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Comments on Simon Aronson's Website, Red Sea Passover, Henry Christ Routine, Matching the Cards, etc.
The First in a series of articles by Dennis Loomis
The first update is very special, Simon has included a free downloadable copy of his Memories Are Made of This (an introduction to memorized deck magic) from his 1999 lecture notes. I believe that this is simply the best introduction to memorized deck work, which has been written. If you have been thinking about getting into memorized deck magic, run, don’t walk, to Simon’s Site and print this out. You’ll never regret it, I promise you. For me, the new gem is Simon’s version of the Henry Christ Ace Routine. This is done from the Aronson stack and that both strengthens and simplifies the original great trick. Simon points out two advantages to Aronson stack users in doing the Christ effect this way. Any secret counting of piles is now unnecessary because known key cards instantly tell you where to divide the packets. And, the haphazard handling throughout the routine, with cards being continuously separated into various piles, dealt, counted, spelled and reassembled, is a strong convincer that the deck has been hopelessly mixed up. If you do memorized deck work, you know how important that second benefit is. Finally, let me point out that the routine is not technically challenging at all. Card workers of medium level skills who already are familiar with the Aronson stack will be able to add this to their repertoire quite quickly. If you can hold a break, do a double lift, and displace a card from one position in a spread to another with a cull, you can do this effect. There’s another new effect with the Aronson stack explained in detail on the site: Matching the Cards by Norman Beck and Simon. It’s a version of the Vernon Matching the Cards effect but done from the Aronson stack. I’ve not had time to really work through this one yet, but it certainly looks promising at first reading. And again, you start and end with the deck in Aronson Stack order. Simon has a new-marketed effect on the site as well. It’s a new version of the routine This Side Up from his book Simply Simon. If you wanted to do this excellent routine before, you had to get special cards made up. Now, they are available from Simon. I've ordered the effect, but haven’t seen it yet. However, it’s been seven years since the book was published, and I’ll bet that Simon has some new touches and handlings worked out by now. This was the case with the marketed version of Red Sea Passover. It was originally published in The Card Ideas of Simon Aronson in 1978, and reprinted in Bound to Please in 1994. When A-1 Magical Media released the marketed version, in 2001, Simon included some new handling tips and instructions.
Incidentally, on the subject of Red See Passover. There are many other uses for the special cards that you receive with this routine. I don’t want to infringe on any rights, but there is a marvelous version of the ten-card poker deal called Showdown in Nick Trosts book “The Card Magic of Nick Trost.” Nick also put this on the market including the necessary gaffed cards. However, I wasn’t fond of the particular gaffs that were included. If you have the Trost book, look at Figure 1 on page 217. Two gaffed cards are pictured. I do not like the fact that one of these is in hearts and one in spades. If you use two cards alike, instead, you do not have the suits of the cards changing during the course of the routine. You can achieve this by buying two sets of Showdown, or two sets of Red See Passover. If you use the RSP cards, you will get lots of spares and will have much flexibility in choosing the ten cards you use in the routine. But first, buy Nick’s book if you don’t have it. It’s a gold mine of card effects that are not too technically demanding. The new site has an improved version of the Aronson Stack Quizzer, a drill program on the Aronson stack by Mark Harris. This will be most valuable to those learning the stack, of course, but as an experienced user, I find it a handy way to just brush up on the stack and to work on recall speed. Simon had some difficulty with the former host of his web site and had to change to the new URL. In particular, it’s unfortunate that the August Genii has his ad with the wrong site address. If you’re a fan of Simon’s work, as I am, you can help to spread the word. Let your fellow magicians know, and post the change to any other forums, chat rooms, etc., that you might frequent.
MEMORIZED DECK MAGIC
Loomis additions to Louis Histed and Simon Aronson's Histed Heisted
The Second in a series of articles by Dennis Loomis
The topic this time is Simon Aronson and Louis Histed’s effect Histed Heisted. This has become one of my favorite stand-up mentalism demonstrations. It requires only a deck of cards, an envelope, and a pair of scissors, and so requires little room in the prop case. But, it plays “big” and can be used in good-sized theatres as well as much smaller venues. It is not my intention to describe the working of the effect. For that, you’ll need to consult the book Bound to Please by Simon Aronson. Briefly, here’s what happens in the original Louis Histed routine. A deck of cards in introduced and small packets of cards are passed out to several spectators. Each one shuffles his packet and then mentally selects one of the cards from his packet. The cards are collected by one spectator who shuffles the entire deck and returns it to the performer. The performer reads off the cards, in their shuffled sequence, pausing from time to time to read the minds of some of the spectators until all of the cards mentally selected have been revealed. It’s a baffling routine, but Simon realized that what it needed, for dramatic satisfaction, was an ending. His solution to this was to have a prediction sealed in an envelope. He reveals the final card thought of by opening the envelope and having the prediction read aloud. It is the selected card. This addition takes a very good effect into the miracle class, in my opinion. Bound to Please - Simon Aronson $28.00 However, the envelope with the prediction cannot be put on display at the beginning of the routine. It is produced from one of your pockets right at the end and just before it’s opened and read by a spectator. I also do not like routines where the spectator is “in charge” at the climax. This handling requires that a spectator read the prediction. (Obviously you cannot do it yourself.) Some may do a good job of this, but many will not. And, for larger venues you will have to get a microphone to the spectator, or have him come to the stage so that he can use the mike and be heard. I would rather be alone center stage for the climax of my routines whenever possible. I think I’ve solved both of these problems nicely. The envelope is placed on display right at the beginning of the routine. It can be hung on a clip on the curtain, or clipped to the microphone stand. The prediction inside is not written. It's a card from a different deck, and needs only to be removed from the envelope and displayed. I realize that in larger venues the people way in back may not be able to see the card, but they do know that the folks up front can see it, and that establishes for them that it is correct.
And, there are actually two envelopes, one large and one small. The smaller one is sealed within the larger one. At the end of the routine, I cut open the large envelope with the scissors and withdraw the smaller one. I show the inside of the large envelope to the people in front. Then the small envelope is cut open and a single playing card. It is the card that the spectator mentally selected. To accomplish this, one of the traditional tools of the mentalist is used, the double envelope. In fact, three of them are used for the routine. (See Notes One and Three for alternatives that eliminates the nest of two envelopes.) You need to be able to show any one of five playing cards at the climax of the routine. In Histed Heisted, the fifth spectator will be looking at the following cards: 9S, 7D, 7H, 10C and 4C. These are cards 5, 15, 25, 35, and 45 in the Aronson Stack. You need to be able to display any one of them. To accomplish this, the 9S is in one side of one of the small envelopes, and the 10C is in the other side of the same envelope. This envelope is, in turn, placed into one side of the large double envelope. The second small envelope has the 7H in one side, and in the other side is a double face card with the 4C and 7D back to back. The double face card comes in the normal double face deck of Bicycle Cards. During Histed Heisted, you will, at some point find out which card that spectator five thought of. At that point, you just make a mental note of it and ask the spectator if he/she would mind waiting until the end as you have something special in mind for them. After all of the other cards have been identified, you now come back to this spectator. You remind them of the envelope that you put on display at the very beginning, and cut off the appropriate end to access the appropriate inner envelope. It’s withdrawn, and the large envelope shown empty. You now cut off the appropriate end of this small envelope. Three times out of five when you perform the routine, the card accessed will be a normal playing card with a back. You can withdraw it and handle it freely, even flashing the back. Twice in five performances, you will access the double face card. Simply pull out the card with the appropriate face showing and place it onto the envelope. This conceals the other card face on the back and you can handle and display the envelope and card quite freely. After using this method for a while, I came up with a different method which requires just one double envelope. It's described below. I’ve got one other touch on this routine to share. As you know if you do the effect, you create the impression that each spectator gets a small random number of cards at the beginning. But that’s not true. Each spectator participating must receive exactly five cards, and you simply sight count the groups as you pass them out. This is not difficult, but in my practices and once in a performance, I accidentally gave a spectator an extra card. This throws off the routine, and problems can result. I lucked out in the show I had the error creep in and only one card thought of could not be properly determined. Perhaps this added a touch of believability. But, I did not want this to ever happen again. And so, I used a card punch to mark every fifth card in the stack. Those cards are the bottom card of each of the packets I point out. Now, as I’m passing out the packets, I feel the bottom card of each group, and I know that I’ve gotten exactly five cards. This makes for confidence during the performance. If you do not have a card punch, I recommend that you visit the Web Site of James Riser at: http://www.jamesriser.com
if you'd like to get one. These are cards 2. it’s easy enough to make the 4C/7D up yourself. it’s not really necessary to split the cards. the second spectator selection is removed from the envelope at the climax of the routine. This can be done because the center heart pip is “mutual” to both the Five and the Ace. and 9H. It also is a double facer and has the 9H on one side.He makes and sells two excellent punches. Since no one will handle it other than you. On the back of the same card is a double ended card with the AH on one end. Simply put one double envelope in each side of the wallet. here's a link to the page: Histed Heisted Special Card $2. If the spectator thinks of either the AH or 5H. That spectator will receive these five cards: KC. and the 5H on the other. At the climax. you can eliminate the outer double envelope by using a Himber Wallet. NOTE TWO If you do not wish to purchase a full deck of double face cards. For this version. He makes many wonderful magic props. the card is displayed. mostly for my own use. And I’m sure you’ll enjoy browsing his site. including some of the nicest Cups and Balls you’ve ever seen. AH. 32. 5H. and 42 in the Aronson Stack. and put the wallet on display at the beginning of the effect. there are other ways to mark a card so that you can identify it by touch. 10D. But.00 . just open to the appropriate side of the wallet and remove the envelope within. 22. NOTE ONE If you like. Just glue the normal 4C and 7D back to back and use the double thickness card. 12. See the section on “locators” on Daryl’s Encyclopedia of Card Sleights videos for a bewildering array of choices. In one side of the double envelope is a double face card with the KC on one side and the 10D on the other. I had Neil Lester of Cards by Martin produce a batch of these cards. On the other side of the double envelope is a special 3way card. but the lower 1/3 is covered with your fingertips. NOTE THREE I used to do this using just one double envelope and four special cards. If you don't want to use a punch. It’s nice to open the wallet up and show the envelope inside when you first put it on display.
That would be suspicious. Some day I'll come back and rewrite this entire article in a more coherent form. That way. but his contribution is the recognition that the effect requires an ending. I put the deck in the box. I can check to see that I gave exactly five to each spectator as I'm proceeding to the next.00 August 8.Simon Aronson $28. But there are two factors involved here. of course this is ACTING. I recommend it very highly. here's the posting I did on the Cafe which contains some new ideas not mentioned above: I think it's important. this book is the logical starting point if you wish to begin your journey into the wonderful world of memorized deck magic. The fact that each spectator gets the same number of cards is a slight hint as to the method. but for now. that the audience thinks you are just passing out random sized small packets of cards. but there are many other wonderful card routines.Then I give it out as a present.NOTE FOUR If you do not own a copy of BOUND TO PLEASE. . In it you’ll learn the full workings of Histed Heisted. I like to give the deck out to the spectator that shuffles the full deck to keep. And. And. Bound to Please . Even though it's easy to hand out five cards to each spectator. and when the effect is concluded. For a while I used a card punch to punch the top card of each group of five except the first. along with the mnemonic associations used to memorize the deck in the first place. You have to be convincing. However. completing it. In response to what several other posted. I just keep the two extra cards in the box when I start. and then two more quickly as I'm moving to each spectator. and if I plan to do that. I push off a clump of three cards. of course. 2005 Histed Heisted came up as a topic on the Magic Cafe recently. you should practice this a bit so that it's very fast and easy. I shared the following. I've never had anyone pick up on the fact that the cards I'm calling out are not the cards in my hand at the time. the punch work is not a good idea. Simon’s complete stack is explained.) Doing it his way is still much stronger than the Histed Original which lacks the ending. I think it strengthens Simon's finale a bit. in Histed Heisted. You must be absolutely on top of your memorized deck so that there is not the slighest hesitation as you call the cards. (Which was actually suggested to him by his friend David Solomon. The method on my web site allows you to put the envelope in view at the beginning. Simon's patter helps.
As to whether it's dull or that it drags. Don't ever ask if they want to participate.. Most people will instinctively just take anything that's handed to them. the performer might be. that there are thirty cards in my right hand. don't tell the group what you are planning to do in advance. When the spectators from 6 to 10 raise their hand. you're going to be stressed out as you do it. I can tell by feel. etc. It you are still struggling with the memorized deck. The effect is not boring. It's easy to forget where you are in the routine. And it's clearly not a kid's trick. I try to get a look at the audience before the show and figure out the ten people I'm going to use. The hardest part may be keeping track of the spectators when seating is rather informal or haphazard. occasionally you may find someone that doesn't want to participate. trying to remember the "gaps" in your group of spectators as you look out at the first row of the audience.. and the audience will pick up on that. and twenty cards in my left. Since you're dealing with blocks of ten cards it's not hard to tell from the feel where you're at if you have spaced out. So. Work briskly and have fun with it and so will the audience. But. and you're not sure if you are in the "thirties" or "forties" if you know what I mean. it would have been well worth the effort. Just say that you need several people to "Hold" a small group of cards. some unique piece of jewelry. it's very easy to keep track of your helpers. for example. I like using the cross referencing principal (Or "Princess" principal) with a memorized deck. Another little tip. It's certainly not for a drinking crowd. When you have formal theatre seating. You may be looking at two raised hands. Then walk out into the audience and pass out the cards. and all magic or mentalism routines should be done for the appropriate audience. this effect. you can start from 6. you don't have to count from spectator one. . The lack of any "crib" make the effect very clean and allows you to focus on the presentation. They may be wearing a bright color. I also find something noticable about spectator number six. Don't give them the choice and things should go well. Of course. What I do to help with this is to keep the blocks of cards I've already used in my right hand. This can mess you up. especially when you first start to do it. To minimize this problem. It's best for an intelligent audience. If I had learned the Aronson Stack only to do this one effect.
) Have the spectator shuffle the packet of five cards.Giobbi's Invisible Card Routine Done With The Aronson Stack The Third in a series of articles for the Smoke and Mirrors E-ZINE by Dennis Loomis This month. so it can come prior to any other routine you’re planning with a memorized deck. After the fifth card is legitimately taken into your left hand. and is also strong magically. The spectator’s card is one card “higher” in your memorized deck stack. and hold a break below the card that you just glimpsed. the four cards you placed on the selection will be the 3S. Then state that you want to lose it in a small group. you Biddle steal the 8C to the bottom of the entire packet. or he can cut the deck again if he prefers. If he does not do so. As you pull the third card (the chosen 8C) into your left hand on top of the two cards already there. it is holding a group of four face up cards. one at a time. and 5S. Later. with the five-card packet face up on top. (In Aronson stack order. (Numbers 17-20 in the Aronson Stack. but the deck is stacked. you’ll need to do a couple of Biddle steals. For this example. AD. Place this half-deck onto the other half of the deck that has been sitting . In the original version. Now remove four cards from the top of the deck and place them onto the spectator’s card. the deck is in random order. and this explanation will assume that. 7S. remember it. He answers “No” each time.) Ask the spectator to put the card face down on the table. do this routine with any memorized deck. When he’s happy with the card. ask him to complete the cut as well. doing this effect first helps to sell the random order of the cards. It’s probably best to use the all around square glimpse for the purpose. Cut the deck at your break and table the top half. as his selection. and you need to glimpse a card and then force it. and come away pulling the fourth card into your left hand. and when they’re mixed. As you come back to get card number four. Point out to him that the card now on top of the deck could be any card. hold a break under the 8C. we’ll look at a version Robert Giobbi’s very entertaining routine: “The Invisible Card. That tells you that the spectator chose the 8C. You will now establish the comedy premise of the routine by explaining that you will try to determine which card is the chosen one by watching the spectators face as you ask a series of question. In this variation. I use the Aronson Stack.” You’ll find it on page 523 of Volume 3 of the “Card College” series of books. however. lets assume that you glimpsed the 7D. Follow Giobbi’s routine to milk the fun out of this. undercut approximately half the deck. When ready. The routine leaves the deck in memorized stack order. The half-deck is face down. You can. and show it to other members of the audience. The right hand is holding the half-deck in biddle position and the cards are face down except for the 8C which is face up on the bottom. Caution him not to let you see it. Next. Begin by false shuffling the deck. Turn the packet of cards face up and cut the selected card to the center of the packet. so remember the card the spectator chose. he can hand them to you. The routine has a very funny premise. Then. look at it. Each time you ask the spectator whether the card he sees is his card. Explain that the spectator must do his best to keep a “poker face” and he must also answer no to everything that you ask him. He can take that card. If all is well. As he’s doing this. since he had a free choice to cut the deck wherever he wished. And. have him take it. you place the packet of five cards onto the half deck that you’ve been holding all of the time. You then peel each card off into your left hand. the force is eliminated. place it face down on the table in front of a spectator and ask that he cut the cards. pick up the deck and glimpse the bottom card.
you may prefer Simon’s handling of the effect. At this point. spread through the deck and show the 8C reversed in the center. As proof. Simon replaces the Biddle steal with another procedure for “vanishing” the card. This puts the selected card face up into the face down deck. You now finish the routine as in the Giobbi original except for one difference. There are two good reasons for doing so. the card is randomly selected by a spectator who simply names any card. It lands upside down. But. to return it to memorized deck order. If you keep a short card at position 1 or 52. . in Simon’s version. Turn them face up to show that the selected card is no longer there. Turn this packet face down and place it onto the deck on the table. the card vanishes from the full deck. Remove it and place it on either the top or bottom of the deck. The line is the sixth line of text on page 176. First. casually rearrange the cards into memorized deck order. between cards 1 and 52. I recommend that you also study Simon’s routine. because I think you should have “Try the Impossible” in your library if you’re going to do memorized deck magic. and tossing it into the deck. and because the vanish of the selected card from the small packet is much faster than looking through the entire deck. After you take out the “Invisible” card. the other reason to look up Simon’s trick is that he has a great line that you can use in any of the versions outlined here. as if just displaying the cards freely. The deck now needs only to be cut once. However.” As in the Giobbi effect. I’m not going to tell you. Also.face down on the table. I like my version of the Giobbi routine a little better. by pretending to pick up the invisible card.” on page 175 is a trick also called “The Invisible Card. the packet of cards is shown to contain only four cards. this is easy to do. not from a small packet. In Simon Aronson’s later book: “TRY THE IMPOSSIBLE. one card becomes invisible and reappears reversed in the deck. Finish as in the Giobbi routine. because the original comedy premise is lots of fun.
Each phase becomes stronger and more baffling than the last. by sheer happenstance. it can be done using the Aronson stack for those of you that already use it. and you’re all set. That is. use a standard corner short. the Jack of Spades is chosen as the card that’s corner shorted. What I’ve discovered is that instead of learning a new set up.” There will be just a few minor changes necessary to the Eyeless in Gaza routine. As Jay Marshall is fond of saying: “It’s a matter of personal preference and little consequence. (From the Jack of Spades. If you were to find yourself without the necessary cards. I recommend this handling. and one card corner shorted. I already have the same card prepared in all of my decks. however.) With that stack of cards intact. and it also requires that you have some punch work in the deck. . if you already know the Aronson stack. I use a scallop or belly short. And that means that you could precede Eyeless in Gaza with any other Aronson stack effects that you like as long as they retain. in some distant city. you actually cannot see throughout the entire demonstration. using a needle or pin and a set of nail clippers you can put the necessary work into any deck in a few minutes. I cannot recommend this too highly if you do any parlor work. in Eyeless in Gaza. you’ll have to get the manuscript if you don’t already have it. A local magic dealer was able to get one for me through Micky Hades. Even if you intend to do Eyeless in Gaza as a separate routine. You can. This is a complete blindfolded card act in eight phases. Since this is card number one in the Aronson stack. The routine would also make a great demonstration for a service club’s luncheon or breakfast meeting. You are then in a position to reset the stack any time and anywhere just from memory. To find out more. you’re ready to go. Incidentally. to the Ace of Diamonds. It requires some practice. at a minimum. and the appropriate “work” put into the deck. as does all good card magic. Finally. and remains in print. It is a remarkable piece of work in which the blindfold is genuine. there is a set up of cards required. the first eighteen cards in the Aronson Stack.Stephen Minch's Eyeless in Gaza Done With The Aronson Stack The Fourth in a series of articles for the Smoke and Mirrors E-ZINE by Dennis Loomis This month I’ll be reworking Stephen Minch’s routine “Eyeless in Gaza.” The booklet was published in 1984 by Micky Hades International.
