanish. Kirk Stiles Method Very similar to Kort's method, the variation is worthy of its own treatise in Bobo. Take a look at both Kort's and Stiles's method, here. One may work for you while the other may not. But, again, I say it is a matter of having as many tools at your fingertips as possible in the overall building and health of your routine. Use what works, don't worry about what doesn't. And, yet again, if you look throughout the history books, you won't see where Kort or Stiles were selling their silly, little techniques as if they were the newest miracle on the block. Gads how I long for the old days... A Method of Sleeving One of Several Coins Kort again. I won't waste my time explaining how important it is to study Kort's material and sleights. I'm sure you understand by now the depth of this man's contributions to our art. Dr. E.M. Robert's Method To my way of thinking, this is, quite probably, THE most important method that you can learn. This allows you to drop the hand (and retrieve the sleeved coin), but still be able to come up empty handed when needs be. The problem that has always existed with sleeving is that you have to keep your forearm parallel with the ground in order to keep the coin in place. This is, obviously, not always possible and could lead to uncomfortable or unnatural positions. Dr. Robert's method eliminates this problem. This is probably why the treatise on this method garners almost 4 full pages of information relating to the method. I strongly suggest that anyone who is going to give proper time to sleeving pay very careful attention to this method. It is very, very important. Loading (4 methods) An important treatise in relation to routining. Look this over, consider its applications, use what you can. Switching Again, the use of a handkerchief comes up in the text. Have you given consideration to using a handkerchief in your coin magic and, even moreover, into your routining? I strongly suggest it.
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Michael Jay
The Sleeve Pocket A terrific tool to have on your side if you are going to do any formal coin magic at all. Take a look at this treatise - it really is good stuff! If you are serious at being light years ahead of the other coin magicians (again, this if for a formal coin man, not just the guys who have a passing interest in coin magic), then this is the gizmo for you. The applications of such a tool simply boggle the mind of any creative magician who considers what a sleeve pocket could allow them to achieve in any given routine. Again, though, this is for the hardcore coin man. And, on this note, I shall end it with the simple directive to take a look at the tricks section of chapter of Bobo. You don't necessarily have to learn any of these tricks, even if you are interested in getting into the sleeving end of coin magic. What these tricks offer you, assuming that you shall not be learning them properly, is creative thoughts and ideas of where sleeving can take your coin magic. Creativity will take you farther in magic that you could possibly imagine. Gaffes and gizmos used outside of the norm can move you from a garden variety magician into a savior of the magic industry these days. Recently, on these boards, a "Glorpy" was suggested in use with a formal "Dancing Hank" routine. Of worthy note is that Banachek took the Glorpy and used it for a completely different application. Because of his creative thinking, it offered his routine an "other worldly" taste. He elevated a magic trick into the realm of spirituality... You can do the same - just take your thinking outside of the mundane magic world and elevate yourself onto a higher plane. Remember, a useless, little trick in the hands of a master becomes a great miracle and a great miracle in the hands of a trickster becomes a useless, little trick. It's fully up to you.
