, CARL CLOUTIER magIcien ey lecture \‘ ae) | 2 |BALLISSIMO ! THE REQUISITES: 2 blue balls, 1 red ball and 1 yellow ball. These are hard rubber balls of the Hi-bounce type which are easily found in Toy Shops. They are slightly larger than golf balls. You'll also need a Topit set up on your coat's left side. The jacket's cuffs should be round. THE SET-UP: A blue ball in left side pocket of jacket A blue and a yellow ball in right side pocket A red ball is concealed in the left sleeve at elbow level Jacket's outside breast pocket held open by a balled-up handkerchiet. ‘Smooth sleeving is of paramount importance for the deceptive execution of this routine. Carl's approach with balls is similar to the method outlined with cards in his Travellers’ Advisory routine,which is one of the companion routines within this set of notes. Refer to them. The finger motion is slightly different in that the third finger is involved, but the basic pushing movement pattern is similar. The body movements are important in this type of routine - and are quite tedious to con- vey in print. To facilitate the descriptive aspect, a clock analogy will be used. Imagine that there is a clock dial pasted on the floor and that you are standing on it, in its centre. The audience is facing you when you are looking toward 12:00; your right and left shoulder are pointing toward 3 and 9:00 respectively. The routine starts with the performer facing 12:00. 1)The performer is facing the audience. Right Hand (RH) goes to side pocket; both the blue and yellow balls are grabbed . The yellow ball is closest to the sleeve opening ; yellow ball is sleeved as the RH comes out of the pocket to display the blue balll at chest height. RH holds pose an instant. 2)The pertormer pivots to 10:00 as RH false transfers to LH, keeping ball in palm. Vanish effected by opening LH. Performer pivots to 2:00 as rolling acquitment is performed i.e, RH index points to empty LH. RH opens and ball rolled by RH to LH as performer pivots. The ball is in LH palm at the conclusion of the motions. 3) LH produces blue ball by squeezing it on top of fist . Simultaneously, RH drops to side and the yellow ball falls out of the sleeve into the hand. The hand is immediately brought back up to LH level 4) performer moves to 10:00 as RH takes the blue ball from the LH. The blue ball is held on top of the closed fist by the thumb (thumbcatch) while the yellow one is inside. Bending at the elbow, the R arm apparently tosses the ball into the waiting LH (Fig.1) but.fig.2 5) A form of the Bobo Change is performed. RH opens on the toss, throwing the yellow ball out; the thumb rolls the blue ball behind the palm and fingers. The ball is not palmed (Fig.2). 6) While performer pivots back to 2:00, RH sleeves ball as it pulls up and toward R, finish- ing the motion with a finger snap and a pointing motion toward LH. 7) Yellow ball tossed back and forth (horizontal plane) .There is a ball loaded in each sleeve... 8) While RH tosses yellow ball up to eye level, LH falls to retrieve red ball. Immediate pivot to 10:00; RH false transfers to LH and change to red revealed. RH retains yellow ball palmed 9) While performer pivots from 10 to 2:00, RH rolls red ball toward thumb while the yellow is loaded into the LH (Fig. 3 ); the hand is closed. The end position is LH with red ball on top, yellow inside fist. (Fig. 5 for spectator's view). 10) RH picks up red ball in classical color-change position i.e. between the first and 2nd fingers of the opened hand. LH palms its yellow ball 11) Pivot to 10:00 and do a variation on a classical ball change; LH moves ahead and in front of the R hand and sweeps back toward you, switching the balls in one continuous action. The red ball has been transferred into a yellow one. The red ball is secreted in the LH. Pose and pause for effect. (Fig. 6... end position).fig. fig.4 12) LH tosses yellow ball to RH which accepts it in thumb catch position. (see steps #4-5) 13) RH switches balls during tossing action through Bobo switch; the yellow ball is now red...14) Yellow ball topited by RH as LH tosses red ball to RH...which keeps moving R and up to shoulder level to display ball. Pause and pose. 15) Simultaneous action of both hands: -LH rises to shoulder level to show empty palm; and -RH falls to side to recuperate red ball from sleeve. The blue ball is concealed from the front by the red ball; the red balll is held at the fingertips. 