You now state that you are going to help spectator number two since he’s the underdog. except that the card you name aloud will be the King of Clubs. and you can just reassemble the deck and proceed. 9S. but face up on the table. not the six of spades. Then you can cut the deck at that spot. Phase five is the remarkable poker hand demonstration. a pair of jacks or better. ask the spectators if either of them has an opening hand. the prediction in the sealed envelope must state that the Jack of Spades will be found 17 cards from the top of the deck. and just do a glimpse of the bottom card to make sure it is the Ace of Diamonds. Again. The spectator on your left will respond affirmatively since he’s holding a pair of aces. I use an all around square glimpse for this. because he has two pair. as in the original. threes and eights. there will be no adjustments needed. As in the original. The other spectator has a terrible hand. (You still need to overhand shuffle the bottom card of the cards in your hand to the top.) You are now set to do the 7th phase (the presentation of Out of This World while blindfolded) and the 8th phase wherein you show your own ability to determine the colors. but you have three. However. in fact. and 10S. Inform the spectators that he now wins. These are cards 3. No changes are necessary.) He discards three cards and you deal him three more. this is quite easy. to get set for the routine. Get the spectator to verify this by holding up his cards. you are divulging information that you seemingly cannot know. the 5C. Perform the first three phases of Eyeless in Gaza exactly as in the Minch booklet. that is. you can spread through the cards face up until you reach the Ace. It’s not hard to quickly sight count 18 cards if you do it in six groups of three. Incidentally. because of the way that phase 5 has been reworked. Since you know where it is. even stronger sequences to go. Instruct spectator number one to keep his pair of Aces and throw in the other three cards. You tell him to pay close attention. (Remember you have not been told what pair he’s holding. so your knowledge of them is effective in and of itself. just cut the Ace of Diamonds to the face of the deck. This last phase is “show stopper” caliber in and of itself. This can be done as the spectators are reacting to your previous effect and will go unnoticed. For this version. do not help and he ends up with just the pair of aces. You then cut at that point. 5. If you’re fast at thumb counting. 9 and 11 in the Aronson stack. Phase 6 will be done exactly as in the original. After the two poker hands are dealt. You then turn your attention to spectator number two. you will change the procedure just a bit. this is very fast. in this version. 8D. You then deal him three fresh cards. Phase four is also performed the same. 7. Alternatively. Since you know that it is 18 cards down from the top of the deck. Comment that you didn’t promise to help him. you begin the same way. 3H. particularly if you drop your hand to your side. The three indifferent cards. He is to keep his eight and three and discard the other three cards.Assuming that you have the necessary work in the deck. and that it is set in Aronson Stack Order. you can just thumb count 18 cards and cut at that point. . which will help you to remember them.
He makes many wonderful magic props. What I’d recommend. While it’s very strong. although based on the color separation principle. I recommend that you visit the Web Site of James Riser at: http://www. the version of Out of This World. It does. of course. and the only change I can imagine is that you may wish to shorten it for some performances. If you need to shorten it further. it is one of the longer segments. If you don’t have a card punch. I’ve simply made it possible to do it using the Aronson stack. The third phase. If you do this. I’d begin phase 8 by having your helpers try to identify the colors of a few cards after the deck has been shuffled by one of them. since the routine is so strong that you really have to end your act with it. .I cannot take much credit for the strength of this truly unbelievable routine. is the revelation of two selected cards. They will get some right. Then dismiss them and end the routine with your own demonstration of your uncanny ability to determine the colors accurately while blindfolded. I don’t consider this a disadvantage. and some wrong. I think it’s perfect as he originally worked it out. Stephen mentions that the act may be changed in many ways. in that regard. including some of the nicest Cups and Balls you’ve ever seen. I’d recommend that you eliminate Phase 7.jamesriser. but you’re establishing how difficult it is to be always right. however. And I’m sure you’ll enjoy browsing his site. destroy the stack. is to eliminate one or perhaps two of the card revelations at the beginning. and makes an effective opening to the Routine.com He makes and sells an excellent one.
Gene cannot openly spread through the deck because that would reveal the red black alternation of the cards. It’s fast and very strong for magicians and lay people alike. and has also published it. the card adjacent to the selection is right on the bottom of the deck. But this routine is one of the strongest things I’ve ever seen done with a deck of cards. when I was performing close up at the annual one-day magic convention in Galion. Gene has honed and polished his presentation over the years. or even better. (I wish that I had created so much strong magic that I might forget one of my routines. Now when Gene looks through the deck. it’s fooled a lot of magicians who should know better. And.net. Nick wrote it up in his TOPS column about 1970.) A spectator takes one card. 3309 Isabella St. Of course the one he names is the one the spectator is holding. better check with him first to see how much shipping will be. of course. The routine is in five phases. I’ve Gene seen fool some knowledgeable card magicians because they don’t see the cut of the cards. One year. It’s called the Automatic Lie Speller and you can find it on page 155. Midland. Gene is a GREAT card worker. Since the selected card is one higher in the Stebbins stack.Gene Anderson's Si Stebbins Routine Done With The Aronson Stack The Fifth in a series of articles for the Smoke and Mirrors E-ZINE by Dennis Loomis More years ago than either of us would care to admit. In phase one Gene quickly has a card selected and he openly looks through the deck. prior to the Nick Trost ending. What I want to address here is the body of Gene’s routine. With a memorized deck. He repeats this two or three times.) That also reminded him to include it in his book: The Card Magic of Nick Trost published in 1997. It’s a delightfully simple way to present a series of card revelations and it’s based on the senses of sight and sound. The effect he uses as the final phase was created by Nick Trost. I performed this effect. Ohio. and afterwards Nick not only complimented me on it. Nick was in the audience. like the . It begins with the old saw: The hand is quicker than the eye. MI 48640. While I love the routine. This is just as fast and easy with a memorized deck. claiming that he doesn’t see one particular card. and I encourage you to get it from him.S. just send a check for $6 to Gene Anderson. my pal Gene Anderson and I worked together on a routine he was putting together using the Si Stebbins Stack. there are some distinct advantages gained by doing it with a memorized deck instead of the Si Stebbins setup. he dispels any idea of a stack with a quick Haymow or Erdnase False Shuffle. we both had a good laugh. First. However. and Gene cuts the deck at this spot. that’s the card he names.. Gene’s full patter is in his booklet. If you’re not in the U. He sells it at his magic lectures and you can get a copy directly from him Gene at gene4864@earthlink. To lay people. And. (Later I’ll explain my apparently unique handling of this. the cut is done quickly and smoothly and at the same time that the spectator is showing the card around. but also wanted to know where it came from! When I reminded him that it was one of his own creations. My contribution to Gene’s routine was to suggest the ending. Gene would be the first to admit that he’s not really a card magician. who see this.
Apparently he does not look at the cards at all. Gene retrieves the card and replaces it on either the top or bottom of the stack. I mimic Gene’s action of not looking at the cards as I “count” the clicks. Of course. Gene will cover the thinking time by riffling down the packet with his thumb fairly slowly. At this moment I get my glimpse and continue bringing the cards right up alongside my ear. by cutting near the center of the deck.Aronson stack. This is repeated two or three times. So. As I reach out to take the packet from the spectator. you can have a spectator cut off the block of cards for you. but to be sure. all eyes go to him briefly. some of the strength of this phase is that you do not apparently look at any cards. its stack number tells you instantly how many cards are in the packet. Actually. I ask him if he can tell by the weight how many cards the packet contains. I just cut the cards at the short and I’m all set. I’m not going to explain the calculations used to determine the number of cards in a packet when the deck is in SS order. This makes it easy to cut the deck back to starting order at any time. The second phase of the routine is actually just like the first mechanically. as the card is being shown around. with the brief glimpse. The strength of this phase is very much dependent on convincing the audience that the cards are not looked at. Gene also does this phase two or three times. Timing is critical. Ostensibly it’s done by listening to the sound of the individual clicks made when the packet is riffled next to his ear. this is not a problem. but requires some quick calculating. and glimpses it as he brings it up to his ear. I recently saw Gene do this for a group of very knowledgeable magicians and afterwards one confided to me that they thought he was doing a classic force! In phase 3. Just before I go into phase three. I always have the top card in my Aronson Stack belly or scallop shorted. and as he responds. I misdirect my glimpse at the bottom card. in the first two phases the deck gets cut several times. in my handling. Gene cuts the deck at the spot where the card is withdrawn. I am going to suggest that if you have a memorized deck. he can determine the selected card. Gene makes a big show of not looking at the cards at all. commenting that they’re already well mixed. but if you’ve already memorized a deck it can be much stronger and certainly a lot easier to do. So. . it’s just that Gene apparently determines the identity of the selected card by listening to the deck as he riffles down it with his thumb. Gene shows that he can determine how many cards are in a cut off portion of the deck. working very rapidly. Again. While I have a spectator cut the packet off for me. we’ll shuffle them some more. Gene simplifies things by cutting the cards himself. I have the packet in my hands. Practice the cut and glimpse action and bringing the deck up to your ear so that it is all one continuous action. but when you site the bottom card of the packet. he will riffle through a second time. First. this becomes much stronger. and if he’s not ready. I initially spread the cards face up. and is apparently shuffled. It can contain any number. It’s still a strong effect in his hands. As soon as the named card is confirmed. Then I do my handling of the Erdnase shuffle. With the deck along side his ear. and. As I finish the question. working very quickly. This phase is quite strong.
and I do too. here’s how I do it: The deck is held in the left hand dealing position and a bunch of cards are pushed off the top into the right hand. For completeness.) If you’ve tried to do this with the Si Stebbins deck. The left hand is lowered back to its original position. Gene now shows that he can locate any card named by listening to the sounds the cards make as he again riffles them alongside his ear. and the second time he again cuts the cards himself and tries to cut exactly ¼ of the deck. (Or whatever. the calculations are quite simple. Gene picks up the deck. of course. but it’s not important. So now when a card is named. I then name the stack number. but I push about half of the deck. I usually give the deck another Haymow shuffle before this phase. listens. but it’s much more dramatic just tossing them onto the table willy-nilly while blindfolded.” I believe that I originally learned the Haymow shuffle from Royal Road to Card Magic by Hugard and Braue. I drop the rest of the deck to the table to free up one hand. as mentioned above. retaining the stack order. I simply name its stack number as the location and then count down to it. Gene will often repeat this phase. what I’m doing is somewhat different. I take out a pocket-handkerchief and blindfold myself before the spectator names the card. I usually end right there anyway. Perfect applause position. I do it a bit differently. the memorized deck makes this so very easy to accomplish. . The number is unimportant. Perhaps I read the instructions wrong in the first place. of course) then the packets in the hands remain about the same size and you can keep going as long as you like. and indeed. That phase may destroy the stack. it works just the same even though it looks quite different. If you’re pushing off roughly the same amount of cards each time (except for the first time. A spectator names any card they wish. This is probably six or eight cards. I almost always repeat this phase and again have a spectator cut off a packet and hand it to me. and then cut at the short card. and count the cards down onto the table still blindfolded until I get to the card. In the fourth phase. I checked Gene’s instructions and also the Royal Road again. concludes with the Nick Trost “Automatic Lie Speller. in discussing it with another magician that I was doing it differently.Gene will sometimes repeat this phase. If it’s necessary. I can count the cards from hand to hand. you know that the calculations are a little tricky. The free hand removes the blindfold (its just on with a single knot) and holds it up as the other hand holds up the card to show that it’s the one that was names. your memorization work pays off with an effortless performance. and was rather surprised. Again. But. I’ve done it for years. Since he will probably only be off by a card or two. Gene. Again. I don’t know how I fell into this action. no calculations are required. and the left fingers push a small block of cards onto the bottom of the right hands cards. and then announces that the card is number 22. But the second time. Again the left hand is lowered and the right hand pushes off a small block of cards onto the bottom of the left-hand cards. but it’s a small price to pay for this routine. No glimpse is required. The left hand is raised until it’s just above the right hand and the right fingers push a small block of cards from the top onto the bottom of the left-hand packet.
If you would like to do something similar to the Trost Routine. You will want to do that for the third and fourth phase. This is not necessary for the first two phases of the routine.When you stop.) But. you can easily cut the deck back to starting order. for example. along the way you also find the other three Aces. the Aronson stack. an ace that is forced. It’s another spelling effect where you spell to a selection (in this case. The bad news is that you can’t do the Automatic Lie Speller with a memorized deck. Like Gene. if you have a corner or belly short in your deck. . I would suggest Aces Awry from Simon Aronson’s latest book: Try the Impossible. but the good news is that you have your choice of dozens of great routines with. you can end with another kind of effect.
For example. I just need to know that it’s 39 cards down from the top. But first. Simon has his own solution as to how to do this for the effect: Two Beginnings in his book Try the Impossible. Let’s use my birthday. I need to get that card about five to ten cards from the top of the deck.) and add it to the date to come up with a total for each date of the year. number 39 is the six of hearts.) Even if you’ve never done any estimation work. As did the 2nd 12th. And. I don’t have to even worry about what card it is. but the effect is strengthened enormously if the selection appears to be very fair and you do not look through the deck at all. It’s completely fair and makes the selection appear to be a random one. First. His routine is excellent and you may want to look it up in his book: Simply Simon. etc. you can relax because if you don’t hit in that range you can easily fix the situation. almost instantly. 11th. The Diary Trick or Birthday Book was created by Alex Elmsley. and the book therefore could not be looked at very carefully. The diary is set aside and a spectator is asked to reveal the month and date of his birth. You’ll find it on page 96 under the title: Happy Birthday. and 31st dates all had the same card written in. The same spectator selects a playing card from a deck. so that’s what you write in for that date. In this way you fill up the entire diary and can calculate in your head.A Few Ideas on the Birthday Book And Additional Thoughts on the Haymow Shuffle The Sixth in a series of articles for the Smoke and Mirrors E-ZINE by Dennis Loomis This month I want to share some thoughts on two items. and my handling borrows a little from each of them. p 156. but five to ten is what I prefer. Its on page 172. and so on. (In other words.. Prior to offering the spectator a selection. we get the number 39.. You then write into that date. In the Aronson Stack. You show a full year diary and open it to show that written into the diary. the very same card is written in for that date. It is a brilliant concept. a brief look at one of my favorite routines with the Memorized Deck: The Birthday Book. is the name of a playing card. or thirteen from the top. you can quickly and easily force ANY card without having to look through the deck to find the force card you need. the cut was an estimation: I just tried to cut from five to ten cards above the 39th card. I simply add 8 and 31 in my head and get 39. Adding 8 (for the eighth month) to 31. As I square up the cards after the cut I do the all around square glimpse to get a quick . You simply force that card. Simon’s idea is to use the numerical value of the month (January equals 1. This is NOT critical. this is not difficult. Simon Aronson came up with the idea of using his memorized stack in conjunction with the Birthday book. the card that falls in that position in your memorized deck. August 31. February 2. and when he opens the diary and looks up his birthday. You could use a regular deck. Mike Close uses a different procedure that you’ll find in his book: Workers 5. I’m going to force that card using a simple cull. But. Then a few more thoughts on my handling of the Haymow shuffle which I described last month. The 1st. I just give the deck a casual cut. my birthday is August 31. I try to cut from 29 to 34 cards down from the top. By using a deck that is already set up in Aronson Stack order. They are both excellent. Elmsley used a repeating bank of only ten cards. All is not lost if it’s four from the top. what card is written in for each date of the year. for every date of the year. 21st.
To reset. . Again. or back some. On the other hand. Since you know right where it has to go (in our example. and for intelligent spectators. facing the spectators. and I want to cull the 39th card. The spectator is allowed to look at the book. Finally. It’s quite easy to push three cards at a time and you just watch and count. That’s great. I glimpse the bottom card and know where I’m at. When they do. Done casually. I could spread over the thirteen cards before I cull but I’d prefer to cull a little sooner than that. the 39th position) you fan so that you can see the faces of the cards in that area. When they do. At this point. The card I want to force is on the very top of the deck. break the spread. and you quickly square the spread cards in your right hand and tip it up to show them the bottom card. but this emphasizes the fairness of the selection. and my force card is way down at position 39. It is the card they freely selected. Let's say that I see the King of Hearts. With the force card riding under the spread you continue to thumb cards over to the right and when the spectator wishes. You cull it under the spread. the card on the left in the last batch of three will be the card you want to force. If they do want to change their mind. Because the cut was so thin. I immediately follow it with a false cut. That’s the 26th card. but not remove it. I know it’s the 30th card in the stack. stress that the spectator can change his mind if he likes You can go further into the deck. But what if your original cut is off? You simply cut again to correct the situation. Since that’s the thirty-eighth card in the Aronson Stack. You now ask the spectator to look at his selection. table or pocket the cards in your left hand. with the touched card as the bottom card in the right hand. you just need to know what the bottom (or top) card of the deck is. ask them to look at their own birthday and read aloud the card that is written there. the trick hasn’t even begun. whatever he wishes. As an “afterthought” decide to let everyone see the card. I’ve cut too deeply. lets say in our example that when I glimpsed the bottom card that I saw that it was the Ten of Hearts. To the spectators it appears that you just stuck it back in a random location. (At least as far as the spectators are concerned. I begin to push blocks of cards over with my left thumb. This is a fairly quick effect. The deck is reassembled and attention is focused on the Birthday Book itself.) You continue to offer them the chance to change their mind until they decline to do so. he touches one card. an impossible position to cull from. So. lets say that after the first cut I glimpse the bottom card and it’s the Queen of Hearts. it is absolutely mind-boggling. you have only to replace that one card back in it’s proper position. With three blocks of cards. It is very fast and easy to spot where the chosen card has to go. again break the spread with their selection on the bottom. you can put the card into your breast pocket. As far as the spectators are concerned. An easy way to do this is to fan the deck. and remove the bottom card and show it around. Usually they decline to change their mind. and your work is almost done. At this point. I cut a very thin block from the bottom of the top (trying for five to ten cards). For example. or if working standing up. and you take the card from your pocket or the table and plunge it into the deck. this is completely deceptive. reassemble the deck in a slightly spread condition with the force card still hidden under the spread and let them touch a different card. although the force card has been switched for their selection. You now either table that card.look at the bottom card. As I begin to explain to the spectator that he is to touch a card. You may use any glimpse you like. I just cut a thin group of cards from the top of the deck to the bottom. but leave the majority of the card in view. Again I glimpse and know where I’m at.
There are other ways to force a card from a stacked deck. you deal the cards above the force card straight until you get to it.Roberto Giobbi $25. except that I often work in venues where I don't have a table. It uses the JB Kard Kop invented by Johnny Benzais. more importantly. he has no chance to stop you until after you reach the force card. In this way. it's more natural to hand them the unseen card on the top of the remaining cards in your left hand. The first five are dealt from the top." Try The Impossible . to restore the sequence of your stack. After the first five cards are dealt. First.August 21. 2005. After the trick is over. (Of course. and as you're dealing them. you start to deal seconds. I find it easy to still put the right hands cards into the left hand. squaring them up in the process. Therefore. This is available directly from Harry Lorayne. you will only have to return the selected card to it's proper place in your stack. With this move. Now. I'll mention two of the possibilities. If you do a second deal. When the spectator says stop. Both will assume that you have made an estimated cut and the card you need to force is the sixth from the top. Then you "Kop" the card and keep dealing. you drop both of the cards in your right hand onto the tabled cards. and have the spectator take the top one as their selection. you cannot deal face up. you explain to the spectator that you want him to say stop whenever you wish. but fortunately Harry has included most of the text of that book and several others in his "Classic Collection. you hand him the top card of the deck as his "selection. when the spectator says stop. My handling is very much like the Giobbi version.00 $32. I've revisited this write up to add a couple of additional points on this force.00 I would suggest that you deal stud seconds. That's long out of print. you start to deal single cards onto a pile on the table.Simon Aronson Card College #1 . There's another excellent way to force a card assuming that you've cut it to a known position a little way down from the top of the deck. but.) In this way. . but with the selected card outjogged. I can't table the left hands packet. and so you have reversed the order of the small group of cards on the table. Here's one way: as the spectator looks at his card and shows it to the other spectators you pick up the dealt cards and casually give them an overhand shuffle. you keep your deck in order. In this version. This is easily corrected. reversing them. It was explained in Harry Lorayne book: Close-Up Card Magic. you do the same with the first five single cards. and you keep dealing seconds until he says stop. When he does. Drop them onto the tabled remainder of the deck." (Page 171) There is another variation of the cull force in Roberto Giobbi's book "Card College Vol 1" on page 191. You just run then singly. turning each card face up as you deal. Simon discusses his handling of the cull force in conjunction with the effect: Two Beginnings in the book "Try the Impossible. the face up card is dropped on the table.