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Michael Jay
One way to do this is start with a simple vanish that you like and expand on where you can go from there. For example, using the thumb palm vanish, you do a change over, snap your fingers and the coin reappears in the hand from which it vanished. From here, do a pumpkin seed vanish and you can openly and cleanly show the hands empty, explain that it reappears in your pocket and take out a duplicate coin. As you show the duplicate, retrieve the original and you can split the coin into two coins (I prefer Sankey's "Slick Splits" for this application - it can be found on "Revolutionary Coin Magic"). You are now at liberty to move into a two coin routine or even steal a third (have a pen in your pocket with the third coin held in its clip - by introducing the pen, you can quickly have a third, unknown coin in play). Where can you take it from there? The third coin doesn't even have to be a duplicate - you can introduce an off coin, like a copper if you've been using silvers and now you are prepared to accomplish physical changes and transpositions... Creativity and familiarity with your tools will bring you to this level. And, at that point, you are no longer in the realm of basic coin magic, but are now advanced! Write your thoughts and ideas down in your notebook. If you come to a spot that you cannot get past, then give it time and think about it or even sleep on it. Come back to your notebook and write down some possible solutions to your problem. Work those through, find which works the best. Use it. Keep your routines and all changes written in your notebook... Whatever you do, though, keep a damn notebook! If I had one piece of advice that I could go back in time and be able to change what I did, I would have kept notebooks on my work. As time goes by, those notebooks will become invaluable to you. Trust me - do it. And, without further ado
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Michael Jay
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Michael Jay
.25 and .50 Transposition is a bit too confrontational for my purposes, but could be used to good effect in the right person's hands. It could also be used in a mentalist approach where the spectator always picks the right (or wrong) hand. The Peregrinating Halves is a coins across presentation. In today's market, there are a huge amount of coins across tricks to buy...However, with a copy of Bobo, you'll already have an excellent method (and we shall look at further coins across presentations in Bobo in upcoming lessons on this thread). The lesson to be learned is that you don't need to buy up every new, slightly altered, trick on the market to show powerful coin magic. You've already got everything that you need in Bobo. Coins Through the Table authored by Milt Kort. No more needs be said. The Protean Coin again authored by Milt Kort. I must note here that a silver/copper is introduced in combination with the shell. We shall talk more about silver/coppers shortly in this post. The Sympathetic Coins is again authored by Kort. Again, the use of a silver/copper in combination with a shell. Moreover, this will fool the hell out of 99.99% of all magicians out there. The Modern Miser uses a hook coin. Again, we shall talk about this gaffe shortly. Presently, though, this is a worthy trick to note in that it also uses a combination of two separate gaffes in the working. The Folding Half Here we see the use of another gaffe that is over 100 years old, yet still out there, being used quite often and is the gaffe of choice when trying to make a reputation. This is a versatile prop that most magicians think is only good for coin in bottle effects. Bobo teaches us differently. The Half Dollar in the Bottle (and Second Method) starts us off. This is the classic effect and probably known to every magician in existence. Nevertheless, have a look at these two presentations, which will give you excellent handling tips if you are of a mind to do this trick. The Magic Mint shows us what can be done if we start to think outside of the box. Billed as a magician fooler, it will be just that in the hands of the right performer, simply because, up to now, magicians don't associate anything other than coin to bottle effect with a folding coin. Give this trick your due consideration, if for no other reason that to get your creative juices flowing. Biting a Piece from a Coin made a name for David Blaine. And there it is, in Bobo of all places! Had you been reading your Bobo all those years ago, that might be you on the television...And that is one to bethink upon. Coin Through Card could be very useful when handing out your business cards or, with some creativity, adding to "Coin From Cards" already found in Bobo. How far can you push these things?
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Michael Jay
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Michael Jay