16) Pivot to 10:00; do the thumbcatch-Bobo change from step #4-5, changing the red ball to blue. Finish with blue ball in LH and red ball palmed in RH. 17) LH tosses blue ball to RH, which takes in in thumbcatch position. RH now holds 2 balls. 5 18) RH comes up to face level to display change, sleeving the red ball on the way up. Blue ball is displayed. 19) Pivot to 10:00 as RH tosses Blue ball into LH. RH then falls to your side and recuper- ates the sleeved red ball. 20) LH tosses the blue ball into the RH as RH tosses the red balll into the Topit. RH imme- diately moves up to your face level, pauses, and drops the balll into the LH which is by now at waist level.21) LH tosses the ball up; both hands meet at waist level to catch it on the way down. fig.7 22) RH sleeves the Blue ball as both hands come up in a lateral arc, terminating with hands below your chin, hands fully opened;the ball has disappeared (Fig. 6-7-8). 23) Hands fall back to waist, expressing emptiness. Hands then fall to side, retrieving the ball 24) Hands come back to waist, pause for 1 beat, and reproduce ball at the fingertips. 25) Pivot to 10:00; RH does a false transfer into the LH which pretends to drop the ball deep into the L jacket side pocket. (LH goes in deep). 26) RH reproduces the ball by “squeezing” it atop the fist. This put-away-reproduce- sequence is done 3 times in quick succession. 27) On the fourth time the LH loads up with the second blue ball before coming out of the pocket. RH reproduces the Blue ball one last time. 28) In a variant of the shuttle pass RH feigns putting the ball in the LH. Display the Blue ball on the L palm for one beat. The hands then position the visible ball in R thumbcatch position.29) As you pivot to 2:00, raise the R arm and sleeve the hidden ball. RH stops at shoulder height, displaying the ball at the fingertips. RH holds pose for a beat. LH raises to shoulder level 30) RH tosses the ball into the LH; RH falls to side and recuperates the sleeved ball 31) Pivot to 12:00. Both hands meet at waist level to jointly hold visible ball; in a quick, jerky motion the 2nd balll is produced, creating the illusion of a visual split. The hands pause for a beat, displaying the balls. 32) R & L now engage into the same semi-circular motion as in step #22... but this time both balls are sleeved in their respective sleeve. The hands stop in display position at chin height, palms opened, facing the audience. 33) Hands fall down, regain balls and reproduce them at chest height; Both fists are closed with a ball sitting on top, the R slightly above the L. Pause and pose to display (Fig.9 ) fig.11 34) R fist pushes down on the LH ball, seemingly to put it inside the L fist; actually it is slipped inside the R fist. 35) L fist now reaches over to the R elbow and taps it with the opened hand, effecting the vanish. To facilitate this motion, The RH innocently rises above your jackets breast pocket (Fig.10). Drop the concealed ball in the pocket.36) Both hands meet at waist level to display the last ball, which is topited by the R hand in the course of the hand wipe action. Go get yourself a beer. \ THE PATTER: One simple blue ball... simple but special... Because it changes color... Twice, from red to yellow... to red... and back to the color we started with...which is blue. | see that you like this color... | can make this one into two... and make them both disap- pear... (and so on . The rest of the routine’s patter is pretty much improvised... and is mostly descriptive.)TRAVELLER'S ADVISORY Traveller's Advisory is a highly visual card routine suitable for close-up, platform or stage use. It tackles a classic premise with an array of unusual techniques which makes for a very clean handling. This, in turn, enhances the‘instant” feature of the plot. These tech- niques can be applied to many other routines and warrant your study. This routine is angle- proof. THE PLOT: 4 cards are selected, signed by spectators and returned to the pack. The per- former drops the pack on a table and shows his hands unmistakably empty. The hands successively