It has nothing to do with a deck of playing cards. I found this confusing and not particularly entertaining. Inside. I came up with the idea that there actually is a Lucky Playing Card for every day of the year. They talk about the difficulty of finding the right birthday card for someone. The number is unimportant. I’ve done it for years.. but I push about half of the deck. one month to a page. And so. a birthday card. The left hand is lowered back to its original position. But. I believe you will find it to be a very strong effect made even stronger by using a memorized deck. Perhaps I read the instructions wrong in the first place. means a greeting card from Hallmark (or their competitors) that says “Happy Birthday” on it. if I ever loose it. I printed out and bound a little fake booklet. and suggest the spectators can do the same. or mine. I know this is a minor infringement on Hallmark’s name. For completeness. why not a lucky playing Card. This is probably six or eight cards. it looks quite official. I can just print out a new one. I doubt if I’ll ever have any legal problems. but it’s not important. The left hand is raised until it’s just above the right hand and the right fingers push a small block of cards from the top onto the bottom of the left-hand packet. even the appropriate flower. For completeness. and was rather surprised. And. This is word play. or it becomes too soiled. Whatever version of the effect you use. Why not? We each have our own Zodiac Sign. I claim that I picked it up at a Hallmark store. Again the left hand is lowered and the right hand pushes off a small block of cards onto the bottom of the left-hand . I don’t know how I fell into this action. And. The cover reads: Hallmark Greeting Cards Presents YOUR LUCKY PLAYING CARD The Lucky Playing Card for Every Birthday of the Year With a little artwork. Simon Aronson’s. I explained my own version of the Haymow shuffle. I wanted to get away from having to hand write 365 cards into a diary. dates. here’s how I do it: The deck is held in the left hand dealing position and a bunch of cards are pushed off the top into the right hand. the months.. or Birthstone. Last month. Mike Close’s. but as I do not make these in quantity and sell them. my handwriting is terrible. and printed on my printer. and the left fingers push a small block of cards onto the bottom of the right hands cards. in our culture. and indeed. what I’m doing is somewhat different. I checked Gene’s instructions and also the Royal Road again. it works just the same even though it looks quite different. I am going to include that description before I explain how it can be used to move a block of cards of any size from top to bottom: I believe that I originally learned the Haymow shuffle from Royal Road to Card Magic by Hugard and Braue.Both Mike Close and Simon Aronson use a patter ploy that I did not like. For one thing. But it gives a kind of “official” atmosphere to the premise. and playing cards are all printed out. in discussing it with another magician that I was doing it differently. And so.
Again the right hand pushes any number of cards onto the bottom of the cards in the left-hand pile. it pushes off exactly three. In the above example. The right index finger swivel cuts approximately half of the cards back into the left hand. At this point." . if you wanted to move fifteen cards from the top to the bottom. but the upper half goes into the left hand. I usually do four or five. Again. you’ll find it’s easy to do. But instead of a random number of cards. You have transferred exactly 11 cards from top to bottom. as I do the shuffle. To move larger groups. and you have the ten of spades on the bottom ready to do the Aronson Poker Deal. When you stop. let’s use it to accomplish something: moving a block of cards of any size from top to bottom. you’ve pushed a total of nine cards off of the cards in the left-hand pile. I do not intend to explain that routine. My primary use for it is as a way to get ready for the Simon Aronson Three Phase Poker Deal from his book: Bound to Please. Now the right hand pushes off a block of cards from the top of it’s half onto the bottom of the left-hand cards. You begin the Haymow Shuffle by pushing a block of cards with the left thumb off of the top of its cards onto the bottom of the left hands cards. If you try that. you can easily cut the deck back to starting order. Again. push off exactly three cards. I do this in the process of the Haymow Shuffle. of course) then the packets in the hands remain about the same size and you can keep going as long as you like. and eleven. Keep a running count in your head. deck in hand. And again the right hand pushes a random number of cards off the top of its pile onto the bottom of the left hands cards. you may want to move five or even six cards each time. You can move any number of cards you wish. the left hand pushes four cards in it’s first “turn. but you must begin the routine with the ten of spades on the bottom of the deck. the cards in the right hand are moved into a dealing position in that hand as well. For example. the process is reversed and the left hand pushes off a block of cards. no other mixing has been done. in my head I say: "Three. the left hand pushes just two cards onto the bottom of the cards in the right hand. If you’re pushing off roughly the same amount of cards each time (except for the first time. it again pushes exactly three cards. the right hand comes over and takes the entire deck from above in Biddle Grip. here’s one simple method: With the deck held in dealing position in the left hand. The right hand now places its entire pile onto the bottom of the left hands cards and the deck is squared. So now. six.” four more cards the next time. Finally.cards. and finally just three cards. This is very easy. The deck is cut approximately in half. four more cards the third time. if you have a corner or belly short in your deck. To do this. With some help with the fingertips and thumb of the left hand. This can be any number. The third time that the left hand pushes cards into the right hand. This is the eleventh card in the Aronson Stack. nine. This is the original top half of the deck of course.
Spectator five then gets to choose from two. you only have to pull off the press-apply dot and put on a new one. the group has chosen one card that no one would have been able to predict. you use a nail writer. of course. Assume even. Harry’s is faster. of course. or six. And so. Assume they say diamonds. your deck is still in order. Assume they say red. I’m not claiming that my version is better. To reset. Spectator four says odd or even.. The price is thirty-one cents.A New Version of Harry Anderson's Yard Sale Deck using the Aronson Stack The Seventh in a series of articles for the Smoke and Mirrors E-ZINE by Dennis Loomis This month I’ll share my version of Harry Anderson’s “Yard Sale Deck.) He asks them to hold it up and show everyone the price tag. but do it using the nail writer so that it will match. and to count the cards off the top onto the table. And. people are looking at them at that moment anyway. let’s say that they choose 41. The deck is then tossed to a final spectator who reads the price tag on the box.” The method is simple. It’s a different effect. He gets them to repeat the number in a nice loud voice and them tosses them the deck.. In Harry’s original version. It’s one of those little round press-apply dots. My variation is to have the deck of cards in memorized stack order. The cent sign is prewriten before the show. Assume low. and invites an audience member to see if they can guess that price. You have the time to do this when the spectator repeats their number. This time. and then share my own reworking based on a memorized deck. But written on the dot is: “41 Cents. ready to continue with another memorized deck effect. . you know it’s stack number and use the nail writer to write the digit(s) on the price tag. it is the group-selected card: the Four of Diamonds. By way of help. Spectator one names either Red or Black. he suggests that they name any two-digit number from 1 to 99. four. you get several spectators involved by having them participate in the process of selecting one card. Spectator three says high or low. mine adds a second element of deception. He explains that he bought it at a pretty good price. At the end. He says four. just a nail writer. (Which is in its box. The spectator is then asked to remove the deck from the box. For our example. I’ll describe his version first.” I saw Harry do this in a lecture at the Magic Castle many years ago and found it to be a very direct and clean mental effect. Again. turning them face up in the process. he holds up a deck of cards and explains that he found it at a yard sale on the way to the show. The boxed deck makes a good writing surface and it doesn’t take much practice to learn to write digits. your premise is that you bought this deck of cards at a yard sale on the way to the show. When the spectator gets to the forty-first card. As soon as the card is determined. Spectators get to see that the deck is in random (?) order. Again. Then spectator two chooses hearts or diamonds.
thus not risking disarranging your stack. open manner.You should use an old. . beat up card case for this routine. Just be sure to do it in a very clean. of course. You may want to count through the cards yourself.
San Francisco. Cards 49. 51. I ordered mine through Doug’s site. but at the end. Hugard suggests that the cards be palmed off the top and a spectator allowed to shuffle the deck.The Dennis Loomis version of "The Subtle Game" and how to utilize a memorized deck in walk around. You can read more about the book and the stack on Doug’s sight at: http://www.” It’s subtitled “a. CA 94107. and 52 must be located and forced.com/ Or. and how doing this integrates with one or more effects that retain the stack and one or more effects that destroy the stack. I may have been put off by the fact that some of the built in effects were outmoded because they were based on card games like Whist and Nap which were seldom played anymore. My first exposure to memorized deck magic was the Nikola Card System which appears as the final chapter of Jean Hugard’s “Encyclopedia of Card Tricks. using Pay Pal. but no opportunity for privacy to set it up. It contains many wonderful ideas.k.” Of particular interest is the fact that you begin this effect with a thoroughly shuffled deck.00 postpaid. effects.) Clearly this has many applications for those of us that use a memorized deck in our work. using for my examples the Aronson stack order. it can be done right in the context of a performance. The performer now .oratory. I’d like to recommend a book which I received this month. Then. The Eighth in a series of articles for the Smoke and Mirrors E-ZINE by Dennis Loomis My main topic this month will be setting up the memorized deck stack as part of an actual performance. The Half-Hour Memorized Deck. The cards are returned to the top when the deck is returned and the cards are forced upon four spectators. (Or any other memorized stack order. if you are searching for a memorized deck to use which can be learned very quickly. I’ll briefly outline the procedure. Doug Dyment. However. you can purchase the book directly from Doug Dyment. But first. and routines. but never realized the power contained within the system. I did notice the final entry entitled: “A Subtle Game. 50. the cards are returned. it is in the Nikola System Order. this may be the answer.) After my first read through I am convinced that this claim is absolutely justified. 1361 Rhode Island Street. So.a. It’s entitled “Mindsights” and was written by a former President of the Psychic Entertainers Association. Should we find ourselves somewhere that a deck of cards is available. The cost is $25. They pick up the cards and fan them so that they can see the faces of all of the cards. Like many. and he shipped it out the very next day. The parties are asked to sort their hands into the four suits as if they were going to play a game of Bridge or Hearts.” I played with it a bit in my early teens. but of particular interest to the readers of this column is his “Quickstack. The entire deck is dealt into four piles (of 13 cards each) so that each of the spectators receives a pile that contains his selected card. but all controlled to the top in order. He does not suggest any particular method. and then suggest some alternative handlings.
Because all four spectators are looking for each card that you call. each one’s selected card will be the bottom card of their block of 13. When they do so. Hugard leaves much to the individual performer and no suggestions are made as to the patter. you secretly leave those four cards in the box. at the conclusion each spectator is left holding just one card which is the card that they selected. remove the four cards and hand them to four spectators. First. or the controls. have them mix up the packet of cards before they even look at the faces. The deck is then replaced in the box and you are ready to start. Almost immediately one of the spectators will hand it to you and you can name the next. there is little delay when you name a card. Then you ask spectator number one to name the card they chose. . Then replace the cards in the box. As you call the cards and collect them. This is repeated with the other three spectators. mixing them in this thorough. Once they memorize their cards. At the point where the spectator supposedly stopped you. an impressive trick in itself. Simply cut the block of four cards to the center. Do a quick trick which involves having a spectator thoroughly shuffle the deck. the palming can be eliminated if you are not comfortable with stealing the four cards and adding them back onto the deck. The cards are called in stack order. etc. close it. and because their hands are separated into suits. The order seems to be completely random. have them show the remaining card in his hand to the audience and it will be his card. everyone will be waiting for you to name and identify the chosen cards. but is not. When it is found. They then pick up their packets. So. and retain the top half in your hand. and do a non-card effect. They will deny it.) and put them on top of the deck. You ask each spectator if you have named his or her card. When you reassemble the deck you hold a break and either use a pass or double undercut to return the block of four cards to the top. You call out 48 cards and stop. manner. this doesn’t happen. Each spectator places his or her card onto the tabled lower half. you return them to the deck. building up a pile of 48 cards. One effective way is to have each of them simply spread the cards around on the table.begins to name cards. When you deal four hands of 13 cards to the spectators. Two of Clubs and the Nine of Diamonds. and each spectator looks for the called card. the spectator hands it to the magician who simply places it on the table in front of himself. the particular force(s). Remembering (?) another card trick. You can suggest that you will call cards at random and see if you can identify the selected cards. that would be the Six of Diamonds. Queen of Clubs. you again remove the cards from the box and go into the Hugard routine. Surprisingly. So let me take over now and share some thoughts and discoveries. if inelegant. You can simply cut the cards at random. one thing you might do quickly before starting your impromptu show is to locate the necessary four cards (In Aronson stack terms. And. and use a riffle-stop force. If you have a box for the cards. When you remove the cards for your first effect. retaining a break. and sort out the suits.
and the four cards are added. you simply call the cards from 48 to 1. and offer to find it sight unseen. They are coming off the top of the deck and you put each new card under the previous ones. You can names the cards. Alternatively you can spell the spectator’s name. effects which retain the order of the stack. you prefer to place the cards face down. Perhaps you or a spectator accidentally drops the deck to the floor. It will be the selected card. Finally. You put the deck away. With most memorized decks this will betray no discernable pattern and it certainly appears that you are just naming cards in a random order. Control the card to the bottom of the deck. For my examples. you spell the name of the chosen card. Perhaps you will prefer to do the Birthday book as the only card effect for this group. a spectator suddenly shuffles the deck when you are not expecting it. from 1 to 48. If you do not wish to do an intervening non-card effect. Either way. when you take the four selected cards in order from the spectators. just remove the bottom card and bring it out.You actually have two ways to proceed. you still have the same options when you reach the next group. try this: Have a card selected and returned. Make it look difficult. or your own. this is also a very good out if your memorized deck should become unexpectedly disarranged. I’ll use Simon Aronson’s powerful three-phase poker deal as an effect which destroys the stack. retaining the block of four cards on top. you can names the cards in reverse order. You are then set to fry your audience with one of the powerful routines with our favorite tool. I’ll use The Birthday Book from one of my previous Columns as the effect which retains the stack. you then can add the block of four cards to either the top or bottom of the deck. Put the deck into your pocket so that the four cards already there go on top. Then have the spectator name his card. Perhaps at the beginning of the evening you begin with your deck set up in Aronson stack order. If. Or.” Finally. Remove the deck from your pocket. however. place the block of previously removed cards on top. you can use your pocket instead of the card box. take the bottom card of the deck and it will be the card you just spelled. And. If you do the Birthday book. the four cards are now in place. If you do the former. If so. You can now do either the Poker Deal or the Birthday book for your first group. plunge it into your pocket and apparently dig through the deck. I’d like to suggest how this might be utilized in an evening of close up magic when you either table-hop or stroll around at a party or in a hospitality suite. Or. Having “A Subtle Game” in your repertoire can salvage the situation. On the last letter of the cards name. If you wish. Showing your hand empty. from 48 to 1. you can continue on and do the Poker deal for the same group if you like. With each letter you remove a card from your pocket. you build a face up pile on the table. and effects which destroy your stack. But you don’t have to. There are three different kinds of effects you can do: The Subtle Game itself which will set up your deck for you. and you’re ready for “A Subtle Game. When you remove the deck from your pocket. However. once you . As Hugard points out. whether you need a shorter or longer routine. etc. and what seems appropriate for the group at hand. in order. If you want to get a little fancier. Simply remove the four necessary cards from the deck at an opportune moment and put them into your pocket. That will depend on whether you have room to deal out the poker hands on a table.
and conclude with the Poker Deal. I can do the Poker deal at a table. I’m now back to having one deck stacked and one not. You will leave this group and go to the next before you do another Memorized deck routine. in strolling situations you still have some options as to how to go about this. do a non-card effect. or both. For the next group you can do The Subtle Game as your only card effect if you prefer. . and then take out the other stacked deck and do the Birthday book routine. when I’m doing strolling close up magic. Occasionally I may do The Subtle Game with my “normal” deck and be in the strong position of having two decks in Aronson stack order. If you are concerned that an alert spectator might understand that you were setting up something when you call the cards out. do several of these at any time you wish. So even though someone might suspect that you are setting something up. You can.) However. put the cards away. if I wish. that there are other powerful effects you can substitute for the Birthday Book Routine which do not destroy your stack. I can then do a coin trick and then. or the Poker Deal. (At least with this deck of cards.do the Poker Deal. then it is necessary to do the Subtle Game routine as the next card effect. you are now ready to do either the Birthday Book routine. you need not worry about destroying your stack. You can finish your magic (or your card magic) for the same group by doing The Subtle Game. they will never have the opportunity to test that theory. I often carry two decks of cards. I’ll then replace it in its box and return it to the same pocket which contains my Aronson Stack deck. if I like. you can also leave the group with the cards mixed. Incidentally. Remember. Once you get comfortable with The Subtle Game. When you reach the next group. Then. There are also many other powerful effects you can do which destroy the stack. it hardly matters. I use the normal deck for the many routines that can be done with it. remember (?) another card trick and take out the stacked deck. in fact. However.
then 52 decks would be needed. Here then. To keep things straight in your head. The Jack of Spades is second from the face. has had a long-standing interest in what has become known as "The Berglas Effect. the spectator themselves do the counting. an excellent magician. which is the same thing as being 51st from the top. but this insures that the spectator will not make a mistake.D.5. we can achieve the effect with 26 decks. With the release of the Berglas book.. to have multiple decks positioned in various locations. the great British magician and mentalist. the spectator is allowed to specify whether the counting is to be done from the top or the face of the deck. .2. but you count from the face. This “pure” effect is probably not possible. and then any number from 1 to 52. he would calculate mentally which deck was needed and then produce that deck. Once the card and number were called. or accidentally drop the cards. In it’s pure form. occasionally getting very close to the “pure” effect itself. To make it practical. in his office or home.The Berglas Effect (Any Card at Any Number) with 26 Decks The Ninth in a series of articles for the Smoke and Mirrors E-ZINE by Dennis Loomis My friend Bill Nagler. (1 in Aronson Stack. 3. This seems far too many to be workable.. M. Instead. Hiding 26 decks around your home or office will be a big enough challenge. That's because you don't need a deck where the Jack of Spades is second from the top. 2. The magician counts down in the deck to the designated number and the named card is there! In some recountings of Berglas’ performances. and the deck is in full view from the beginning. etc. The spectator names the card and the number BEFORE the deck is brought forth. the deck number tells you the position of the Jack of Spades. The performer decides whether to count from the top or the face. One more example: Deck 19 has the Jack of spades at position 19. the conditions are as follows: 1. is my solution. If the counting was always done from the top.) Using these conditions. it seems that Berglas took advantage of many different methods and circumstances to create different versions of the effect. a spectator names any card..3. they are 1.9. or if the spectator can specify whether the counting is to be done from the top or face. All decks are in Aronson stack order except that each deck other than the first has been given one straight cut. The performer does the counting. He wanted me to come up with a method to stack the decks and to determine which one was needed.7. Bill suggested to me that what he wanted was a version that allowed him. 51.” It’s the classic “Any card at any number” effect popularized by David Berglas. That was .) The decks are NOT 1.3. (There is no sleight of hand. (Or any even number) The number "two" is covered by deck 51.
RULE ONE. you can forget all the arithmetic and use this rule to remind you which end of the deck to count from. Subtract 1 less than the stack number from the designated number. For example. and following Rules Two and Three above. Don’t let the concept of negative numbers throw you. If one is odd.. add 52 to it. or the seeming complexity of the calculations. If they are both odd or if they are both even. or both even. you subtract the positive value of the negative number from the higher number.) Then subtract one less than the stack number from your result. The first thing you do is to recall the stack number of the card named.. you get 50. With the 26 decks hidden in locations that allow you to find the one you need. That’s because when you “add” a negative number. You are actually going to apply either rule Two or Three first. So once you finish the mental math that gets you to the correct deck. Compare the stack number of the card to the number the spectator designates. adding 52 if your result is a negative number. The spectator names a card at random and then any number from 1 to 52.”) For our purposes. For example. the result is –2. Interestingly. as a few trials will show you. . of course. if you have a –2. RULE TWO. whenever we get a negative number it is added to 52. The result is the deck number. Should you get a negative number. (This will always yield a positive number. This gives you the deck number. RULE THREE. The result is a deck with the Ten of Clubs on Top and the Jack of Hearts on the bottom. and then use rule One. If the designated number and the stack number of the named card are one even and one odd. it also depends on whether the designated number and the stack number match or do not match as far as odd and even is concerned. you really just subtract the smaller from the larger and put a negative sign in front of your answer. when you add it to 52. first subtract the designated number from 53. There are two rules that you apply to determine the deck to bring into play. you’re ready to perform. If the designated number and the stack number of the named card are both odd. it becomes quite easy to do and to understand. deal from the bottom. if you were to subtract seven from five. This is very simple. After you work through a few examples. (This is said “minus two. If you subtract a number from a smaller one. HOW TO DETERMINE WHETHER YOU COUNT FROM THE TOP OR BOTTOM ONCE THE PROPER DECK IS IN YOUR HANDS. and the other is even. Rules Two and Three tell you how to get to the proper deck.accomplished by cutting the deck between the Jack of Hearts and the Ten of Clubs and moving 18 cards from the bottom to the top. There is one additional rule that tells you whether to count from the top of the face of the deck. deal from the top. I gave you Rule One first because it’s easier to understand and helps you to grasp rules Two and Three. If you have not worked with negative numbers before. here’s a brief review.
we add it to 52 and get 45. but this time the number called is 44.) So. We get deck nine and count from the face. We subtract zero from 25 and get 25. Now. This may seem daunting at first. This produces “Deck 9. You can check this using the same procedure outlined in the prior examples. we defined Deck 25 as the deck that had the Jack of Spades in the 25th position. EXAMPLE THREE. we produce deck 23 and count from the top. of course. Since its stack number is 1. That gives a result of 9. it’s not really necessary to understand why the rules work. For the same reason. . for the same reason. This time. you’ll find it at position 44. we know that we will be counting from the top. we subtract the designated number from 53. So. Since the stack number of the Eight of Diamonds is 9 (odd) and the designated number is also odd. In deck 45. we will be counting from the face of the deck. subtracting one less that the stack number (1-1=0). take a deck in Aronson Stack order and cut it between the Six of Spades and Four of Clubs. we’ll be counting from the face and we’ll be using Rule Three. So. (31-8=23. This time we’ll assume that the card named is the Eight of Diamonds. Since we have a negative number. we’ll assume that the Jack of Diamonds is named. (28-35=-7). And. To ease into this: let’s assume that the card named is the Jack of Spades.) EXAMPLE TWO. we will be counting from the top. (This is obvious. which is what makes it deck 23. To test this. and the number designated is 25. First. take your deck and cut between the King of Hearts and the Four of Diamonds. In fact. since the designated number (25) and the Stack Number (1) are both odd. one less than that is zero. and the designated number (44) is even. That tells us to subtract one less than the stack number from the designated number and the result will be the deck we use. (53-25=28) Next we are to subtract one less that the stack number (36-1=35) from the result. Let’s say that the spectator wants it to be at position 25. Still assuming that the card named is the Jack of Spades.It’s easiest to understand this if you do a few examples. And the number designated is 31. Since the stack number (36) is even and the designated number (11) is odd. we subtract one less than the stack number (9-1=8) from the designated number. Following that. count down to position 31 and you’ll find the Eight of Diamonds. we are to first subtract the designated number (44) from 53. EXAMPLE FOUR. Since the stack number is one. we will use Rule Three. Although you will probably be more comfortable with the whole procedure once you do understand. the math is easy. but I assure you that all that’s required is some simple arithmetic and after you’ve worked through several more examples you’ll find it much easier to do than to explain. To check this. and applying rule two to determine the proper deck. EXAMPLE ONE. Then. Because the Stack number (1) is odd. ” because the Jack of Spades is ninth from the top. This puts the Jack of Spades at position 23. we will apply Rule Two to determine which deck we will use. the Jack of Diamonds is the 25th card from the face. our final answer is nine. But if you count from the face.