.85 Cents Through the Table gives us the use of a handkerchief again and a different take on coins through the table. An excellent piece of chicanery to use at the right time for the right crowd. As with all gaffed locking coin sets, this is not a re-settable piece, but it is a strong piece. Next up on the menu in Bobo is the use of copper/silver coins. Lightly touched on above, this particular gaffe is another that is used frequently by magicians today. Don't overlook the power of this gaffe. Copper and Silver Transpositions; Numbers One, Two, Three and Four gives us four handlings and presentations for the copper/silver coin. Read these four offerings in Bobo and you'll find that many of today's tricks can be seen in the historical handling that Bobo offers to you. Each of these is a miracle in and of itself, if handled properly. Presto Chango continues on with the uses of this very versatile gaffe. The Inferior Coin is a Kort effect. Better give this one its due! Thieves and Sheep offers a different look at a venerable effect. We have not gotten to the earlier version of "Thieves and Sheep" offered in Bobo, but we will get there soon. Presently, if you wish to learn this version, I strongly suggest that you go back and take a look at Bobo's handling of the trick (which is a collaboration of Kort and James, yet again) to get a feel for the trick to begin with. In and Out brings that handkerchief back into play. Also, of worthy note, this is a Hen Fetch effect. An obscure name, by today's standards, but an important man of his day. Up Their Sleeve is authored by Hen Fetch, so worthy of note historically, if for no other reason. It also makes use of a "hold out" which is of important note to a coin worker. Buddha's Coin is powerful if you're using (or use) "Buddha" papers. If you don't know what those are, then give this one a pass. The Stack of Quarters introduces us to "pence and cap" effects. The pence and cap effects can be found at many magic shops, if you're of a mind to get into these types of effects. The "second method" offered in the pages of Bobo is of worthy note, as this presentational style, using a folded bill instead of a cap, is used by John Carney (an exceptionally gifted magician and sleight of hand master). "Pence and cap" effects are historically important to any coin worker, so study this offering in Bobo, if for no other reason than to understand where you came from. The Hook Coin is mostly a treatise on the hook coin itself. See above for further ideas on what can be accomplished with this gaffe. The Magnet allows you to see the beginnings of "The Raven," because that is exactly what Bobo describes. The last few gimmicks included in Bobo are worthy of your study and your time, if for no other reason than to know about their existence. In 1952, when the book was published, Bobo did not contain a comprehensive guide of all gaffed coins in existence and in the 55 years past, more have hit the market. Still, it is important to note that these gaffes exist and that there are more and more every year for your use. Don't be taken in, though. Most of the gaffes produced today, outside of the classics listed in
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Michael Jay
Bobo, have very little use, other than as one off tricks. Stick with what Bobo suggests and consider these new gaffes for what they are: Enigmas that may, or may not, be around 10 years from now. Make intelligent decisions and guard your hard fought for lucre. If you like what you read in Bobo, then consider getting the gaffes necessary to do the tricks. But, also consider the versatility of these props. For example, a copper/silver can be used in a plethora of tricks, as well as can the shell...So, consider spending your money on things that will bring you as many tricks from that one gaffe as possible, rather than spending hard earned money on a gaffe that will give you just one trick and one trick only.
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Michael Jay
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Michael Jay
articles as well." This is reminiscent of the L'Homme Masque loading move, but a bit more versatile. I feel the need to point out here that Milt Kort was such an important man in magic that Stephen Minch wrote an entire book on Kort alone - he really is one of the unsung heroes of our trade. 2. Next up, we have a Stewart Judah effect (another important coin man of his day). In fact, as it states right off the top, this is identical to Kort's offering with the exception of the final (loading) move. I believe that it is important to not only look at this subterfuge, but to really understand how and why it works. It is a bold move, to say the least...But, bold moves such as this are quite often convincers when it comes to coin magic, which must be subtle (and this IS subtle in its hardihood - rather a paradox, really). 3. This is the first of two offerings given to us by Arthur Punnar in Bobo. This particular method of transposing the copper and silver could be quite striking in the right hands (not mine, as I cannot back palm to save my ass). But, as Bobo points out, "In performance, the action of the hands coming together, turning, opening and separating coalesces into one graceful and natural gesture." This is the real wisdom that you should be taking away from the lesson taught in this particular effect - grace and economy of motion. 