reach into 3 different pockets and extract 3 of the signed cards, which are immediately identified by the spectators; i.e. spectators recognise their own signatures. The empty hands retrieve the last card from the performer's boot. THE REQUISITES: You will need a pack of cards, a permanent dark colour marker and customised trousers. As well, you should be wearing a jacket and wearing boots. There should be a table to your immediate left. The alterations to the pants are pivotal to the routine - but they are quite simple and will not inconvenience normal usage and streetwear. High-waisted pants with pleats are ideal; The loose fit will minimise the sinful hand motion which will take place behind the flyA cloth tunnel connects the right and left pants pocket (Fig. 1). The tunnel is ample enough to. comfortably accommodate your hand - and is directly behind your tly Additionally, there is an horizontal slit in the front of the right pocket itself, 2/3 of the way down. This opening is large enough to accommodate passage of your hand to the knuck- les. The boots are ungimmicked - but are of a type which is short and loose at the ankle.(Fashion aficionados will recognise the Cossack boot.) In the course of the routine a card is fed through the pocket slit to fall to the boot. Although the cards are freely selected, we will refer to 4 consecutive cards in the text to simplify your study. 1) The 4 cards are selected signed and returned to the pack where they are lost (well... not quite.) You actually control them to the top in Ace - 2 - 3 - 4 order. A break is held beneath the 4 cards. 2) The pack is held in Left Hand (LH) ; both hands simultaneously point to their respective pants and chest jacket pockets, as the performer tells the spectators what he is about to do. Hands are back at waist level, relaxed. 3) Performer turns 3/4 Left (L); both hands briefly come together at waist level. Right Hand (RH) palms top 4 cards and picks up the pack in Biddle Grip. Hands repeat the pointing motions of Step #2 as performer verbally reinforces his impossible claim (Fig. 2). RH retums pack to LH. fig.24) LH falls to waist level; RH falls to side. The attention is directed to the LH as it is raised to mid-chest height. The comer of the pack is thumb-riffled. This is the magic moment! 5) As you direct your gaze to the audience, the RH rises, sleeving the cards in the process - the RH stops at shoulder level, index pointing up to the ceiling. 6) RH holds pose as LH drops pack on table and comes back up, mimicking RH’s posi- tion; both palms open facing the audience, fingers spread. 7) RH drops down to waist level,recuperating the sleeved cards in the process. In as con- tinuous motion the hand goes to the Right Hand Pocket (RHP). Note that the cards are not palmed, but merely gripped (Fig.3). Once within, the RH thumbs off the top two cards in the Tunnel (#3 & 4) ; thumbs off the next to the bottom of the pocket and feeds the last (the Ace) into the pocket's slit. All of this, of course (!) in quick unhurried fashion. A little verbal misdirection helps. 8)RH retrieves the #2 (in pocket) and comes out,presenting it at shoulder height face-out to the audience - and then drops it on the table. 9) LH goes to Left pants pocket (LPP) and enters the Tunnel ; it palms the outside card (#3) and comes out with #4 held at the finger- tips. Card #3 is concealed in full palm position. 10) Both hands meet at chest height and buckle the visible card, making a clicking sound by softly warping it (Fig.4 ). 11) Simultaneous motions of both hands now occur; RH comes up and out to shoulder level, arm fully extended, card facing out; gaze locks on that card . LH reaches across to Right Inside Jacket Pocket (RIUP;Fig.5). 12) RH drops #3 on the table. Your gaze now tums to RIJP. RH grasps R lapel and opens jacket fully. The card is pulled out only when the jacket is fully opened 13) Card #4 is displayed face out to the audience. 14) Both hands shown empty (see step #6 - same position and context). The wallet is men- tioned, setting up for the final punch.fig.4 15) The hands start to reach for the “wallet”, but the action is interrupted as the performer remembers where he keeps his valuables while he travels. 16) Right foot is put on top of table (or on a spectator’s chair.) 