While that’s not possible. A deck of cards. He has. and raise it up into the box mechanically. and switch it for the proper deck. One interesting solution is a rather complex mechanical device. He locates the proper deck. Your stooge gets you the deck that you palm in your hand. We are still playing with notions that will reduce the number of decks needed. Standing up. Inside the coffee table there is a kind of jukebox affair which can locate the proper deck for you. at his feet. If you can get the proper deck into your hand. you can pick up the deck that has been in full view. Possibly to a point that you can carry them on your person. Under the pretext of putting something away in his case. only one deck is seen and it was apparently in there from the start. he grabs the proper deck. I’d like to share a few more thoughts. While this could be built. you can eliminate the deck switch. When the box is opened. you could do the math yourself and signal the deck number to your stooge.That having been said. Or. That’s our work to date. and then switch it for the proper deck undetected. it’s possible that your stooge can be in some hidden location. Using the same basic technique. The effect would obviously be far more effective if you could produce the deck in advance. a briefcase that holds the 26 decks and also a lazy tongs reaching device. and uses the reaching device to deliver the deck into your hands or lap under the table. the stooge might be able to consult a chart instead of doing the arithmetic. In your home. I will keep you informed in this forum. which happens after the card and number are designated. Clearly. we have a real miracle. Perhaps you trigger it with a remote control on your person. This will not be easy since there will be attention on the deck. is there another way? Let’s say that you’re seated at a table. and how do you get the proper deck? One simple solution is to use a stooge. perhaps we can create that illusion. you might have a coffee table with a wooden box sitting on it. And. you really have no more decks on your person should anyone check. Finally. This would simplify the headwork. If you do use the stooge version. but the two of you would have to practice the delivery of the deck. if we can have a deck in view. That person sits across from you at the table. and gets it to you in some sneaky fashion. Now you can count to the named card. which you’ve been using for other effects sits in it’s box on the table in front of you. Rest assured. . you apparently pull the deck from a pocket.
(The exceptions are the two or three cards on top and bottom. Eric Anderson. They are revealed in other ways.” (Spade and Club) 1-JS-turn over top card 2-KC-double lift 3-5C-triple lift 4-2H-spell two +1 5-9S-spell nine. show card . Darwin Ortiz. +1 6-AS-spell spades. turn over last card 22-AH-spell ace of hearts twice. spell a 9-10 letter name. turn over s 9-8D-spell diamonds. turn over last card 25-7H-spell the seven of hearts.) The final letter will be an “s” and that’s what Bill means by “turn over s card. David Harkey. A “+1” means that you spell down and turn up the NEXT card. count 7 cards. +1 10-AC-spell ace of clubs. David Harkey.) What follows is Bill’s list. Scott Cram.” In the case of the Queen of Spades and Four of Clubs you will use the suit name minus the “s. turn over last card 21-QD-spell queen of diamonds. turn over s card 7-3H-spell hearts. count 1 card for ace. He had worked out a way to spell to most any card in a deck stacked in Aronson Stack order. turn over s card 13-2D-spell two of diamonds. count 5 cards. Patrick Page and your scribe. Bill Nagler. turn over s card 11-10S-spell ten of spades. turn over s card 14-KD-spell king of diamonds. +1 8-6C-spell six clubs. Mike Close.Preconceived Jazzin with the Aronson Stack Bill Nagler. spell a 6 letter name. turn over s card 12-5H-spell five of hearts. (Diamonds not diamond. +1 18-AD-spell the ace of diamonds. turn over s card 16-8C-spell the eight of clubs. Eric Anderson. This began when I received an e-mail from Bill Nagler. +1 17-3S. Mike Close. +1 20-5S-spell the five of spades. Patrick Page and Dennis Loomis The Tenth in a series of articles for the Smoke and Mirrors E-ZINE by Dennis Loomis This month’s column will combine thoughts and ideas from Scott Cram. you will usually use the plural form. +1 24-3D-spell the three diamond twice.spell the three of spades. turn over s card 15-7D-spell seven of diamonds. When spelling a suit. The effect will have several versions and I’ll discuss how to decide which one to do toward the end. +1 19-7S-spell seven spades. turn over s card 23-8S-spell eight spades twice.
spell two of spades. In Remote Control. (This is the newly introduced deck. +1 47-9C-from face. It seems . show s card 45-4C-from face. The spectator shuffles one. spell ten clubs. spell a 7 letter name. the spectator is allowed to peek at a card in the deck he shuffled. I received another e-mail. it’s clear to everyone that the magician knows the card. He shared another interesting idea. spell the ten of hearts. This is. His thought was to combine the premise of Darwin Ortiz’ “Remote Control” from Card Scams and Fantasies with a spelling procedure that was devised by David Harkey and Eric Andersen for the effect “Outsmart” in their book “Ah-Ha. spell a 4 letter name. One deck is boxed and placed into the spectator’s pocket. spell a 4 letter name. +1 39-6H-from face. +1 32-10D-from face. spell the four of diamonds. show last card 36-JD-from face. It’s set up in a memorized deck order. show b card 46-8H-from face. +1 33-JC-from face. or to spell something twice. spell nine hearts. spell the king of hearts. +1 42-9H-from face. show card 28-7C-from face. which the magician has false shuffled. I filed it away and made a note to come back to it one day and see how it might be strengthened. show card 27-5D-from face.” The Nagler concept was to just have a card named at random. show s card 37-4S-from face. count 10 cards. show e card 49-6D-from face. spell the jack of diamonds. spell a 5 letter name +1 34-JH-from face.) Then. spell the four of hearts. show card 30-KH-from face. spell the four of spades. spell the five of diamonds. this one from Scott Cram. Flash forward in time a few months. spell king spades. +1 41-2S-from face. spell a 9-10 letter name. spell a letter name. +1 43-KS-from face. show t card ????? 35-10C-from face. +1 48-QS-from face.. spell the seven of clubs. spell the ten of diamonds. spell a 4 letter name 50-QC-from face of deck 51-2C-from face count 2 cards 52-9D-turn over bottom card While this was an interesting exercise.. while the magician shuffles the other. spell clubs. spell an 8 letter name. But. spell spade. spell a letter name. a very free selection. show card 29-4H-from face. Still. spell jack hearts twice. perhaps. Bill himself points out that some of these situations are not particularly strong because there is no good reason to combine spelling and counting. clearly. That weakens the effect.26-QH-spell the queen of hearts. spell three of clubs. +1 31-4D-from face. spell four club. spell the six of hearts. show s card 40-3C-from face. show s card 44-6S-from face spell six spades. spell the jack of clubs. Darwin’s idea is to introduce a second deck into the proceedings. just having any card named and then spelling to it is a pretty strong effect. spell hearts. +1 38-10H-from face.
"Impossibility" 14."My Very Favorite Card" 19. but the magician gets a glimpse so that he knows the card."Fate" 5 ."Our Favorite Card"+1 17.fair."Magical" 8 ."Impossible" 11. Here is the Harkey/Andersen list: 1 ."Our Very Favorite Card" 20."Favorite Card" 13."Illusion" 9 ."Impossibility"+1 15."Illusion"+1 10."Our Favorite Card" 16."Our Very Favorite Card"+1 . (Except in the case of the 51st or 52nd card."IOU" 4 ."Impossible"+1 12.) Scott’s idea was to spell the word(s) suggested by Harkey and Andersen to reveal the location of the duplicate of the peeked at card in the boxed deck."Magic" 6 ."Your Favorite Card"+1 18. In those cases."Magic"+1 7 .Double Lift 3 . He then divulges the location of the card in the boxed deck that is in the spectator’s pocket.Top Card 2 . he magically produces the card.
"Favorite Card" 42."Your Favorite Playing Card" 31."Your Favorite Playing Card"+1 30."My Favorite Playing Card" 33."Impossible"+1 ."Your Favorite Card"+1 37."My Very Favorite Playing Card"+1 28.21."My Very Favorite Playing Card" 26."Your Favorite Playing Card" 24."Our Favorite Card" 39."My Favorite Playing Card"+1 23."My Very Favorite Playing Card" 29."Your Favorite Playing Card"+1 25."Our Very Favorite Card"+1 34."Our Very Favorite Card" 35."Impossibility"+1 40. turn the cards face-down."My Favorite Playing Card" 22."My Favorite Playing Card"+1 32."My Very Favorite Card" 36. so that the deck will remain in your memorized stack order): 27."My Very Favorite Playing Card"+1 The bottom 26 are spelled with the deck held face-up (As you spell."Impossibility" 41."Our Favorite Card"+1 38.
"MFPC" for "My Favorite Playing Card"." For the 1st. "YFC" for "Your Favorite Card" and so on . the original "Outsmart" routine suggests that you talk about their card being a lily pad (for the 1st or 2nd cards). so as not to create confusion. in a pond."Impossible" 44. 51st and 52nd cards. for example. You tell them to imagine they are pushing down their lily pad. For "IOU". 2nd. I imagine a "magi-GAL" (an actual club."IOU" 51. along with the mental images used in the memorization of your stack. When it comes to all the "favorite card" variations."Illusion" 46. I use substitute words related to the initials of each phrase . and so on. conversely. I picture my favorite magician performing a feat with my mental images to represent "Magic". or a rock (for the 51st and 52nd cards). since so many of the phrases are similar. I know to spell "My Favorite Playing Card". To distinguish between "Magic" and "Magical". For "Magical"."Illusion"+1 45."Magic" 49. Once you have the words memorized.Glide 52. The trick here. and then associate that with my card images. they are watching their rock sink to the bottom of the pond). "If I can't find your card."Magic"+1 48. in Scott’s words are some tips on learning this list: These phrases are memorized. you need to find natural ways of using them when you need them. spell I-O-U. As a matter of fact.Bottom Card Here."Magical" 47.43.and then come up with images for them . I owe you a deck of cards. You then reveal the card appropriately. and watching it rise back up (or. "Your Favorite PaCK" becomes "Your Favorite Playing Card". Anytime I see "MaFia Pick" in my mind. ."Fate" 50."MaFia PiCK" (someone the Mafia has "picked" for good or bad). BTW!) modeling on or around the card/position images. David Harkey suggests. is to create images for them that are vastly different.
box it and have the spectator put it in a pocket for safe keeping. the idea of having the boxed deck in the spectator’s pocket is also good. and that includes you. you are in a position to “assume” later that it’s his favorite if you will be using that word in your spelling to it. if one of the helpers is named Bob. you can get to the 3rd card. In most cases. My first thought was that I could strengthen the Nagler list by substituting some of the Harkey/Andersen spellings. But. and if you luck out and the card is 3 rd or 50th (3rd from the face. So let’s look at my list.) Again. for my work. it’s clear that the choice is a free one. And having a spectator just name a card out loud is as free as it gets. Then. I first ribbon spread the memorized deck which is already in play face up.) you can spell his name. the rest of the article will assume that particular stack. since a spectator names a card. And so I set out to create a routine that would combine the “best” of all of these into one. I comment that it’s pretty well mixed up. First. of course. the 4th card. and have the spectator shuffle it thoroughly. I dismissed Darwin’s idea of having a card peeked at. Now. Besides. a spectator is chosen in some random manner. you can still use much of what follows. the 49th card. and the 50th card. and some of the alternatives. I give it a quick false shuffle. Since that’s what I work with.Note that this list is not specific to any particular Memorized Deck. (If you used Bob and Mary. So. with it’s subsequent glimpse. However. I really like to involve the spectators as much as possible. I use one person to toss the cards and another to pick up a card at random because you double your chances of being able to spell their name.) They then just name any card they wish. Now. another spectator just bends down and grabs any card they like. you will be spelling to it in one way or another. if you work with a different memorized deck. First. I also liked some of the “outs” that Mike Close uses in his routine “Jazzin” in Workers Five. you will retrieve the second deck from the spectator’s pocket and locate the duplicate of the chosen card in that deck. a “fun” way to do this is to introduce a second deck of cards. I now do one of two things to have the card “chosen. My feeling is that the important thing is that ANY card is FREELY selected.) . So. But it’s festive and memorable.” First. But. (They show it to the entire group. you get them to toss the deck high into the air and the cards just shower down onto the floor! It will take some coaxing on your part to get the spectator to do this. while the Nagler list above assumes an Aronson Stack. Then. (Tossing a ping pong ball works fine.
sixth. You act surprised. In many instances. You then blow on the card. forty eighth. you may want to look at the Nagler and Harkey/Andersen lists above to see if you prefer something else. This is probably better when the deck is face down. I get to the Two of Spades. You turn up the card on the final letter. While my first name is Dennis. with and without the middle name will take you. One way to fix this is to say: “Of course this is just an illusion. except that you have to handle the deck so that you can do a double lift turnover. pocket them. You may want to use your full name. there’s a nice alternative. Offer to magically make it right and do the Erdnase Color Change to change the wrong card into the chosen one. and when you show it you are WRONG. 1. You’ll find this described in the “Jazzin” section of Mike’s book: “Workers 5. you may want to give up magic. On the last letter. I get to the Jack of Hearts. Alternatively. build it up with your patter! 2. If you cannot make this into a miracle. When working with the face down deck. In the list below. when you are spelling from th e face and would like to use the “next card” ploy. or a spectators. . Okay. forty seventh. You can apparently do the same thing. But. and fiftieth positions. Of course. fifth. or the next one.Of course. 5. do a big build up. the Jack of Spades.) or DEN. Spell IOU. it’s incorrect. and from the face.” and show the card your are holding has become the correct one. If I spell DENNIS RICHARD LOOMIS from the top. you can double the possibilities when you spell something by turning either the card on the last letter. However. Let a spectator just open the box and show the top card.” Then you do the Erdnase Color Change again and change the card back to what it was. understand that when I suggest that you can spell “Den” or “Denny” or “Dennis. From the Face.. or 6-letter name. or some other “moment of magic.. I can get several outs using my name as well. It can be your own. If I spell DENNIS LOOMIS from the Top. But first. an alternative to the “next card” ploy is attributed to Patrick Page by Mike Close. I suggest not touching the cards yourself. The card really is . If you elect to learn this. you act surprised that you are wrong. (See Harkey patter above.” I’m suggesting that you can use a 3. As you take the letters one at a time. 3. You may want to learn where spelling your full name. of course. Then you do a top change.” What follows is my annotated list of my “favorites” from the sources mentioned above. table them. That gives me cards at the third. they happen to name the top card of the deck. take the top card into your right hand. it takes me to the Five of Hearts. my friends often call me “Den” or “Denny”. or transfer them to the bottom. I get to the Seven of Spades. Then do the Top change ala Patrick Page to “rescue” the situation. This will leave two cards out of order in your stacked deck. I will list alternative procedures.
Spell MAGIC +1. Or DENNIS. (Card is Eight of Diamonds) 10 – 15. Spell THE THREE OF SPADES +1. Remember that once you pass 26. Spell KING SPADES or IMPOSSIBLE 44.” including “of. 29. 16. you will spell from the face of the deck. Again.) and turn next card or do Page Ploy. Spell FATE. Spell MAGIC. use the Harkey/Andersen word(s) above. you will be spelling or counting from the FACE of the deck. (7th Card in Aronson Stack is the Three of Hearts. Spell NINE HEARTS +1 43. for the rest of the cards. 37. 17. and 36) in which you use the +1or next card ploy. For the five instances (27. 5. 6. or DENNIS +1 or HEARTS. Or spell “TWO” (fourth card in Aronson Stack is the Two of hearts.4. Spell THE EIGHT OF CLUBS +1. not the top. Spell MAGICAL. 33. DENNY or NINE +1 (The Fifth Card in the Aronson Stack is the Nine of Spades. 8. Spell SIX CLUBS 9 Spell ILLUSION +1. For these. Spell THE TEN OF HEARTS +1 39. Spell THREE OF CLUBS +1 or IMPOSSIBILITY 41. Spell SIX SPADES or ILLUSION +1 . These cards are set to spell in the Aronson stack. +1 38.” and using the “s” on the end of the suit. Either turn next card or use the Pat Page Top Change out. Spell TWO OF SPADES +1 or FAVORITE CARD 42. 18 to 36. omitting “the. 31. so spell their name. or count 8 +1. Spell THE FOUR OF SPADES. Spell THE SIX OF HEARTS 40. 7. I like using the Erdnase Color change to transform the “wrong” card into the right one.
As you are now working from the face. The mnemonic samples from Scott Cram on learning the various “favorite” words or phrases will help. In his description of Remote Control. and when the deck is removed. This is another miracle if you sell it properly. If you get to the final letter and it’s not the card. the patterns you use are getting shorter. build up that the card is on the bottom. All of these “outs” are not too hard to learn if you are used to thinking on your feet a bit The first nine are quite easy. Then use the Erdnase Color Change to transform the Nine of Diamonds into the Two of Clubs. Spell CLUBS +1 or MAGIC +1 or DENNIS 48. And finally. you go back to spelling the card names. you’re wrong. 52.” For the next three cards (42. Spell IOU or DEN 51. but you add the word “THE” t o your spelling and use the +1 ploys.” If someone does. when spelling from the face. You’ll see as you get to . you can “rethink” the procedure should you forget what to do. See notes on 1. Cards 18 to 36 are the Harkey/Andersen word(s). when you’re done.” “of. . After the Harkey/Andersen phrases from 18 to 36. Thanks why I didn’t bother you with whether or not you are in a +1 situation for the cards 37 to 45 above. & 44) you spell only the suit and value.) For the next two cards (40 & 41) you spell the name. Remember cards 37 to 45 this way: First. 38 & 39) where you go back to spelling the FULL card names. then give him or her the empty box. Spell SPADE or QUEEN or Denny 49. say: “If anyone will volunteer to pick up all of the cards. You can use a glide to show that the card was on the bottom of the deck. Simon Aronson has already taken care of 10 to 15 for you. It makes a good way to bring in a stacked deck.” and the final “s. Darwin mentions that he often gives away one of the decks. 43. and with numbers this small. you know that you are in a +1 situation. For 16 and 17 are also the card names.” By the way.45. Spell FOUR CLUB or ILLUSION 46. Spell FATE or four letter name. You can decide if you just want to continue directly to the next card. and continues to work with the stacked deck. you have three cards ( 37. or to use the Erdnase Change ploy. If you use my idea of having the deck tossed into the air. but leave out “the. 50. and then just spell. you may keep them as a souvenir. (That means you use “the” and “of” in addition to the value and suit. Spell HEARTS + 1 or MAGICAL 47. it’s not always important to know if you are going to end on the final letter or the next letter. Or. It’s easier to remember the pattern. for the 44nd card you drop “the.