4. Almost three full pages go into explaining this Ross Bertram effect. Well, I say effect, but this is much more of a routine in full, really. Study this, even if you don't plan on using the moves/sleights. However, you will find that if you have studied sleeving and are competent with both hands at sleeving, you will have a short routine that will throw any spectators for a loop. This short routine could easily be a reputation maker in the right hands and it doesn't have to end, necessarily, as it is presented to you in the pages of Bobo. Having a coin up each sleeve, for what would be considered "the end" by most, well...Think, man, think. Where could you go from here? Guess Which Hand is a six phase routine that could actually be put to use in a mentalist's repertoire (although probably preferable as a truncated version in such a case). Oftentimes, I see a question arise as to Derren Brown's "Guess Which Hand" presentation and this could easily be adapted to such a style...In fact, someone should ask Derren if he's ever read Bobo, because (as we all know that he was a magician to begin with) his presentation could easily be just such an adaptation. I also think that it is important to read the very last statement regarding this routine, which declares, "Showmanship and window-dressing amount to 99 percent of the effect." If you learn nothing else from reading this whole routine, learn showmanship and windowdressing. Quarter and Half Dollar Transposition is a highly advanced routine and not for the weak of heart or the "lazy magician." If I'm correct (and I might not be), it is here that we are introduced to a coin clip for the first time in Bobo, a hold out as it were, to hold onto one coin until we have a need to grab it. I have used (and sometimes still use) coin clips and I've never felt the need to get them from a pro shop when a paper clip and safety pin do the trick quite nicely. A problem with this trick will become quickly apparent, which is the downfall of books like Bobo, and that is the need to borrow coins which are no longer ordinarily carried by the spectators. This precludes the entire "other side of the pond" thing, where the specs simply don't carry any American coins, also. So, if you intend on really studying this routine, the best
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Michael Jay
that I can tell you is to adapt and overcome. Given some thought and some work, though, this could easily be a reputation maker for you...But, again, you'll have to work for it. However, even if you decide not to use this routine, I strongly suggest that you take some time, read through it, and see exactly what can be accomplished by applying different sleights at different times and how the use of prevarication can be very deceptive in the overall course of a routine. This is an excellent study in coin magic and how to use sleights in conjunction with each other in order to build a truly magical and deceptive routine. The Curious Nickel is arrestingly good magic in the right performer's hands. Here we see the introduction of a lucky rabbit's foot (wasn't so damn lucky for the rabbit, now was it?) or "some similar token" to help with the magic. This is simply another type of magic wand - a reason to go into a pocket. With coin magic in particular, this reason to enter a pocket is very, very important. This allows for either ditching or retrieving - or both simultaneously, in fact. Honestly, this is an easy piece of magic to pull off, if you've studied your sleeving. If sleeving isn't for you, then study this just for the idea of having a reason to enter your pockets. That really is the most important lesson to take away from this trick in particular. Two Pennies on the Leg is one of the pet effects of (TM member) magicofthemind (click here). It is simple and it is deceptive and it can be done anytime, anywhere. This is just what the doctor ordered for all you guys who want a trick that is always on you, because even if you don't have the coins yourself, you can borrow them easily enough. There are two specific statements in this trick explanation that are of ultimate importance: "It is impossible for the spectators to concentrate on both actions at once," and, "You must remember not to perform the trick too fast or too slow, but in a smooth, even tempo." If you learn nothing else from this trick, learn those two very important theories. They will serve you well in your own coin work. The Inseparable Pair is a rather odd method, but one that is employed in "Cross of India" (Daryl) and is also favored by Jay Sankey, although Sankey's method is just slightly different. This particular trick is given two full pages of treatment and has a variation which can be used as a penetration. Bobo states, "The effect is a good one." I fully agree. This is worth your time to study, even in the event that you don't use the trick itself. Coins in the Teeth I cannot speak on too much here - I am opposed to most anything that requires that you put something in your mouth. However, it is an excellent use of a click pass and you may wish to give this a look just to see how a click pass can be used to strong effect. The Drop Pass is an offering from Jimmy Buffaloe. As with many of the names that crop up in Bobo, Buffaloe is an obscure name to everyone except hardened coin men who've put in a lot of time studying this genre of magic. However, as the text states, "A clever new sleight is responsible for the trickery in this two coin puzzler," I would suggest that you give this a look and consider what can be achieved using the sleight that is explained. Bobo suggests that you immediately follow this effect with another Buffaloe effect: The Hippity Hop Half requires a back palm in the method. Assuming that you have a good/strong back palm, these two Buffaloe tricks taken together make for an excellent, albeit short, routine. However, done together as a routine it is quick and packs a punch.