The alternative is to use this to begin a “Jazzin” session. If not. For that. I can do no better than to refer you to Mike Close’s original Jazzin in “Workers 5. the numbers are so small that it’s not hard to figure out what you are going to do should you forget. you subtract it’s stack number from 53. not 52! For example the 46th card (the eight of hearts) is seven cards from the face. you really need to have a strong finish. not six. you can decide for yourself whether you prefer to make this a single effect. Just keep that in mind and you’ll see that the numbers from 46 to 52 will give you no trouble. You now continue by having another spectator pick up a card at random from the floor or just naming a new card.” Parts of his routine will vary. but he always knows how he’s going to end. and quit after the first selected card is found in the second deck. you better pick up Darwin Ortiz’s “Scams and Fantasies with Cards” and David Harkey and Eric Andersen’s book “Ah-Ha. At the same time. order it right now from Loomis Magic.” . His ending is a killer effect from David Williamson. but you’ll have to read “Workers 5” for that story. Finally. use one of the +1 procedures. But here’s a tip: Remember that to determine how far a card is from the face of the deck. How long you want to go on is up to you. But.the end whether the card on the final letter is the proper card or not. Above 45. If you don’t have it.
I recommend it highly to all students of card magic. . The new Robert Giobbi book.. Giobbi presents an effect he calls “Strange Harmony. but take a look. The second set is the Ten of Clubs that’s sandwiched between the two red jacks. as an alternative to the spelling procedures. (Brief commercial: you can get it. A cute interlude between stronger effects. has recently been released. You then remove it along with the two red fours on either side of it. If I simply press down on the top of the deck. They form a kind of “sandwich” with your card between them. It’s full of strong routines. I knew that I wouldn’t be carrying a stacked deck just to do this.) You say “Oh yes. I’ve found two solutions so far and there may be others. an interesting problem that can be made into a charming mystery if properly staged. you can. I know that’s hard to believe. Card College 5. 35. take advantage of the natural sandwiches.STRANGE INTERLUDE Giobbi-Hofsinzer Strange Harmony with the Aronson Stack The Eleventh in a series of articles for the Smoke and Mirrors E-ZINE by Dennis Loomis Here’s an addition to the “outs” in last month’s article on Jazzin with the Aronson Stack. I always have great difficulty with the King of Hearts. this “interlude” requires a special 26-card stack. If any of the three center cards in those sandwiches is named. one that has never before been properly translated into English. as well as the set of three at 34. A spectator chooses two cards from the resulting packet.” It’s his solution to one of the Hofzinser card problems. and also the set of three at 48. Outs for three specific cards. 30.loomismagic.” At that point. the four of diamonds will travel through the deck and position itself directly below the King of Hearts. And. at a great price from Loomis Magic at www. For example. the two red fours can always locate the King of Hearts. Perhaps there was a way to do the same effect with the Aronson Stack. You know it’s at position thirty from the top. actually..com ) On page 1146. the King of Hearts. lets say spectator names the King of Hearts. so locating it takes just a moment. you simply turn the deck over and quickly spread down through the face up cards to the King of Hearts. But. the four of hearts will travel through the deck and position itself right above the King of Hearts. Giobbi says: “You will agree that this is a different effect. The first set is the King of Hearts sandwiched between the two red fours. (Or that’s the card picked up from the floor in my version. if I press again.” Exactly.” I’m referring to the set of three cards at positions 29. The final set is the Six of Diamonds sandwiched between the two black queens. The effect is very straightforward: Someone cuts off a number of cards from a deck. and although not an earth-shaking miracle. But. About this effect. and 36. It’s an interesting alternative to the spelling in the rest of the Jazzin routine. 49 and 50. Built into the Aronson stack are three natural “sandwiches. Their values are added and the total equals the number of cards that’s been cut off. and 31. That’s about as easy as it gets.
) Again. on the back of one of your business cards “Count the Cards in the Box. when you do the riffle stop force. you need to catch a break between the Ace of Hearts and the Eight of Spades.) It you use the cabaret force. Now.) Now. The second spectator stops you at any point. You now turn the two packets face up and the Four and Seven are the cards on the face. You show that the first spectator predicted this. you get eleven. you cut the nine of spades to the bottom of the deck. you write. and the cards at the top and the face of the resulting packet will be an eight and a nine.” It’s also in the book Effective Card Magic by Bill Simon. Have the second spectator plunge it into the remaining packet at any spot. (Also available at a good price from Loomis Magic. The packet left has the Four of Diamonds on top. sighting the Ace of Hearts. One way to do this is to openly turn the cards face up and spread through to the King of Hearts. Initially. of course. Here’s the other “solution” contained within the Aronson stack. This excellent force of two cards can be found in the book: Scarne on Cards. Have a spectator call out stop at any time and you stop dealing when he does.” For this version. It’s used in the effect “Double Prediction. you can also use Gary Ouellet’s Cabaret Force from his video series “The Best of Gary Ouellet.To begin. and the Seven of Spades on the bottom. (The Ace will be seventeen cards from the top. you turn the remaining packet in your hand over and begin to deal cards down onto the table again. Next. Simply sight the King of Hearts and get your break. As an alternative to getting your break by running through the face up cards. because the cards in the box total exactly eleven. Then double undercut to the break. it contains eleven cards. you probably should do the version with the nine of spades on the bottom. As an alternative force of the top and bottom cards of the second packet. In the Giobbi routine these two cards are forced in the following manner: Begin to deal cards from the top of the deck in a face down pile. If you use this method. the top packet will have seventeen cards.” After the packet of cards has been placed into the box. you can get your break face up and do the Marlo “book” turnover catching the same break with the cards face down. it’s far easier to reset your Aronson Stack. It’s fast and easy.” It’s recently been made available as a 3-volume set of DVD’s. Now. Instead of the riffle stop force. But. you can simply spread the deck between your hands and sight count. bring out the business card. Or. But. Since it’s only five cards down. After the four and . Doing the prophecy move will put the credit card between the four and the seven. showing that the cards are well mixed. you can use the Bill Simon Prophecy move. an easy way to do this is to just thumb count five cards and hold a break. It’s used in the effect “Business Card Prophecy. You can injog the King of Hearts and then turn the packet over and catch your break at the injogged card. you suggest that perhaps it would be interesting to see the cards. The cabaret force to the 17th position works better. cut the Seven of Spades to the bottom of the deck.) One way to do this is my Haymow Shuffle technique described in a previous article. The packet is left on the table and you offer to do the same thing again with another spectator. (It’s nineteen down. Make sure the writing is on the underside. The top packet is placed in the card box. Adding the four and seven. the easy way is to turn the deck face up and spread the cards. do a riffle stop force at the break. So. you must get a break between the King of Hearts and the Four of Diamonds. you turn the cards face down as you deal. and appears to be innocent.
seven have been shown. Hofzinser called his problem “The Strange Coincidence.” . let’s call this one “Strange Interlude. of course) place the packet on either the top or bottom of the other packet.” So. cut the Nine of Diamonds to the face of the deck. After the eleven cards in the box have been counted (without reversing their order. and your Aronson Stack is ready for your next miracle.” Giobbi dubbed his version “Strange Harmony. return them to the top and bottom of their respective packets and reassemble the packets with the four going on top and the seven on the bottom.
The remainder of the deck is placed aside and won’t be used in the effect. But. You now explain that you will ask the spectator three questions that can be answered by “Yes” or “No. While this is not difficult. And.” In our version. They are asked to shuffle the cards as much as they want and then to fan the cards like a poker hand. on page 9 is a wonderful trick called “It’s Not Easy To Lie. but out jogging the second. the six of clubs will be the second card from the top. you spread over five cards and drop them as a group onto the table. our version eliminates having to look through the cards at all. and tell him that you’re going to teach him the Australian Shuffle or “Deal and Duck.” Ask him to deal one card from the top of the deck onto the table. At this time. Remind them that they are to lie and ask them if their card is one of that group. it’s a piece of cake. you strip out the four outjogged cards. Begin by simply double undercutting the top card (Jack of Spades) to the bottom. he will end up with the six of clubs. fourth. maintaining . It will come into play later. Now the packet of cards on the table is handed to Spectator B. and eighth cards. Then he is to take the new top card and place it on the bottom Again a card is dealt onto the table. To do this. You then say that a few more would be better. in this version. but you really want them to do it. keeping the order intact. This places the six of clubs in the seventh position ready to go. sixth. Get them to really burn it into their memory. Along the way some fun will be had with the premise of getting a spectator to lie. In Lorayne’s trick you start out by secretly getting a six spot into seventh position. which will ultimately predict the location of a card picked by another spectator.” Each time they are to LIE. As you do so. apparently at random. With the cards in your left one you spread them to the right one at a time. Fan out the cards and tip the fan up so that the spectator can see the four outjogged cards only. Then they shuffle the cards again and finally hand the packet of eight cards to you. This time you spread over four cards and drop them as a group onto the packet of cards already on the table. you hand the packet to the spectator. You will now do an in-hand reverse faro. Spectator A will now choose a card in an apparently random manner. the magician is able to name the chosen card just before it’s revealed. They are to look over the cards and just mentally choose one of them. You start out by explaining that you need just a few cards for this trick. it gives us one more effect we can do with the Aronson Stack while keeping the stack in order. And. Relax. or cover it with their hand. Ask them to either put it in their pocket. If they say yes. This is kept up until the spectator has only one card.Harry Lorayne's It's Not Easy To Lie with the Aronson Stack The Twelfthth in a series of articles for the Smoke and Mirrors E-ZINE by Dennis Loomis This time we’ll look at how utilizing the Aronson Stack in conjunction with a great Harry Lorayne effect can strengthen it. You point out that it’s hard to lie. one spectator will choose a card. In Harry’s 2001 book. Personal Collection.
First. you do it backwards. Now. Remember that a spectator did some shuffling during the routine. It’s a wonderful throw off. You will end up with a row of seven cards. A double undercut can be used to bring the bottom card to the top of the deck and your stack is now right back in position. and the first and third time you will it exactly as described. you are putting them back in stack order. and the chosen card is in the sixth position. but try it with the cards in hand and it will become clear. we can strengthen the effect a bit. After you’ve done the phase of show the spectator four cards three times. This is a little confusing at first. All that remains is to replace that card back in order and pick up the row of cards from the table and put them on top of the deck. you can further “shuffle” the cards. You now state that clearly the six of clubs is not the card that B selected and pick it up and put it where it goes. you ask: “Would I be right to say that the card you just thought of was the Ace of Spades? (Or whatever it is. you state that the card is not the chosen card. As you build this row. but it appears completely haphazard to the audience. But then. and so you count down to the sixth card and it is the one selected. and reset our Aronson stack by doing it a bit differently. Just do the in-hand out faro action twice more. you strip out the four outjogged cards and place them on the bottom. the second time you do the in-hand reverse faro.their order. count down in the packet to the sixth card and place it on the table in front of spectator B. in order except for the missing six of clubs and the selected card. Since it’s a six. Each time. since the remaining card has to be the one that B selected. You study it and say to Spectator B: "No I don’t think that’s your card is it?" Tell them they can return to normal and resume telling the truth. While it wasn’t a full deck shuffle. you strip out the four outjogged cards and place them on the bottom. Get Spectator B to confirm this. The cards in your hand are cards 2 to 10 except for the chosen card and the six of clubs. To end the routine. If you then go into something like the Aronson three-phase poker deal. You will repeat this process three times. have Spectator A reveal their card. You can now continue with any other Memorized deck effect and a false shuffle is hardly necessary. in memorized deck work. ready to conclude the effect. if they say yes.) Of course you are right and they will confirm it. But if they say no. You will place the seven cards in your hand onto the table one at a time in an overlapping row. and place them on top. you hold the cards in your hand and turn up the top card. For ultimate confirmation. you strip out the four outjogged cards and place them on the top. This automatically places the chosen card at the sixth position! You can end right here. by having spectator A reveal their card. you point out that Spectator A must have been right. to do an effect like this that starts and ends with your stack in order. but you start the simple process of restoring your Aronson stack. That is. you take the face down card and show it to your audience. It’s a six. However. At this point you can easily determine the selected card because it’s the one that missing from the run of 2 to 10 in stack order. of course. it will be very effective. . You now table the card. It seems unlikely to your audience that a stack could have been maintained. They will agree that it is not their card. The chosen card will be right back in sixth position again. However. If they say no. each time placing the outjogged cards on top. it leaves the impression that the cards are really mixed up.
The rest happens in silence: Run the cards from hand to hand. At the end. Still in silence. it’s impossible for him to have any influence over the selection of the cards.www. turn back to face the audience. Take the block of cards. This routine certainly fits the bill. you can give the final to cards to your helpers as souvenirs. The routine is done as a stand up piece. Nick is an executive at General Motors and works in the Corporate Strategy department.” Instruct Spectator B to look at the top card of the packet and remember it as “his card. It’s a most puzzling revelation of two selected cards. This effect is based on a simple concept. and to put them aside for the moment. Nick uses Dan Garrett’s Underhanded Overhand Shuffle from Dan’s Video: “Cabaret Connivery. and then build up the speed throughout. and look for the lowest value card (B's card) and the highest value card (A's card). and is quite easy to do. As a matter of fact. it plays well if you do it slowly at first. And. If you like. While they are coming up to the stage. He frequently gives presentations to large groups of people. but pay no attention to the cards at all.” (Available from Loomis Magic for $32.00 . The spectators concentrate on their cards. and is always looking for ways to incorporate a magic effect into his presentations.com ) Turn your back and then ask spectator A to hold the deck horizontally. Any effect he uses needs to stand-alone well. There is no rush. and be strong. This does not need to be done quickly. Now. and are allowed to fall to the floor. Then ask spectator B (who is holding the pulled out block of cards) to show the face card of the block to spectator A. one by one. and sometimes even a few at a time. to begin.loomismagic. both cards are turned to face the audience. and get spectator B to pull out a block of cards. certain cards can be eliminated from consideration. He points out that the selection process is designed to make it is impossible for him to have any knowledge of the selected cards. Nick presents this as mentalism. by the sides. false-shuffle the deck. you will be holding only two cards. As the cards move from hand to hand. one-by-one. . A remembers this as “his card. get two spectators to come up to the podium/stage. Spectator A is asked to put the remaining cards back in the case.Nick Pudar's Raining Revelations with the Aronson Stack The Thirteenth in a series of articles for the Smoke and Mirrors E-ZINE by Dennis Loomis This is Nick’s presentation for Simon Aronson’s Center Cut Location from Simon’s book Bound to Please. putting you in perfect applause pose for the finale of your effect.” Then ask one of the volunteers to thoroughly shuffle the block of cards. and hold them up and look at the face of the block. Reminds your audience of the completely random nature of what just happened.
needed to zero in on the single selection. This reduces the number of cards to about a third of the size of the original block. making eye contact again. Then gradually pick up the pace. You can get two decks for a buck from “Dollar” stores. My own preference is to use two selections because it puts you in position to strike a great applause pose at the finale. dropping one at a time. It’s undignified to have to bend down to retrieve them. He has the spectator deal or cut the packet into three piles and then looks at them and hands you only the packet that contains their card. Here’s what Nick says about his presentational: I present Raining Revelations by describing a rare magic book I was able to get on the Internet at a used bookstore in Argentina. You may wish to fan the packet of cards in front of you. The proprietor misspelled the name of the book and author. be sure to start eliminating cards slowly. rather than spreading them from hand to hand. I always get a few people wanting to know more about the book. Thanks to Nick for contributing this for our Smoke and Mirrors readers. I’d play this up by making eye contact with one of the spectators. This would speed up the proceedings considerably. without saying a thing. I describe that as seriously as I can. with a very slight twinkle in the eye. and wanting to know how mind reading really works. and I’d just leave the cards on the floor! The cost of a single deck is not much compared to your fee for a show. Later in the evening. Remember that the most fascinating moment for your spectators may be when you drop the very first card to the floor. occasionally dropping more than one card until you are down to the last two. I hadn’t until I saw him do it again recently on one of the Don Alan Magic Ranch DVD’s now available. . That’s only 50 cents per performance! There’s something intriguing about seeing cards discarded and allowed to flutter to the floor. you let it fall! For drama. I think that the time it takes to weed out the cards from the typical block of twenty or thirty cards is dramatically well spent in Nick’s version. I agree that it’s awkward to retrieve the cards. spotting the highest and lowest stack numbers. which will shorten the time. That has been fun (and surprising) for me.It's ok to go slow on the reveal. Nick feels that the only bad thing about this trick is that cards are left on the floor. Then. legendarily known by magicians as having "real" mind reading secrets. Your spectators will assume that it’s the chosen card. And. You may wish to check his write up and see if one of them appeals to you. and I ran across it quite by accident.) In his write up of the Center Cut Location in Bound to Please. I remember vividly the image of Clarke Crandall doing that in his Six Card Repeat Routine and I haven’t seen that in thirty years! (Or. upjogging one card. And. he also suggests that just one spectator can be used and a single card is selected. I describe it as a long lost book on mind reading. and then pulling the card from the fan. because it gives the audience a chance to think about how impossible it is for what is about to happen. You can then look over all of them. Simon suggests some alternative ways to select the block of cards. Simon suggests another procedure.
In case you haven't seen it. Also included will be brief clips of Will Rogers and James Dean. The backbone will be the Dennis Loomis Knot Routine.com -the recent new version (v 3. Nick has created a free software program called StackView for memorized deck work. Mary Mowder. Principal shooting has been done on the first Loomis Magic DVD. but much remains to be done.0) is now available. Each of the Knots in Dennis' routine will be performed and then explained. and Bill Spooner. Perhaps they'll be ready before then. It will be the most comprehensive video assemblage of Magical Knots and Rope Flourishes ever produced. check out www. It’s a remarkable tool. Following that. Editing is well over halfway completed as of September 24th.stackview. .Incidentally. We hope to have the DVD's on the market in time for the WMS in Las Vegas in January of 2004. there will be a big collection of additional knots and rope flourishes performed and demonstrated by Dennis Loomis. Dick Oslund.
the second card is the King of clubs. 24 to 3D. I’m embarrassed to admit that it took quite a while before the light dawned. I had learned that the 24th card was the Three of Diamonds by associating the image of the Roman Emperor Nero to the image of a dime. as Simon predicted. But the problem was very simple. And so. or perhaps I should say mental processes. I’d like to share some thoughts on what constitutes true mastery of a memorized deck and how to achieve it. and so forth. I noticed that I was no longer using the mnemonic associations. and so forth. Just because you can spit out “Seven of Spades” when you’re given the number nineteen. But I was slow. But sometimes I was. or 3D to 24. and then the number spoken on the tape for confirmation. I even recorded a new tape with shorter pauses so that less time was wasted. In a few weeks. I just knew that the Jack of Diamonds was thirty-six. It seems obvious that to memorize a deck of cards requires learning 52 associations. But when. but don’t worry about it.) I used that mental picture in the beginning to go in either direction. And that is the starting point. for example. (If you don’t know the phonetic alphabet. When I first started to learn the Aronson stack. Starting with the name of a card. it doesn’t mean that you can quickly recall “nineteen” when you’re given the “Seven of Spades. I noticed that I didn’t seem to be as fast as I was when I was doing the drill tape. And then the tape would say the card for confirmation. But. With these two different drill tapes. you’re left with two different but related stimulus response patterns to practice. then a silence during which I would give the number. They are related. But I was much slower at naming the number when I was given a card. I used the mnemonic associations that Simon suggested and in two or three days I “knew” that number ten was the Ace of Clubs.Simon Aronson $28. The first card is the Jack of Spades. to learn. in practicing some of Simon’s tricks with his stack. I’m sure.“ I think that learning the stack with mnemonics had obscured this simple fact. With practice I got faster at coming up with the card. I was fast at remembering the identity of the card when I was given a number. But the truth is that there are four sets of 52 associations. the associations dropped away. number thirty three was the Jack of Clubs. Of course! I was drilling only one way. but still distinct.Memorized Deck Mastery The Fourteenth in a series of articles for the Smoke and Mirrors E-ZINE by Dennis Loomis This month will be a departure from my usual practice of sharing tricks and routines that can be done with a memorized deck. Bound to Please .00 . I thought that I was on the way to mastering a memorized deck. It would give me a number and then there would be a silence during which I would name the card associated with that number. I made a new drill tape. you won’t understand that association. I made an audiocassette for drilling purposes. You’ll still get my point.
while a commercial is on. on page 138: “Practice going both ways in your translations. you get familiar with the order and you may not be responding based on the stimulus alone. and hopefully you do too. Again. without referencing their stack numbers. I was getting pretty fast on responding to my drill tapes... but you may be learning that the next necessary response after the Three of Hearts is going to be “fifteen. “And now. I just want to share something about the drill tapes. Just name the cards. and I recommend it highly. And there it was.” for example. You just know. what I was doing. It’s one thing to just know that the Five of Spades follows the Seven of Spades. is to know the order of the cards.” as Paul Harvey is fond of saying. You can do this standing in line. what was (and still is) necessary. by the way. You say “fifteen” after the Seven of Diamonds. please allow me to digress for a moment. This is a great piece of stand up Mentalism for parlor shows. I had taken a big step. But there were hesitations. Clearly. Or. speaking each card out loud. One simple thing that can be done just about any time and anywhere is to just run through the entire deck.Incidentally. for example. And. etc.” So. for example. to see if Simon had commented on this. Make a new one when you begin to get familiar with the first one. You can then look at the next card for confirmation if you like. you can just randomly grab one for each drill session. but quite a different thing from knowing that the Five of Spades is the nineteenth card and the Seven of Spades is the twentieth card.. that the Jack of Hearts follows the Jack of Clubs.. It seemed to me that this was going to be a piece of cake. And. (It’s in Bound to Please. In time. I started to work on Simon’s Histed Heisted. the next card is the nineteenth card. in attempting to recall the order.” Then I could say it. and you then respond with the name of the next card. But I had not understood the importance.” The concept is simple. Alas I was still missing half of the story. Shuffle a deck into random order and record the new tape.. I would say the “Ace of Hearts. it took a while to “see the light. you know that the next example after the Three of Hearts is going to be the Seven of Diamonds. And that four-step process was slowing me down. the nineteenth card is the seven of spades... driving. I do now. I went back to Simon’s section in Bound to Please.. and the recorder names a card at random.. Before I drop that other shoe. . in writing this article. but you are not reading the cards from the shuffled deck. At one point. You’re actually just reciting the order of the cards in the Aronson Stack. or just bringing it to mind. when you have a stacked deck in your hand. And so I devised some new practice drills to work on this. Not because they are number 33 and 34. and my “thinking” was clearly showing when I tried to just rapidly names the cards in order.. it’s necessary to change the tape from time to time. was a four-step process.” He had even underlined the word both. you can just cut to a card and immediately name the next card. you may also be learning the response. You can make up a drill tape. but don’t think of the stack numbers. As you work with the tapes. When you have three or four of these tapes. and then. You’ll do it five times. I would have to think “eighteenth card. for the rest of the story. of course.) During the course of the trick you are going to apparently read the names of ten cards in order from the deck.
At this point, I suspect that my readers may be one step ahead of me. But, I’ll mention it anyway. You need to be able to move through the deck, naming the cards, in both directions. Just recite them out loud going backwards, or make a drill tape going backwards, or cut to a card and name the card above it, not the one below it. I practice the backward order when I reset a deck in Aronson stack order after it’s been shuffled. I spread through the faces of the cards, looking for card number 52. (The Nine of Diamonds) When I come to it, I cull it to the bottom, using the Hofzinser Spread Cull. I then look for the two of clubs, then the Queen of Clubs, working my way down in order. When I’m done, the deck is set in Aronson Stack and I’ve also gotten quite a bit of practice on my spread cull. There’s a hidden piece of good news buried in this analysis. Advocates of other stacks and systems will sometimes suggest that with a memorized deck, you don’t have a backup. If you forget your association, then you’re just stuck. But, when you understand the different kinds of memory associations at work, you realize that you have not a single backup, but two. For example, let’s say that you are trying to remember what the stack number is of the Five of Spades. You’ve just temporarily blocked and you can’t recall. The solution is quite simple. Just see if you can recall the card, which comes before the Five of Spades. Since that’s something different, the odds are that you won’t be blocked about that. So then, if you can bring the previous card (Seven of Spades) then you can probably recall the stack number of that card as well. And when you remember that the Seven of Spades is 19, then you know immediately that the stack number of the Five of Spades is 20. Of course, you could also have asked yourself if you could remember the card after the Five of Spades as well. It’s likely that you will remember that it’s the Queen of Diamonds. And then, it’s also likely that you will remember that the Queen of Diamonds is the 21st card. And so, again, you can then see that the Five of Spades is the 20th card. Just knowing that you have these two backup systems for every card in the deck will relieve some tension. And that may help you to avoid blocks of this kind in the first place. Of course, if you are blocking on a regular basis, it’s also a reminder that you need to go back and drill some more on your memory. As you continue to work with a memorized stack, you’ll discover many other patterns that contribute to “mastery.” In the Aronson Stack, it’s handy to know things like this: 1. The Nine of Hearts and Nine of Diamonds are ten cards apart. (42 & 52) 2. The Ten of Clubs is surrounded by the Red Jacks. 3. The King of Hearts is surrounded by the Red Fours. 4. The Six of Diamonds is surrounded by the Black Queens. 5. The Three and Four of Clubs are Five cards apart. (40 & 45) 6. The Three of Spades and Four of Spades are twenty cards apart. (17 & 37) 7. The Two and Three of Hearts are three cards apart. (4 & 7)
8. The card following the Two of Hearts is the Nine of Spades, while the card following the Two of Spades is the Nine of Hearts. This is just the tip of the ice burg, of course. As you continue to work with a memorized deck and learn new effects, your mastery will grow and grow. If you’re just starting down the path, remember what I’ve said about the four different stimulus-response associations that you need to learn: 1. Card.... it’s Stack Number. 2. Stack Number... it’s card. 3. Card... the card after it. 4. Card... the card before it. As I write this, I just read Jim Steinmeyer’s column in the October 2003 issue of MAGIC magazine. I consider Jim to be one of the geniuses of our magic community. The quality and quantity of his creations is truly astonishing. In this magazine, he shares a wonderful card routine called Deceptivity. I spent a pleasant couple of hours making it up and recommend it to those of you that are seeking a stand up type routine for use in parlor or small platform shows. He first details a set-up using odd and even cards. But at the end of the article, he mentions that you could just as easily use any card stack or system. Need I mention that I made it up based on the Aronson Stack? I also just got the 4 new Richard Osterlind DVD’s from L & L publishing. Osterlind is another of our great thinkers and performers. I immediately zeroed in on the section in which he explains and performs effects with his Breakthrough Card System. This is a remarkable invention and a powerful tool. But even better, in my opinion, are the effects and presentations that he does with the System. He does a whole host of powerful card magic or Mentalism based on the fact that you can determine the next card in the deck if you just can see or glimpse one card. I’m amazed at the power and simplicity of these routines, and can’t wait to incorporate them into my own work. But, since I already know the Aronson stack, I’ll be using it. But whether you use Richard’s Breakthrough system, or a memorized deck, or just a Si Stebbins stack, I recommend Richard’s DVD’s very highly. His card effects and presentations rank with the best in the world. And he tips it all in his books and DVD’s.
Scott Cram's Force Procedure
The Fiftheenth in a series of articles for the Smoke and Mirrors E-ZINE by Dennis Loomis
This month most of the article will be a contribution by my friend Scott Cram from Las Vegas. With only minor editing, what follows was written by Scott himself. Here's a sort of "tool" that can be used in the performance of memorized deck tricks that I thought you might enjoy. Start with the deck in your memorized order. Get the card you wish to force to the top of the deck (this is done as usual, via estimation and correction). Perform Ed Balducci's "Cut Deeper" force. Set all the cards that are face-up onto your performing surface, still face-up, and set the forced card aside, facedown (the spectator hasn't looked at it just yet). Look at the face card of the face-up pile, and recall the card that falls immediately AFTER that card in the stack (If you are using the Tamariz stack, for example, and you see the QH in the face-up stack, you know the next card is the 3D). Spread the remaining cards in your hand faceup, and look for the particular card you just determined (the 3D in this example). Break the spread so that all the cards from the determined card (the 3D again) to the face of the deck go into the right hand, and the remaining card are held by the left hand. Drop the right hand's cards face-up onto the tabled pile, then pick this combined pile up and drop it onto the face of the left hand's face-up cards. This reassembles the deck into your memorized stack order, except for the spectator's card. During this part of the sequence, I'll usually say, "You could have cut to any of these...” and cut this sentence off once I've found the determined card, and taken the appropriate break in the deck. I act like I just remembered the pile on the table, place it into the appropriate spot (although it should look like I'm just putting the cards back randomly in the middle), and continue, "I mean, you could have cut to any of THESE cards." You then have the spectator take a look at their card, and continue with the trick. If, through this sequence, you've forgotten what the forced card is, you can simply look at the face card, and determine what the next card in your stack is (you don't even need a secret glimpse, because all the cards are facing you!). That will be the card that was forced. After the identity of the forced card is magically revealed, you simply place the card on top of the deck, double undercut the top card of your stack back to the top, and proceed with your next memorized stack miracle! This great thing about this sequence is not only that it forces a card, but also with all those cuts that THEY themselves do, it creates a wonderful illusion of a well-mixed deck (in addition to any false shuffles you've thrown in)!
There is no trick in the above write-up, but I've found that this procedure can inspire some creativity. Here's one trick that I created after I discovered this idea: The performer false shuffles the deck, and then has the spectator give the deck a straight cut. The performer says, "Normally, I'd have you take the top card after that cut, but let's dig a little deeper down in the deck to make sure your choice is truly random." The procedure then goes on as above, and the forced card is discovered during the reassembly of the stack. The performer then false shuffles the deck, and then, holding the deck in facedown dealing position, proceeds to turn the cards face-up one by one, and claims to be "memorizing the deck". After the performer has gone through all 52 cards quickly, they name the selected card, identifiable as the only one they never saw.
This is just a basic idea to help you see the possibilities. I hope you find this worthwhile. Feel free to use this in your column, Dennis! -Scott
What I do (or will. not one. you’ll have to buy “Mnemonica. Each one has a minor discrepancy. I was skeptical that I would find one. you spell three of them without the final “s. Suit. you need to force a card. when I start performing this). read the reviews by Jamy Ian Swiss and Mike Close in GENII and MAGIC. so I’ll just describe my versions with the Aronson Stack. you force the 9S. (Card number five in the Aronson Stack) It’s near the top and easy to reach when you’re in “home” position. but you must get the card back to its regular position (5th) afterwards. As he reaches the final letter. a black card appears on the final letter. value. and cull the 9S under the spread with the Hofzinser Cull. the deck is easily reset into Mnemonica order. and Card with the Aronson Stack The Sixteenth in a series of articles for the Smoke and Mirrors E-ZINE by Dennis Loomis On page 45 of the recently released English version of “Mnemonica” by Juan Tamariz. The descriptive title is: “Spelling the color. And. If he spells black. He repeats this with two card values (a King and a Five in the Tamariz version) and all four of the suits. The spectator touches any card they wish as I continue to spread the cards from my left hand to my right. and card.” This happens just before the grand finale.” Those of you that know my work can guess that my first reaction was: can it be done with the Aronson Stack? The answer is yes. The remarkable string of factors necessary seemed to be unlikely in a random stack. sight counting. the great Spanish mem-deck worker shares a trick you do with his stack. I out-jog it a bit. not only does he land on his card. And. and I discovered. following all of this. In the versions I’ve discovered with the Aronson Stack.Spelling to Color. First. when you spell each of the suits in turn. When they touch a card. the original Tamariz routine has a similar discrepancy. I don’t have permission to explain the Tamariz version. you just have to have this book in your library. I’ll start with my favorite version. where the spectator spells to his card. and the explanation is the subject of this article. when you spell the fourth. However. Finally. The performer does a series of spelling effects. Value. when he spells red. You can use any force that doesn’t disturb the stack order. is to spread the first four cards. Loomis magic has Mnemonica at a very competitive price. if you’re a mem-deck user.” But. For this one. Before I started searching for the correct sequence of cards in the Aronson stack to duplicate this effect. But. but he discovers that the card is reversed in the deck.” But. I like this better. Don’t take my word for it. For the Tamariz version. but three different ways to do it. you have to include the “s. it happens earlier. The effect: a spectator selects a card and it’s lost in the deck. In his version. a red card appears on the final letter. good fortune was with me. and break the spread just . suit. All four of the suits are handled consistently just before the spectator is given the deck to spell to his selection. I’m pleased that it worked out this way Let’s dissect the effect. he gives the deck to a spectator who spells the name of his chosen card.
You’ll spell the colors black and red. I take it from the spectator. Alternately you can take the four cards into the right hand the same way. As soon as the spectators have seen this card. the AC.below the selection so that it becomes the bottom card in my right hand. and without looking at it. As this happens. each one going under the previous one so that you have a block of five cards in your right hand. I remove the card and hand it to the spectator. I’ll repeat the information published earlier so you can use this. I place the two halves of the deck back together and hold them in dealing position in the left hand and fan the top six or seven cards of the deck in a small fan. Unlike all of the other cards in the sequence. When everyone has seen the card. (Also known as the Haymow. I spell R-ED. On the final letter. Now. On second thought. replace it back in the 5th position. You can proceed two ways. right after you’ve found the “black” card. and then all four suits. you flip it down and take it under the block of cards in your right hand and put the block on the bottom of the deck. you say: “If I want a red card. One way to disguise this is to switch your procedure. which is where the spectator does the spelling themselves and finds their own selection. you’ll know that the black card is the AC. N. C. you will have to spell S. You will do the same actions for the values “Seven” and “Three. I immediately give the deck a false cut and then do a Charlier Shuffle. Then. If you know the Aronson stack and remember that the 9S is on the bottom. It will be a black card. You can take a card from the top of the deck into the right hand for each letter. E. It’s not the card they touched. K. say something like: “To show you how well I’ve trained these cards. but then use the block of four to flip over the card on the top of the left hand’s talon. As you say “N” you also put that card to the bottom and then address one of the spectators and ask “What do you think I get?” He’ll probably reply “Seven” and you then flip over the top . values. the 9S is now on the bottom. I square them up and tilt them up so that they can see the bottom card. Because it may look a bit suspicious to replace the card so close to the top. As an alternative. The 9S is still under the right hands cards. not the card that corresponds to the N. each of the suits. Either way. the values seven and three. you have to cheat just a bit on the seven. L.” You then say “black” and spell it out: B. you perform the same actions as above and end up displaying the 2D. the spelling brings you to whatever you’ve just spelled. spelling first “red” then two values. we always get what we spelled. you can simply catch a break under the 9S when you return it. In each case. At the end of this write up. You then tip up the block to show that you have indeed landed on a black card.) I do my own handling of it (described in an earlier Smoke and Mirrors Article) which allows me to displace five cards from the top of the deck to the bottom. I’ll spell some colors.” As you spell. I suggest that you begin slowly and then build the tempo up to the last suit. Offering to let them change their mind (they seldom do). To begin. it’s the 9S. So. allowing them to show it around to the others. I take the right hands cards from above in biddle grip. and suits.” But. and do a double undercut to bring it to the bottom. A. E. you do a remarkable demonstration of spelling. and turn over the NEXT card. and then the spectator spells to his selected card. and place each card to the bottom of the deck as you go. You are going to repeat this procedure over and over. Because of the cull. V. stop dead and really sell the final phase.
and then turn over the top card to show that the selection is not there either. and then the black. A. In the Tamariz version. I recommend that you adapt the Tamariz handling and let the spectator do it themselves. You can slow down and actually do a double lift on one of the cards as you take it. F. Either of these will get the bottom card reversed. D. As you spell seven. If you go quickly. You will now spell the value “three. All you need to know is that you use the singular terms (Club. Of course. R. One interesting approach is to give them the cards.” If you’ve been reading carefully. and Club. create a reason to put the deck behind your back or under the table and reverse the 9S while the deck is out of sight. the chosen card appears face up. N. S and the card that corresponds to the final S will be the 9S. you will end up on a card of the proper suit each time. After you put the seven to the bottom of the deck. noting that it’s not the selection. AND. your Aronson stack is still in order. and when you finish the Club. Quite a bit of time will take place before the reversed card is revealed.) Amazingly. once the card is on the bottom of the deck.” and each of the four suits. you may have noticed that we haven’t explained one detail. The momentary break in the action as you solicit and get the spectators answer. Or. An appropriate card appears on the final letter each time. T and I get a heart. S. E. In fact. Just replace the 9S on the top or bottom.card of the deck face up. you may want to remember the simple mnemonic phrase: His Darling Seemed Clever (Heart. you do the major suit first in both cases. A simple verbal excuse for this is to say: “Some magicians find a card with the deck hidden (put the deck out of sight as you say this and reverse the 9S) but I’m not going to do that. Or. I. You then turn over the deck face down. E. the card will be the 9S. cut the 9D to the face and you’re “home. And. I spell H. . Diamond. And that’s a nice visual punch to the already strong climax. Here are some handlings: You can simply do a one card “Half-Pass. Diamond. and Club. No more cheating is necessary. P. you’re home free. It will be a Seven… the 7H. will help disguise the slight difference in your procedure. adding the palmed card to the face of the deck as you do so. Spade. you can do the routine without having the selection reversed. I like to say: “If I want a heart. When you reach the final “s” of Spades.” Or. E. O. However. you have to reverse it. and then pretend to read their mind. If you are a little leery of this. They duck one card to the bottom for each letter you say. you can “supervise” the procedure. etc) and the order will be: Heart. not the bottom. you can control the 9S to the top.” This wording makes the use of the singular term logical. turn the deck face up and display the bottom card. It may help you to remember the suit order if you remember that you do the two red ones first. Spade. retaining it on the bottom. How? Well. You can focus on just selling the effect. you can simply grab two cards together as one somewhere along the way. Your choice. you’re exactly in position to spell the chosen card: N. If you don’t do a palm or half-pass. this “double deal” can be done without deceptively. so they’re unlikely to remember that you concealed the deck. I’m not even going to find your card… you are! But first…” and you start the spelling patter. A. Palm it off with either a two handed palm or a one handed top palm. there are other approaches. They think of the card and you spell it out loud.
if you like. drop me an email. That means trying to cut about 29 cards. A. L. the 10C. K T. M. just as you cheated on the S. R. I’ll let you enjoy discovering the “path” yourself. N sequence in the first routine. E. A.com) The reason I prefer the 9S sequence is that you can go directly into the force from Home position with no need for the estimated cut. K Q. C. N J. and then get it to the bottom of the deck. (35 is the stack number of the 10C. trying to bring it to the 6th position from the top. U. K sequence. you get the card back to its original position. and then control it to the bottom. E. E. L. As you square the cards. B D.The other two versions are similar. and you subtract 6). not the 6th. A. I can assure you that it works nicely. D B. E. I’d do an estimated cut. I have to put it back at the 7th position. P. W. . D. (deloomis@mindspring. Later. U. E. As I begin spreading. D S. That means I was one card off in my cut and that I need to cull the 7th card. A. and I see the 7C. If you can’t figure it out. V. and that you have to “cheat” once. and in the other. I just did that. glimpse the bottom card of the deck. I just sight count the first six cards and cull the 7th.) For the 10C. A. C. But. you force the 8H. You must cheat on the J. In both cases. O. it’s not hard to do the other two versions. and I’ll send you the solution. (Reverse it. I. N. you force the 10C. T 10H KS QS JS 2H 6C 7D 5S 7H The “cheat” Then the spectator spells to his card. C. when I return the 10C. For the 8H sequence. O C. E H. The full spelling sequence for the 10C is as follows: R. In one. A. E.
and alternate them. But instead of a random number of cards. The right index finger swivel cuts approximately half of the cards back into the left hand. of course) then the packets in the hands remain about the same size and you can keep going as long as you like. This is probably six or eight cards. but I push about half of the deck. The deck is cut approximately in half. Here’s a repeat of a part of my article on my variation of the Charlier or Haymow shuffle and how it can be used to move any number of cards you wish from the top to the bottom: I believe that I originally learned the Haymow shuffle from Royal Road to Card Magic by Hugard and Braue. I checked Gene’s instructions and also the Royal Road again. you could learn all three of these. My primary use for it is as a way to get ready for the Simon Aronson Three Phase Poker Deal from his book: Bound to Please. This can be any number. what I’m doing is somewhat different. Perhaps I read the instructions wrong in the first place. With some help with the fingertips and thumb of the left hand. You begin the Haymow Shuffle by pushing a block of cards with the left thumb off of the top of its cards onto the bottom of the left hands cards. The number is unimportant. it works just the same even though it looks quite different. push off exactly three cards. I don’t know how I fell into this action. but the upper half goes into the left hand. For completeness. You will want to do that for the third and fourth phase. I’ve done it for years. I usually do four or five. the process is reversed and the left hand pushes off a block of cards. And again the right hand pushes a random number of cards off . and was rather surprised. This is very easy. it pushes off exactly three. Again. I’m going to add the 9S version to my repertoire. So now. But. Again the left hand is lowered and the right hand pushes off a small block of cards onto the bottom of the left-hand cards. if you have a corner or belly short in your deck. I do not intend to explain that routine. you can easily cut the deck back to starting order. in discussing it with my pal Gene Anderson that I was doing it differently. here’s one simple method: With the deck held in dealing position in the left hand. let’s use it to accomplish something: moving a block of cards of any size from top to bottom. the cards in the right hand are moved into a dealing position in that hand as well. I do this in the process of the Haymow Shuffle. When you stop. This is the eleventh card in the Aronson Stack. If you’re pushing off roughly the same amount of cards each time (except for the first time. This is not necessary for the first two phases of the routine. To do this. and indeed. but it’s not important. This is the original top half of the deck of course. but you must begin the routine with the ten of spades on the bottom of the deck. the right hand comes over and takes the entire deck from above in Biddle Grip. Now the right hand pushes off a block of cards from the top of it’s half onto the bottom of the left-hand cards. Still. and the left fingers push a small block of cards onto the bottom of the right hands cards. The left hand is raised until it’s just above the right hand and the right fingers push a small block of cards from the top onto the bottom of the left-hand packet.Theoretically. here’s how I do it: The deck is held in the left hand dealing position and a bunch of cards are pushed off the top into the right hand. Again. The left hand is lowered back to its original position. The difficulty is that the different spelling sequences may be hard to remember. For myself. with some determination and some mnemonics you could do it.