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Michael Jay
Rapid Transit will require an ability to sleeve properly. In the final notes of this trick, you'll find that it is suggested that you don't even need two coins and can substitute a magnet or rabbit's foot for one of the coins. In fact, if you're performing "Curious Nickel" you can follow it with "Rapid Transit" for a fairly powerful, smallish, routine. Winged Silver is an excellent study in coin work, as it brings repetition into play and, as most of you know, repetition is only one form of misdirection in your arsenal of misdirectional techniques. It is used to good advantage in this coins across routine and study of this particular effect will pay off for you in more ways than one. The sleights used in "Winged Silver" are fairly easy to master (except, maybe, the classic palm but you should have a good grasp on that one already) and the utility switch is used to strong prevarication misdirection. Also, you'll find that the ending statement, "Finally toss the four back into the left hand and place all five into the pocket," allows for an interesting visual effect - you can flash all five coins, but your spectators will only see four (even if you openly show all five). You simply flash the coins just before pocketing them and almost every spectator will swear that they saw only four coins. This effect includes an "improved version" at the end, using a Chinese coin or other "off" coin. I suggest that you give this your due consideration, as the inclusion of this odd coin adds a dimension to this trick that has surprising effects on your spectators. Somehow that extra, odd coin throws off the theorists - psychology in action. The Flying Eagles is very much outdated, by our standards today. Most performers will tell you that much of the motion in this trick is superfluous and there is no need for six coins to cover for three coins flying to the other hand. However, if you take a look at the variation of this trick (using 8 coins), you'll find that this can be very devious and quite magical if presented properly. I personally find the variation to be quite a satisfying effect and it is not that difficult to master. Pay particular attention to the statement, "Even though the mystery makes use of only one sleight it is best to vary your methods." This is an important lesson to learn...As the saying goes, "Never show the same trick to the same audience twice in a row," this particular effect flies in the face of that advice, so the student is strongly advised to use different methods during the four transpositions. A good lesson to learn. Three and Three again utilizes 6 coins in the transposition of three. Again we see the value of a click pass in creating certain beliefs in the mind of our spectators. Also, this effect includes a method similar to "The Inseperable Pair" which is very similar to the Han Ping Chien maneuver. Worthy of your time to study this effect. Chinese Money Mystery again utilizes the Han Ping Chien effect, even though it is not technically Han Ping Chien. This also serves to teach the student what can be accomplished via optical illusion. Frank Drobina's Coin Routine is a 5 phase routine that uses very simple sleight of hand. The challenge here is to take these phases and practice them to the point of being able to do this in your sleep. Given time and effort, though, this is an excellent effect and worth your time to give it a look. Whether or not you decide to learn this routine, I would suggest that you give it time in your studies, as it teaches strong routining in conjunction with proper misdirection - an excellent learning tool.
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Michael Jay
Four Coins to a Glass is very much like a truncated version of "The Miser's Dream." This effect could be used in a close up, walk around situation where you'd like to perform a miser's dream type of presentation, but haven't the time for such things. I would consider this to be a high difficulty effect as far as sleights and angles go, but to have this in your arsenal would be a reputation maker for you. Give it your due consideration. There is also a second version that follows this routine and it also rates high on the difficulty scale. However, between the two versions, you'll find that it offers a very natural use of the thumb palm (a rarity) and gives a method that can easily be a utility move that you can apply to your own routines in the future. Take time with studying this particular routine and its second version. The Traveling Centavos is another routine and, again, could easily be a reputation maker in the right hands. The study of this routine, though, encompasses some important thoughts and observations about coin magic that I believe you would be remiss to overlook. For example, the text states, "Playing around with the 20 Centavo Pieces and the dice cup, the following routine was born." What do you get out of that statement? Remember when I told you that you should be playing with your coins? This is what I'm getting at...The card guys always have a deck in their hands. Newer magicians, whilst playing with their deck, oftentimes think they've come up with new moves, just from playing with the deck. You should be doing this with your coins. Also, I tell you to read between the lines. One good example is the statement, "Show the hands empty without calling attention to the fact." This is a subtle thing to do, but very, very important in coin magic. Look over this routine and read between the lines. Pay attention to techniques that crop up in this routine, techniques that are not specifically given treatise to in the main text of Bobo, but are there for you to use and discover if you just take the time to consider how these things can be used in forging routines of your own - routines that are complex and devious. Look at figures 3, 4 and 5. Read the adjoining text. This is gold, man, pure gold. Miracle Coins to Pocket is the ultimate example of "adapt and overcome." Glenn Harrison took first place at the SAM convention of 1949 using this device that he invented to overcome a problem that he had. This is worth your time if for no other reason than it shows you what can be accomplished using a bit of creativity and thinking "outside of the box." Sure, it's funky, but it is effective!