You have transferred exactly 11 cards from top to bottom. four more cards the third time. it again pushes exactly three cards.” four more cards the next time. For example. You can move any number of cards you wish. in my head I say: "Three. To move larger groups. you’ve pushed a total of nine cards off of the cards in the left-hand pile. nine. Finally. the left hand pushes four cards in it’s first “turn. if you wanted to move fifteen cards from the top to the bottom. At this point. and you have the ten of spades on the bottom ready to do the Aronson Poker Deal.” . as I do the shuffle. the left hand pushes just two cards onto the bottom of the cards in the right hand. Again the right hand pushes any number of cards onto the bottom of the cards in the left-hand pile. The third time that the left hand pushes cards into the right hand. The right hand now places its entire pile onto the bottom of the left hands cards and the deck is squared. In the above example. six. and finally just three cards. you may want to move five or even six cards each time. Keep a running count in your head. no other mixing has been done.the top of its pile onto the bottom of the left hands cards. and eleven.
they are spelled. In the original Kruskal Count the Aces count as one and the face cards are valued at five. the magician predicts a card. I shared it with Simon Aronson. This process is repeated. . Kruskal. the Four of Clubs. a spectator is asked to cut the deck. Since there are only three cards remaining. By using the Aronson Stack with the appropriate prediction card. and the Six of Diamonds becomes the “selected” card. I worked this out shortly after getting my copy of Mnemonica. Instead of valuing them as five. let’s say that the card cut to is the Ten of Spades. arriving at the Four of Diamonds next. we can guarantee the success of our trick. Arenillas and Tamariz have changed the procedure for the face cards. With a new procedure for the count. Since a face card was reached.Prediction a la Kruskal with the Aronson Stack BY DENNIS LOOMIS & SIMON ARONSON WRITTEN BY DENNIS LOOMIS On page 45 of the recently released English version of Mnemonica by Juan Tamariz. For the Jack and King. I’m pleased to reveal that it can. Next. he created a brilliant addition which makes for an even stronger effect. It was designed to be done with a shuffled deck. The cut is restricted to the top half. After considerable investigation. and the Six of Diamonds. When. With the deck in Aronson Stack order. we can perform a strong prediction routine. A counting process is used to move through the deck to a final card. First. but the original Kruskal procedure often leads to a disadvantageous situation which I will explain later. I use the spelling procedure with the face cards. then the Ten of Clubs. but was not successful 100% of the time. If a Queen appears. In fact. I wondered if it could be done with the Aronson Stack. In Mnemonica. which turns out to match the prediction. my effect with the Aronson Stack will work with either process. there’s a trick called: “Prediction a La Kruskal. the spectator spells Q-U-E-E-N as five cards are dealt. The spectator deals ten cards face up onto the Ten of Spades. a card from another deck in your pocket.” It was devised by Antonio Jose Arenillas for the Mnemonica stack. Let’s work through an example. the count can go no further. only four cards are thumbed over since those cards spell with four letters. or any other prediction procedure you like. This can be a written prediction on a piece of paper. the spectator deals five more cards and arrives at the Queen of Hearts. The cut off packet of cards is turned face up on the table. revealing the card the spectator cut to. The Kruskal count or process was named for Rutgers mathematician Martin D. and with a new starting point. arriving at the Queen of Diamonds. So.
and place it somewhere in view. I’ve been carrying a Queen of Hearts from another deck in one pocket so that I can do this trick. First. So cut off less than half the deck so that we have some cards left in which to do the counting. I simply pull the card out. with its back to the audience. and your prediction must be the Queen of Hearts. Here’s a chart showing the path taken for a cut to any of the top 24 cards: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 7C 4H KH 4D 10D JC JH 10C JD 4S 10H 6H 3C 2S 9H KS 6S 4C 8H 9C QS 6D QC 2C 10C JC JH 10C 9H 4S 10H 4C 3C 2S QS 4C KS KS 2C 9C QC 6D KC 2H JS 5C 5C JS 4C 4S 10H 4C 2C 2S QS 6D KS KS JS 6D 9C 9C JS 2H 5C 5C AS AS 9S KD 6C 9S 6D 2S QS 6D JS KS JS 5C 9C 9C 9S 5C 2H 2H 9S AS 6C 6C 3H 3H KD AD KD KD 5C KS JS 5C 9S 9C 9S 6C 2H 2H KD 6C AS AS KD 3H KD KD AC AC AD 7S AD AD 6C 9C 9S 6C KD 2H KD KD AS AS AD KD 3H 3H AD AC AD AD 10S 10S 7S QH 7S 7S KD 2H KD KD AD AS AD AD 3H 3H 7S AD AC AC 7S 10S 7S 7S QD QD QH QH QH AD AS AD AD 7S 3H 7S 7S AC AC QH 7S 10S 10S QH QD QH QH QH QH 7S 3H 7S 7S QH AC QH QH 10S 10S QH QD QD QH QH AC QH QH 10S 10S QD QH QD QH QD QD QH QH QH QH .” Just follow the procedure outlined above. We’ll count down a random number. For the past few days.You need only do two things. it’s a card often named by laymen. you must cut the Five of Diamonds to the face before starting. In discussing this with Simon Aronson. and your path will always lead to the Queen of Hearts. he suggested the following patter to explain why their choice is limited to the top half of the deck: “This is a counting trick. It’s lucky that the Queen of Hearts is the card that works with the Aronson Stack. spelling the court cards and counting the values of the others. The spectator can cut to any of the top 24 cards. and the trick is virtually self working. using whatever number you cut to.
You will have to cut the Five of Diamonds to the face. just go into this trick when it is. (Just remember that these are stack numbers one to eight. or below the Six of clubs. but then the counting and spelling procedure will proceed to the very last card. This is because of one of the poker deals built into the Aronson Stack. the Ace of Spades. So. the Queen of Spades. 6. If you look on the chart at the path from the top card of the deck (the Seven of Clubs. you simply do not do this trick. . No cards appear in both of those paths. However. If.COMMENTS 1. The initial cut can go quite a bit deeper. of course. The reason that the Kruskal count works well with the Queen of Hearts as the target is that there are two cards which lead directly to the Queen (The Seven of Spades. I recommend using Simon Aronson’s patter given above.) you are fine. have them turn the packet face up. the next twenty two cards all do this.) And. I prefer to avoid it by using the procedure of spelling the face cards worked out by Arenillas and Tamariz. you’ll see that they’re completely different.) But. you continue with this trick. and the Queen of Diamonds. This should seldom happen as Simon’s patter virtually ensures that the cut will fall into the totally safe area of the top 24 cards. However. If you are proficient at ‘Jazzin’ with the Aronson stack. Fortunately. and if they cut a little deep. You can even do so if they should cut into the eight card block immediately below the Nine of Diamonds. it will not work with the 9 of Diamonds. With one exception. It looks better to have one card left on the table. however. you see card 52 (Nine of Diamonds) you react by saying: “I think that’s a little deep. Just revert to your normal ‘Jazzin’ procedures. if the cut falls on the Nine of Diamonds. Any card which begins a path which crosses either of those two paths will lead inexorably to the Queen of Hearts. 2. you can eliminate any restrictions on the cut at all. the paths which lead to those two cards are mutually exclusive.) and the path from the second card from the top. The trick will work if the Queen of Hearts is cut to the bottom. That’s the top 33 cards of the deck once you’ve cut the Five of Diamonds to the face. 4. 3. This suggests a stack. If the cut falls in the safe area of the top 24 cards. in some paths. with the Aronson stack. all of the cards up to the Six of Clubs will work. If you use the original Kruskal count procedure of valuing the face cards as “5. Since the Queen of Hearts is frequently named. 5. and the Ten of Spades. If you like to ‘Jazz’ with the Aronson stack.” the trick will work. the Jack of Spades. will you cut a few less cards?” Then you replace the packet and have the spectator cut again. this trick makes an excellent addition to your arsenal. If you see a card in the range of 28 to 51 or 1 to 8 (stack numbers. you will arrive at the King of Spades.
After the spectator has shown the card around. This can easily be done with this version. You could put “punch” work into one of those cards as well. so it’s easy in his case to catch a break one card up from his short card. The selection must come from the lower half of the deck. (They must touch one of the top 23 cards. and you are set. you can use any of the following cards which are near the bottom of the deck: Ace of Hearts. In Mnemonica. Now double undercut to your break. with the Five of Diamonds as your prediction. and your final card will be the selection! As Simon said: “This opens up the possibilities greatly. Spread the stacked deck for a selection and removal. Three of Diamonds. Just return the Queen of Hearts to the bottom of the deck. Now proceed with the Kruskal procedure outlined above.7. Seven of Hearts. and Five of Diamonds. and as he does so. Simon works with the 5D as a short card. replace the Queen of Hearts on the bottom of the deck. Don’t let them pick either the bottom card or the one adjacent to it. You do NOT square up those cards. Eight of Spades. and by the time he can respond. You can then repeat the entire routine. Hofzinser cull the chosen card. you need only replace the selection in its proper position and your Aronson Stack is intact. get a break between the 7H and the QH. it must fall from the 28th card to the 50th card. Move quickly. A couple of days later. the Kruskal procedure will lead to a card previously selected by another spectator! Begin with the deck in Aronson Stack order. he had worked out this brilliant variation. Arenillas and Tamariz give their method for repeating the effect. Simply begin spreading cards from left to right with your left thumb as you begin to ask the spectator to take a card. After you complete the effect. He suggests that you may also want to pencil dot the Seven or Queen to facilitate this. This is very easy to sight count. In fact. Have the spectator show the card to the other spectators. Have someone just touch any card they like as you thumb cards slowly into the right hand. This is not difficult. In Simon’s version. split the deck at the break to have the selection returned. The 5D will become the face card of the deck. and the selection will be two cards above it. Actually. slow down and let them choose a card as it goes by. you have passed the first 28 cards or so. As you replace the spread cards in your right hand onto the cards in your left. Obtain a new break two cards down. The way you’re holding the cards . Then. THE ARONSON ADDITION I told Simon Aronson about my discovery of how to do “Prediction a la Kruskal” with the Aronson stack.) Break the deck below the card they touch and tip up the cards in the right hand to show them their selection on the face. COMMENTS ON SIMON’S ADDITION 1. Here's an alternative procedure I worked out for the selection process: Begin by cutting the Five of Diamonds to the face. and slip the card of your choice from the above list to the fifty-first position.” When the effect concludes.
2. Begin by forcing the Queen of Hearts from a different deck.) Now false shuffle and/or cut and you are ready to proceed with the Kruskal Count. If your force is deceptive. Have the card tabled but not revealed until the end of the effect. Svengali Deck. like a one-way deck. Or. (The next-to-the-bottom-card and the one above it.makes this quite easy. . you create about the same effect as with Simon’s addition. slip the culled chosen card between the 7H and QH. etc. you can use a sleight of hand force. You could use a gaffed forcing deck. As you close the fan. You can create a similar effect using a procedure from Mnemonica.
the following face-up cards show. Then deal a face-down card onto the other six face-down piles. After the initial deal. We’ll going to run through a sample game and give you a few examples of the procedure as it progresses. . KS. if you have a Three of Spades showing on top of a pile. First deal a row of seven facedown cards on the table. when you’re finished. this is not a game that you play just for fun. But the same game can be done with virtually any full deck stack in which you can determine the card before and the card after a given card. (Although you can do that. Since there are so many forms of solitaire. when you move a face-up card or a stack of face-up cards onto a different pile. you can place either of the red twos onto the Three. and JD. These values are for the Aronson Stack. you’ll have your deck in memorized deck order. From left to right: 3H.) It is a technique for practicing your mastery of a memorized deck stack. 5H. As in regular Solitaire. KH. Continue this until you have seven piles of cards and each one has a face-up card on the top. you then turn up the face-down top card of the pile from which you removed the card(s). Then turn one card from the deck face-up and place it onto the facedown card at the left end of the row. And. and deal five cards face-down onto the face-down piles.) In Mary’s game. Begin by shuffling your deck. In standard Solitaire. For example. 7S. You are going to deal out a layout for the “standard” game of Solitaire. you can only play a single face-up card or a stack of face-up cards onto the top of one of the piles.Mary Mowder's Memorized Deck Solitaire Dennis Loomis' Addition to Shuffle-Bored with the Aronson Stack Aronson Anti-Faro WRITTEN BY DENNIS LOOMIS For the December 2004 issue of Smoke and Mirrors Mary Mowder’s Memorized Deck Solitaire Despite the title. 3D. (The normal procedure is that the card played has to be one lower in value and the opposite color of the card on the pile. I’ll explain. Now deal a face-up card onto the second pile from the left. you can play a face-up card or a stack of face-up cards either on top of the face-up card(s) or UNDER the face-up card(s) on any pile.
following the “rules” of Solitaire. In this way. So. Its stack number is 7. Neither of those cards is visible either. Go on to the 7S. Since that card is not visible another play cannot be made. (But on top of the face-down card in that pile. As play progresses and these stacks of face-up cards get longer and longer. Scanning the cards. recall that the card before the 9H in Aronson Stack order is the 2S. it’s the AS. And. Play continues in this fashion. shuffle the deck before each new run through. The card that follows the 9H is the KS and that card happens to be visible on top of the 5th pile. the card before it in Aronson Stack order is the AS. It is now possible that the new card among the visible cards could play onto another face-up card. overlapped so that the indexes of each are visible. it is only necessary that you can see the top and bottom cards of the face-up row. or under it. Since this is the sixth card. (If you end up with two stacks that cannot be assembled “properly” it means that somewhere along the way you’ve made a mistake in playing a card. In this particular example.) Your assembled stack will probably have to be cut between the 9D and the JS to return it to original Aronson stack order. But. Since the 9H is one card lower in the stack it is played under the KS. you’ve drilled yourself on the stack numbers and the cards before and after for each of these seven cards. That’s the 42nd card and it follows the 2S. Look at each card in turn to see what card could be played onto it. and the card after it is the 6C. It’s the 19th card. neither of those cards is visible. and place the face-up AS on top of the face-down single card. To randomize the drill. there is no 2 of spades present. In this example it’s the 9H. First consider the Three of Hearts. . the top card of the talon is turned up. you’ll ultimately end up with all of the cards in one full stack.) Arrange those two cards in overlapped fashion as in typical in Solitaire.” this won’t happen often. By determining that. But. feel free to change the rules to suit yourself. That would have exposed the face-down card under the 9H and you would have turned it face-up and it would be available for play as well. and add those cards to the deck. don’t place any limit on the number of times the deck can be run through. One thing that’s helpful is to complete each game. Now turn up the top card of the talon. you would have moved both the 9H AND the KS on top of the 2S. Lift the 3H. Scanning the face-up cards. if the 2S had been the top card of any pile. and the card after it is the 5S. When you’ve gotten to the point where no more plays seem possible. This assures that you get some drill on all of the cards. it can be played under the 3H (#4). and look for it. remove one of the stacks of face-down cards from under one of the face-up stacks. Unless you “cheat. remove another stack of face-down cards from under another stack. The basic idea is to practice your memorized deck skills. The AS is then placed face-up onto that card and the 3H is placed on top of both.The first step is to see if there are any plays that can be made in the layout before you start to turn cards face-up in the remaining part of the deck (talon). The card before it is the AD. If you get stuck. there are no plays possible in the initial layout. In this case.
you first do what appears to be a straight cut. But.” You’ll find this routine on Paul’s DVD: “In the Trenches. you can adjust cards either way so that you can get a break between the Jack of Diamonds and the Four of Spades. cut 36 cards (or as close to it as you can manage) and just separate the deck slightly at that point. or Hungry Jackass orders. take a deck stacked in Aronson order in hand. So. It can even be done with the Osterlind Breakthrough System.This game can be done with any memorized deck. I particularly like his ideas for justifying these procedures which appear on page 323 of “Mnemonica. it’s all carefully worked out to nullify a series of 4 out Faros he’s done before. When you finish the trick. giving the slightly smaller group to the spectator and you continue with the standard Shuffle-Bored Effect. This brings the Nine of Diamonds to the bottom of the deck.” There are several variations of this procedure.com I would like to suggest an alternative procedure to the slip cut process described by Simon and Alain on the Web Site. (It’s easy to find because it’s just three cards to the left of center. But it is still in a sort of “Divided Deck” condition. It was originally published in his book “Sonata. I doubt if your audiences will find this “boring. As you place the remaining cards in the right hand on top of the cards in the left hand. Alain Nu came to the rescue and discovered a way to do this remarkable effect using a deck stacked in Aronson Stack Order. Just above it is the Jack of Diamonds. the trick requires a special full deck stack. allow some time to elapse as you begin the introduction into the effect. As he’s explaining this. he deals the deck out into 16 piles of cards and then reassembles them in what appears to be a very haphazard manner. the deck is no longer in Aronson Stack order. transfer the break to the left little finger. you can peek down into the break and see where you’re at.” All of the procedures are designed to nullify the effects of one or more Faro Shuffles. hold it in dealing position in your left hand. although you will have to develop facility working both forwards and backwards in it.” The routine is described in the final section of Simon’s great book: “Bound to Please. You’ll find the complete write up for it.simonaronson. For our second topic. In fact. When you’re ready to cut the deck as required for the beginning phase of Shuffle-Bored. With your right hand. . As you tip the deck back down to horizontal. Despite the title. but also with the Si Stebbins. let’s take a look at Simon Aronson’s wonderful effect: Shuffled Bored. If possible. And we’re going to focus on the “Out-Anti-Faro 4” from page 322 of “Mnemonica. in his brilliant book “Mnemonica” Juan Tamariz includes a procedure he calls the AntiFaro. with Simon’s suggestions. It’s not. on Simon’s Web Site: www. and you are ready to begin the Shuffle Bored procedure by turning the deck face-up and spreading to the Six of Clubs. By tipping the left side of the deck upward. he claims that this is the surest way of completely mixing up a deck of cards and that’s why it’s used in the casinos in Monte Carlo. if you’re interested in learning this. Simon explains how you might take advantage of this on his web site. you do the Kelly Bottom Placement.) Cut the deck between the Six of Clubs and the Eight of Diamonds.” I like to use Paul Green’s presentation which is based on the TV game show “Jeopardy. and follow along. Begin by swivel cutting all of the cards above the break into your left hand.” Of course. Eight Kings. Finally. As soon as you see the card.” Briefly. While toying with the deck after your preceding effect.
AC. JS With your deck preset in this order. you bring out the chosen card itself.) But. 2C. then we could end up with the deck in any order we like. After that. QS. Once the card has been forced. 7S. AS. QC. Since it’s worked out to produce the same results every time. KS. There appears to be no particular order to the cards. Either of these cards is in position to be spelled in the Aronson Stack. 9H. One interesting feature of this stack is that several cards are already in their Aronson Stack positions. KH. 6C. as Tamariz does. spread them to show they are fairly well mixed up. 7D. 10H. For example. 5H. When he does. the Ace of Clubs is at the tenth position. JC. QD. 4S. or T-W-O-OF-D-I-A-M-O-N-D-S. Here it is for your use: From the top down: 9D. Spot and then force either the Ace of Clubs of the Two of Diamonds. but if we could calculate the proper starting position. Then. (Even to users of the Aronson Stack. 6H. 5C. it can become what amounts to a very effective false shuffle. For those of you that have heard the buzz about the Loomis/Riser Micro Chop Cups for the past 2 years. 3H. 4D. no more will be made and when the inventory is gone they will not be produced again. be warned that Jim Riser will be producing the last of these during December of 2004. 3S. of course. 3D. you can introduce the cards. you place the deck into your pocket. and the Two of Diamonds is at the 13th position. KC. The cards were removed from your stacked deck. . I’ve done that for the Aronson Stack. 9C. and a spectator can shuffle the deck. on the final letter. 8C. A-CE-O-F-C-L-U-B-S. 3C. 10D. you reach into your pocket and pull out cards one at a time. 8H. 4C. You’re now ready to do the Tamariz Anti-Out-Faro 4 procedure and your deck will be in Aronson Stack order. 5S. It certainly does. as done by the casinos in Monte Carlo. 7C. it can be returned to the deck in any manner you like. You spell one letter of the card’s name with each card you remove. You then quickly deal the cards singly into 16 piles. Not that it doesn’t change the order of the cards. but then claim. You then remove the rest of the deck and place it face-up on top of the tabled pile. QH. and do either the one handed or two handed pickup explain by Tamariz on page 322 of Mnemonica. 10C. You put the first card face-up onto the table and place each card onto it. a feature that Simon built into the six cards from positions 10 to 15 in his stack. Assume that this deck is in one of your pockets and you’re working with a second deck. and at the conclusion of the trick you’ve switched in the stacked deck. that you are going to mix them in the surest manner possible. 6D. AD. 6S. 5D. AH. 4H. For the first time. 2H. 10S. This is fortuitous. JH. you ask the spectator to name his card. 8S. JD. It gives us a way to secretly introduce this deck into play. 2S. 8D. 2D.I think that this would be an excellent way to introduce a deck of cards and convince the audience that it’s truly mixed up. 9S. KD. 7H.