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Michael Jay
Let's take a look at where you are at this point and further consider some of the effects from the previous lesson (coins across): Classic Palm Finger Palm Thumb Palm Downs Palm The Back Finger Clip* The Back Palm* The Bobo Switch Utility Switch One Hand Switch* Change-Over pass The Coin Flip* Simple Vanish The French Drop Thumb Palm Vanish* The Bobo Coin Vanish* Vanish with the Aid of a Handkerchief* Complete Thumb Palm Vanish* The Bobo Complete Coin Vanish* Bluff Vanish*
* These are subjective, but if you don't know any given one of these, then you should have another to fill its slot. That is 19 sleights that you have either mastered or to which you are giving daily work/practice. You should further have chosen at least 5 of the quick tricks (Chapter 5) and I also suggest learning at least three from the preceding lesson (Chapter 8) which range from easy to very difficult. All of this together gives you 27 tricks/techniques that you can use to put together scores, if not hundreds, of routines (add in gaffes and sleeving and the imagination fails in considering the endless possibilities). Of course, you don't want that many, because then you will never be good at a few - only mediocre with a lot. What this does give you, though, is the ability to make a routine and then hone it over the course of many performances. As you show your routine to different spectators, you will find weak spots. You now have a huge tool box with which to consider changing the weak spots with other devices to improve your routine and make it stronger. Learn to critique your work with extreme prejudice. Finding these weak spots is a matter of practice and a willingness to "kill your children." And, as the late Eugene Poinc was always fond of saying, "Sometimes you have to kill your children." Don't be afraid to do that - this is what you must do to ensure that your magic is the most powerful that it can be. Before I get started on this lesson, though, there are two specific points that I'd like to bring up: (1) Just in case you don't know, the Ramsay Subtlety is, specifically, pictured on page 47 it is figure 3 and (2) you'll find that many sleights found in Bobo are not given their own treatise but rather are embedded into certain tricks in the explanation (for example, the technique that is given in "The Drop Pass" in Chapter 8), so I strongly suggest that you do take the time to read it all because you dont know what you might be missing.
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Michael Jay
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Page 40 of 43
Michael Jay
Personally, I like the final note: "Still other variations are possible by combining the moves in different combinations." Gold...Pure gold. The Bent Penny is powerful in that the magic happens right in the spectator's hand. A great deal of psychology can be gleaned from the study of this particular trick. I believe that the two most important statements are, "No one suspects that you would be so bold as to try to conceal a coin in your right hand while showing it so freely as you illustrate how you want her to hold hers," and "She doesn't know it is bent because it is impossible to tell the difference while holding it tightly." More gold. Silver Extraction can be found in many guises on the market today. There it is, yours, and you don't need to purchase the other guy's effect - you already have it in your copy of Bobo. The Ghost of a Coin is another over-marketed effect. Also yours in Bobo. I would suggest that you give both of the preceding tricks their due, since there is much to learn in the treatise alone (even if you don't use these tricks). Please note passages like, "A good switch in coin magic can be compared to a good top change in card magic. It isn't the move that is so important, it's the misdirection which hides the move." Please take a look at the very final sentence in The Ghost of a Coin. Second Method is, of course, the second method for the preceding trick. If you are good at back palming, have a look. Coins Through Table introduces you to the Han Ping Chien move, used to great advantage by Jay Sankey. I would suggest that you learn this procedure/technique because it really is widely used in some arrestingly good magic. In fact, this particular trick can easily become a reputation maker for you. The most important thing to take away from reading through this trick, though, is the natural application of prevarication that it uses to subtly influence the mind of the spectators. As you form routines of your own, try to use the subtle prevarication that this trick will teach you. With coin magic, quite often, it relies on your audience making certain assumption that are simply not true. This is terrifically good technique. Second, Third and Fourth Versions are further worthy of your time and effort to study. Oftentimes, one method will simply not sit right with you, so having the extra offerings for performing (basically) the same trick are an important thing. Also, take the time to consider the fact that there ARE other ways of achieving the exact same effect, but via a different method or technique. Learn to apply this thinking to your own magic. For example, you might like a specific trick in Bobo, but hate the method. So, take a page out of Bobo and learn to adapt and overcome. The Magical Filtration of Four Half Dollars is arrestingly strong magic, simply put. Taking the time to learn this trick and practicing it to the point of perfection will give you one of the strongest of magic tricks in the coin industry. It is masterfully routined and made to pack one hell of a punch. This routine alone could be easily sold for the price that you paid for the entirety of Bobo's book itself. Read and study this routine.
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Page 41 of 43
Michael Jay
This particular routine is so much more than just simply a routine. It is a study in proper misdirection and timing. There is so much wisdom and some important lessons to learn in coin magic within the treatise on this particular routine that you would be foolish to skip reading this in its entirety. Also, don't skip reading the variation that follows. The Sympathetic Coins is one of the most magical routines with coins that you'll ever do, if you take the time to study and learn this routine. Again, a study in misdirection and timing, please take the time to read through this just to extract the wisdom that is written between the lines. Second and Third Versions, The Al Saal Stratagem are important addendums to The Sympathetic Coins. Same as the advice that I gave you earlier, always take a moment to look over the extra versions, because they may just strike you better than the first. Fourth Version - The Changing Change is the brain child of Stewart James. This is particularly important to study, as it was one magician's way of dealing with other magicians. You see, having the same denomination of coins joining together is fairly obvious in method to other magicians. However, having all seperate denominations of coins really destroys the theorist's ideas. Particularly worthy of your time and effort if you are involved in a magic club and want to "wow" the boys or if you have an upcoming audition to be accepted into a magic club. Use this, learn it and do it right, you will pass without question. Downs Eureka Pass and "Eureka" Routine are terribly difficult. If you really want to challenge yourself to have an extremely high caliber sleight/routine, this is the way to go. Be prepared to spend many, many hours in working on this. But, if you do, then I agree with Bobo's statement, "The effect is truly magical." Rattle Box Routine requires, of course, that you actually have a rattle box. If you do, then this is a good trick and it really is on the "simple list." However, don't dismiss this because of its simplicity. It is strong magic. Thieves and Sheep is the collaboration of Kort and Stewart James. Need I say more? This really is an effective and powerful little trick to do at the right time. Good stuff, man, just good stuff! Just Pretend can be put into the category of reasonably easy. It contains no extremely hard sleights (unless you consider the Downs palm to be hard). Don't overlook this one, though. In the hands of a showman, this is powerful magic. Read the last paragraph of this trick's explanation - it isn't a lie. The Free and Unlimited Coinage of Silver will put your audience control and ability to direct attention to the test - to an extreme test. But, given time and work, particularly if you are a restaurant magician, will give you a reputation of being one hell of a great magician. Give it a look. Coins and Cards is just plain cool. Even if you never do this trick or have any desire to learn it, still read the entire explanation. Particularly, read between the lines of this one. There is a massive amount of wisdom to be gleaned from it.
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Page 42 of 43
Michael Jay
In conclusion, I would highly recommend that you learn at least three of these effects in this chapter. Honestly, I'd suggest 5, but that may be pushing you a little. Nevertheless, this chapter alone contains tricks that have been given "new faces" over the years, but the "new" techniques and methods have only been minor changes. Lastly, take heart. At this point, upon completion of this chapter, you are now 3/4 of the way through Bobo. It wasn't all that hard, was it?
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