Annemann suggests the use of a short card.) This is a great trick with two decks of cards. Richard Osterlind also performs and explains it on his new series of DVD’s entitled “Easy To Master Mental Magic. But. while Osterlind does this routine with a red deck and a blue deck. . the second climax.loomismagic. because it’s Richards’ addition.) So. But. You use the same basic patter.Magic vs. that the Aronson Stack has the necessary stack in position right on top.com . it’s not difficult to reset the deck right in performance. and my eighth article in this series goes into some detail about that. That’s not in Annemann’s version.com free of charge. (All of the articles in this series are available on my web site at www. Annemann did not specify that. and Osterlind uses a corner short for this effect. but it’s certainly worth considering. I urge you to get Richard’s set of Easy to Master Mental Miracles on DVD. I usually have two decks of cards set up in Aronson stack order. I don’t.” (Both are available from Loomis Magic at www. and will explain some alternatives in a moment. That’s because Simon built the same kind of spelling effect into his stack. It’s convenient. I won’t go into that here. You can do a shorter version of this with just a single deck. However. and it makes no difference: the routine is equally good with two decks that are the same. and it’s not bad. this is a must-have item for your library. you’ll find it on page 236 of the “ANNEMANN” book by Max Abrams (The Life and Times of a Legend. if you have two decks in Aronson stack order you can go right into this killer routine.) But. In my walk around work. Mindreading WRITTEN BY DENNIS LOOMIS For the January 2005 issue of Smoke and Mirrors The trick by the above name was created by Ted Annemann. If you do mentalism. I carry two decks of the same color. if not coincidental. However. although occasionally I lose the order in one of the other of them. Osterlind has a third climax with a prediction in an envelope. with the second deck really takes this effect into the “killer” category. and what a mind reader or mentalist would do in the way of a card routine. It’s a demonstration of the difference between what a magician would do. each with the same 15 card stack on top.loomismagic. the Annemann routine has a great “hook” which is the patter theme.
A spectator is asked to select either deck and place it in his pocket. When he reaches the final letter. and makes a great closer. and the cards are shuffled. he shows a fan of cards to one spectator and asks that they simply think of any of the cards. By now. The performer explains that a mentalist would do no such thing. possibly shuffling them some more. He would simply have someone think of a card. which card he would merely think of. No force or equivoque is necessary. A jog shuffle is one good possibility. . my readers are probably ahead of me and understand the basic idea. the cards are spread face up so that the audience can see they are well mixed. During this. then he must have read the spectators mind and then put the card into the proper position. the eleventh card spells with eleven letters. He pantomimes the selection procedure. Whatever the spectator says. that when the card is returned to the deck in his hands. here. The performer explains that since a card was merely thought of. since both decks have the necessary stack. Then the performer explains that a magician would have a card physically chosen. but does not have a card actually selected. As you may know. The fan is then placed onto the deck proper. and again spell down to the card he thought of. and fanned them in such a way that only the bottom six cards of that packet could be seen. While Annemann did not use all of the same cards. and the card is spelled to. He explains. The tenth card spells with ten letters. (Another false shuffle to retain the top stock) The performer asks the spectator to name his card. Then they are false shuffled to maintain the 15 card stack on top. He picked up the top 15 cards of the deck. without changing their order at all. The other spectators probably think that he sees a lot more cards. He’s directed to turn each card face up as he deals it onto the table. removing a card from the top of the deck for each letter in the cards name. Then he locates the card in some mysterious manner. Annemann did this in a very simple way. his stack achieves the same thing. he is asked to remove the 2nd deck from his pocket. the card arrived at is turned over and it is the card merely thought of. and the performer offers to explain the difference between what a magician does. and so on. the tenth through 15th cards in the Aronson stack were intentionally chosen by Simon because they all can be “spelled” from the top of the deck. On the final letter. Then the performer has him remove the cards from the box.The basic effect: Two decks are brought forth. showing them well mixed. he has his opportunity to do some magicians sleight of hand. Having said that. This is very strong. He then explains that a magician would probably handle the cards a lot. Only the spectator that looks at the fan realizes that he has only a very small group to choose from. and he will probably think very little about that. sure enough. etc. the card he mentally selected appears. and what a mentalist or mind-reader would do with a deck of cards. in advance. Then he asks the spectator if he things that he might have known. and then read their mind. All that remains is to force one of these six cards. and I recommend it highly.
The second phase is all done in the spectator’s hands. This reverses the order of that block in your stack. Finally. . and both of your decks remain in Aronson Stack Order. the fact that he deals them into a face up pile retains the order. That’s really all there is to it. simply drop your hand to your side and thumb count 15 cards as you talk. but since this is my working deck for many effects. lift up the deck and cut to the break with your other hand.Annemann used a short card to simplify cutting off the 15 card setup. When the second deck is removed from the spectator’s pocket. I don’t do that. and easiest of all. if you are any good at all at estimation. Just replace the tabled cards on the top of the deck. and when the appropriate moment arrives. you can easily cut to within a card or two of 15 cards. add or take away a card or two so that the 15th card (Seven of Diamonds) is on the fact of the packet you are cutting off. just thumb over cards and sight count them until you have fifteen and remove that packet. First. if necessary. I’ll give you three different ways to achieve the same thing. if you are good at thumb counting (as Max Maven is) during the preliminary patter. and. Hold a break at that point. the cards from the first deck are dealt face down on the table when spelling to the selection. Glimpse where you are at. In the Osterlind version. retaining the order of the cards. and he spells to the same card. It’s probably wise to glimpse the face card before proceeding to be sure that you’re in the right place. so five quick pushes and I’m right where I need to be. It’s simple enough to avoid: just deal cards from one hand into the other. Alternatively. I usually thumb over three at a time. and is automatic. after you’ve completed the false shuffle. Follow the procedures outlined above and both the first and second phases work easily.
you cut the scallop card to the top. only nine cards are used. The 19th is called “All-Outs Think-of-a-Card. false shuffle the deck. The three of hearts should be right in the middle of the fan.com or from most magic dealers. a spectator thinks of one of 13 cards. but the magician simply shows a fan of nine cards to the volunteer who remembers any one of them. but not the identity. You now return the fan to the top of the deck and cut it to the middle. then you do not have to put the “work” into one card that Kort used. the spectator names the actual card. In the Kort version. the deck is fanned to show that he reversed one card. But. It’s a simple matter to get a break under the top two cards and undercut them to the bottom. The spectator has to remember both the number and the card at that number.Memorized Think of a Card WRITTEN BY DENNIS LOOMIS For the June 2005 issue of Smoke and Mirrors This month. Flip the top card face up (it’s the three of hearts) and cut it to the center and bring the deck in view. I have a little preference for the Kort version since it does not require the spectator to remember both a number and a card. the magician then holds the deck behind his back or under the table and does “something” to the cards. Then. When the deck is out of sight. Then. the two of hearts is in forth position. If. While the fifth card in the Aronson stack is not a trey. So. the spectator reveals the number his card was at. The spectator now thinks of any of the cards. For Vernon’s original you need to get a deuce in the fourth position from the top of the deck. In both cases. retaining their order. the three of hearts is in position seven. To do my version. let’s take a look at my version of the Milt Kort/Dai Vernon Classic “Think of a Card. if you are carrying a deck set in Aronson stack with you.” It’s Milt Korts version of the Vernon “Think of a Card from More Inner Secrets Of Card Magic. has recently released the 19th Volume in his Private Studies Series. In both cases.loomismagic. like me. but is usually not. He need not take note of nor remember any number. In the Vernon original. then you may want to try mine. You can get them at www. Form a fan of the first 9 cards. I’m not going to tip any more right here. my version is based on the Kort Routine. and you can do the Vernon trick with no other preparation. In the Vernon routine. a simple set up is required. and than double undercut the top two cards to the bottom. you may prefer to do the original Kort Version. The routines differ in some particulars. Later. Ron Bauer. the performer gets some information from the volunteer. you have the top card (Jack of Spades) as a scallop short. but not badly. Following the Kort .” My old Michigan pal. Now the three of hearts is in the fifth position. Once you do. I recommend this series highly and have all of them in my personal library. this card might be the thought of card. In the Aronson stack. They are shown to him one at a time and are numbered 1 to 13. In the Kort version. The routine will disarrange your Aronson stack a bit. because you really should get Ron Bauer’s #19 manuscript. and then transfer six cards from the top to the bottom. the magician shows that he had predicted the card by counting from the reversed card to the selection. In both versions. you need to get a trey fifth from the top of the deck. In the Kort routine.
typography. I’ve posted them on my web site. if they named the three of hearts.loomismagic. For those of you not familiar with the Kort routine. Click below for more information about the Kort Routine: Ron Bauer's Private Studies Series #19 . There you will find a few items for sale that are of interest to memdeck workers. and really kill your audience.com and click on the link to the memorized deck magic. it seems unlikely that the cards could be in any kind of stack or order. Of course.” You’re going to fry your brother magicians that know the Kort routine.com and at fine magic dealers everywhere. and you’ll also find the full text of the prior 19 articles. and at any time. There will be a full page ad in MAGIC magazine for the new 2005 edition of my Cups and Balls Routine.Think of a Card Only $ 9. you now have the spectator name their card. and full color cover done by Larry Utley are just gorgeous. you count to it “blind. But with the deck memorized.00 If you want to look up any of my previous Smoke and Mirrors Articles on memorized deck work. The advantage of this is that you can carry your memdeck. I’ve reworked a lot of “standard” magic routines like this one to utilize a memorized deck. you explain that you reversed one card in the deck.loomismagic. But if not. . once you bring the cards back into view. Watch for the full page ad in the July issue of MAGIC magazine. so this is a good version to do for the guys at the Magic Club meeting. you can get it at Loomis Magic and at fine dealers around the country. We’ve added a lot of new material. do two or three good card effects. As soon as they do. the cards remain ribbon spread face down on the table. We’ve added a DVD with the instructions. two performances. use the series of outs so thoroughly explained by Ron Bauer in the manuscript. Just go to www. This simplifies the performance enormously. You can find the book at www. In Kort’s version. mine is quite a bit stronger because it is not necessary for you to look at the cards. you have just done a miracle.procedure. Loomis Magic has a couple of new products which have recently hit the market. taken all new photos. you have to fan them so that you are obviously looking at the faces. and a demonstration of how to make one of the necessary gimmicks. but a card that would lead to the thought of card. so you can then go into a strong routine based on the memorized deck. tell him he can get it from Murphy’s or Fun. Then. At that point. When the spectator names his card. This is my reworking of the classic Koran prediction with the Koran 101 deck. Your deck is still in Aronson stack order. The set comes with a special Koran 101 Deck in which the force cards have all been marked. (If your dealer doesn’t have it. although you will need to cut at the scallop card to get to home position.) Also just out is a new version of Mentalism 101. and ribbon spread the deck widely on the table.Milt Kort's All Outs . Of course. you explain that you did not turn over the thought of card. and the new layout.
Out of My Mind (Out of This World with a Mem-Deck) by Dennis Loomis I’ve been on pins and needles. Certainly one of the cleanest versions of this classic ever released. Years after the Curry Version was published. and the black one goes onto the pile where the red cards are. But. He called it “Nu-Way Out of this World. You put a couple of indicator cards onto the table. While the Grant version is excellent. but you could do this with any memorized deck. But. one black and one red. The original is described in Paul Curry's Book: Magician's Magic. When he’s finished. Out of this World.” It was almost as clean. Grant released his version which could be done with a shuffled deck. They are separated by several inches. You can get it through Loomis Magic. or randomly pull out cards. waiting for the release of Dean Dill and Michael Weber’s new version of Out of This World. What I was worried about was that I heard a rumor that the Aronson Stack was involved. They call it New World. The magician looked at the faces of the cards as he did so. I’m ready to do this version at any time. My version requires a set up. and the spectator holds the face down deck and deals cards onto one or the other of the indicators. At about half way through. and most lay audiences would not see any difference. it can be fanned or ribbon spread face up and to the spectators it appears to be well mixed. the cards are turned over to reveal that he has apparently placed every card correctly. The red one goes onto the pile where the black cards are. I use the Aronson stack. After about half the deck was used up. U. Then. As my regular readers know.F. he could then hand the deck to the spectator who could simply use the cards in order. but you don’t have to use the special Curry Set-up. Paul Curry Out of This World is the effect where the spectator appears to successfully separate the red cards from the black cards in the deck without looking at the faces. Since I seldom go out of the house without a deck set in Aronson order. It turns out that my thinking and theirs are completely different. if you like. I was afraid that I had accidentally stumbled onto their method. available from Loomis Magic. So. You are not quite as clean. . my subject for this month will be “my” version of Paul Curry’s masterpiece. The advantage is that while the deck is stacked. the spectator continues through to the end. it’s a memorized deck. it is a trade off. It does require that the deck be set up. as well. two new indicators are placed down. and it is a great new effect. in his version the magician chose each card for the spectator.
If not. building up two piles of face down cards on top of the face up deuces until you reach the 3D. you tip up the deck with the faces toward you. We will be depleting red cards from the top 24 cards of the deck." And then you turn it face up. a few inches apart. (2C) When you have explained the premise to your volunteer assistant. You can also just fan the deck face up. but since you now need a black card. You will apparently pull cards at random from the face down deck. The effect begins by placing two indicators cards on the table face up. and outjog the next card which you know to be the 5H. your ready to begin having them "read" the colors of the cards. You do not reveal that. You’re going to have to know the original trick so that you can do the “move” at the end.The magician does select the cards for the spectator to place. Thumb over to the 4th card. There is an old "touch" with Out of This World which not only plays well. Internally you say "6C. and you spot the Nine of Diamonds and cut it to the bottom. You place it onto the appropriate pile. As you go along. Do some false shuffles and cuts. Or you're just not sure where you left off. If he says "Red" you place it face down onto the face up 2H. and so we take our red indicator from there. but will allow you to get a check of where you are. ending by bringing the Nine of Diamonds back to the bottom. As you start to push over the next card you say "Three of Hearts. You continue in this fashion until you place the 22nd card onto a pile. You know these because the deck is memorized. but in your mind you say "Nine of Spades" and push it over. You will repeat this process. showing how thoroughly they are mixed. you will pull only red cards right up to the 22th card. only 3 of the first 11 cards are red. but he doesn’t look at the cards as he does so. If he says black. (AH) To begin. As soon as you've placed the 3H on the pile based on the spectators "guess. Since all of the cards you are pulling out are red. you outjog it and let the spectator guess the color. you may find that you lose your place. it will be red. the you say "Ace of Spades" as you push over the next card. and is apparently well mixed." you thumb over the next card in your hand. pull it out and turn it face up. and you are also going to have to know the Nu-Way version. I find that most magicians are familiar with these.) We are going to take advantage of the fact that in the Aronson Stack. when the spectator calls one as "black" you can say: "No. If you are proceeding properly. saying their names to yourself. You then thumb over the AC and 10S. thumb over the first three cards and the next card will be the 9S. (It will be the 2H. To do my version. I have a scallop short cut in the Top card so that I can do this at any time. A simpler way to begin is just to keep the deck in Aronson Stack original order." As you push the next card you say "8D" and since it's red. You now ask the spectator whether he things that card is red or black. it goes onto the 2C. you are well advised to learn them." and since it's red. you outjog it. In fact. This appears to be a random choice to the spectators. It's the AH. the deck is shown to the audience. The spectator designates the color and you put it onto the proper pile. If you . i'm afraid you got that one wrong. I'll give you a couple more examples. You thumb over the bottom card (9D) and remove the next card.
just taking cards off the top. the situation will be that you have two piles with a face up deuce on the bottom. . The spectator has devined all of the cards correctly. it's a little less time consuming. You now hand the deck to the spectator and instruct him to continue as before. But. The next two cards. As he does this. doing the switch move (many have been devised) and showing the other stack. This will be about the same number of cards as were used before the new indicator cards were placed.have gotten confused about where you are in the stack. it could be black. The remainder of the pack will be all black cards. The other is a face up red card on top of the pile which has the black deuce on the bottom. if you prefer to do the original effect and have all 52 cards used. you simply continue the first part until you have placed the 6D onto a pile. and typically 4 or 5 cards on top of each one. you will have 12 black cards on top. You then square up the deck and turn it face up. If you now square the deck. One is a face up black card on top of the pile which has the red deuce on the bottom. The two cards on the face will be the 9D and the QC. When you have placed the AH. are the 8S and the 3D. you count the cards and stop him when he's done 12. The cards on the table are now in the standard Out of This World layout and you finish by showing the "correct" stack. and placing them down on either pile without peeking. But either way. Then you know exactly where you are. so you can just turn them up and use them. Note that this version of the effect does not use the entire deck. You use these for the two new indicators. So. At this point you will place the two new indicator cards. you see the card. in the spreading process.
A card is burned to the bottom and three cards are dealt face up. This can easily be done in the context of my handling of the Haymow shuffle. I checked through his results and they are accurate. In true Hold'em. I think this is called 4th street. a single blind raise by the person to the left of the dealer. it is sometimes worth staying in on a marginal hand if you have one of the blind raise hands. but not sure. or the 5 on the board and no hole cards.Texas Hold'em with the Aronson Stack BY STERLING DARE (A.A. That's easy since you need only cut six cards from top to bottom and you're off and running. You could use both hole cards and 3 community cards. Finally. This is called the flop. More betting. ----------------------------------------------------------------------------------------------Briefly. 1 hole card and 4 community cards. Betting occurs after the players are dealt 2 cards. There may be some patter advantages based on that. There will be 5 community cards that can be used by all the players still in the hand being played. Final bets and showdown. You use your two hole cards plus any combination of the 5 community cards to make the best 5 card hand of poker. With the 3 of hearts on top of the deck: 1st player gets: Two Pair.Aces & 3s 2nd player gets: Two Pair-Aces & 5s 3rd player gets: Two Pair-Aces & 8s 4th (dealer) gets: 3 Aces With the 5 of hearts on top 1st player gets: Two Pair-8s & 5s 2nd player: Folds 3rd player gets: Pair of Aces 4th (Dealer): 3 Sevens . more betting and then 5th card (River). and a double blind raise by the person second to the left of the dealer. See Articles 5 and 6. in Hold'em each player (4 in this case) gets 2 face down cards. Lefty the Clown) Written by Dennis Loomis My friend Sterling Dare has worked through the Aronson stack to see what happens if you deal a hand of Texas Hold'em.K. Then the Flop. then 4th card. With Hold'em the results will not change as a result of betting and who folds and who stays in. but there is an ante. This is so popular on TV today that it's of value to be able to do some routine if the question comes up. Sterling explored all 52 possibilities. I agree with him that the best case seems to be when you start with the Three of Hearts on top. A card is burned and another card is dealt face up. It doesn't matter for the Aronson demo. a card is burned and one more card (the river card) is turned face up.
Others have the dealer winning. flushes and even 4 of a kind. but the players get zilch for hands. . There are other combinations in which other players get straights. but none for the dealer.With the Ace of Hearts on top: 1st player gets: Two Pair 10s & 4s 2nd player: Two Pair 10s & 4s 3rd player gets: Two Pair 10s & 4s 4th (Dealer): Full House With 7 of Hearts on top 1st player gets: Two Pair Js & 10s 2nd player: Two Pair Js & 10s 3rd player gets: Two Pair Js & 10s 4th (Dealer): Full House With 7 Clubs on top: 1st player gets: 2 tens 2nd player: 2 fours 3rd player gets: 2 kings 4th (Dealer): Two Pair-Tens and 4s The best demo hand for me is the one with the 3 of Hearts on top.
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