17) One final time, the hands are displayed empty. The RH reaches to the pant leg and pulls the cloth away from the boot. 18) The LH removes the card from the boot.fig.6 To recuperate the sleeved cards, simply (!) reverse the motion. Do cock your wrist early on the way down. Once in the hand, the cards will realign pretty much by themselves with minimal finger motion. The routine’s structure will cover what little needs to be done. Remember, the cards are held, not palmed at that point. The sleeving can be done reliably with practice, practice, ...and practice. Do not despair! (And if the Supremes’ reference works for you, remember... there is no need to put your other hand on your hip.) The feed of the card through the pant pocket all the way to the boot may feel chancy; it is not as bad as one would initially be inclined to think. There is nowhere for the card to go but down. Because of the Cossack boot's particular shape, it will tend to catch the card. To minimize the risk of the card getting caught or wedged somewhere, use baggy trousers. In practice, the feed fails very, very rarely as magicians attending Carl's performances at the |.B.M. , the F.F.F.F. and Ron Macmillan’s intemational Close-Up Competition will attest.fig.7 CARL'S PATTER; Four signed cards from four different places in the deck You don't have to remember the cards; all you have to do is to remember your name. (A Gary Kurtz line.) to remember where they are in the deck... because they're inside my pockets! Hard to believe?... it's Magic. Card number 1...2...and #3. Card number 4 is in my wallet. Oh... | forgot That is where | keep my money when | travelTHE CARD CONTROL: That is really up to you. Use your favourite shenanigan. A serial control is okay, but Carl prefers a multiple shift for its expeditiousness. He designed the routine for magic competition and wanted to highlight the instant translocation of the cards with minimal foreplay, in order to meet stringent competition requirements. 4 cards are selected, Bang! they're gone...to the pockets. He uses Neal Elias’ Multiple Shift from “The Classic Magic Of Larry Jennings” to which we must refer you to. Any multiple contro! would db ... as long as it is convincing. THE PALMING OF THE CARDS: Again, use your favourite method. If you do not have one, then just grab the cards in palming position... and go for it ! A lot of effort went into the description of hand movements and gaze direction, as well as timing. When you'll try out the routine you'll find that the “sensitive” moments are well covered by a blend of misdirec- tion which is Ramsayish and Kurtzian in roots. Even if you never do this routine, there is ‘much to learn in its analysis. It is its linearity, its directness which makes it potent. And the effect is pretty good, too. THE SLEEVING OF THE CARDS: The sleeve must be (obviously) unobstructed; roll up your shirtsleeves or wear short-sleeved garments. If the coat sleeve's inner lining has a folded edge, have a seamstress modify it. Round French Cuffs are not well suited for card sleeving, but flat ones are. The cards are sleeved by a combination of a wrist cock and arm movement, in one contin- uous movement: 1) RH has cards in palm position; arm hangs down along your side. Incidentally, try this with more than 4 cards at first - it is more difficult with less cards. 2) Fingers are relaxed. The packet is held balanced on the base of the fingers, extending fractionally past the little finger base (Fig.6 ). 3) The hand and arm will come up, coiling and uncoiling like a snake... think of your hand coming straight up alongside your body, and your arm getting out of the way...or a little like Diana Ross and The Supremes in “Stop.. in the name of Love...” ‘As your hand moves, the wrist cocks and the little finger kicks the cards into the sleeve (Fig.7). 4) The momentum of the cards and the arm motion combine to effect the sleeving, Note that gestures are always motivated; the hand, when at eye level, points to something , brushes away a strand of hair or supplements a verbal point. It is possible - but difficult- to sleeve only one card in this fashion.TOPITING THE MATRIX Standard fare for the close-up workers of the 70’s, Al Schneider's classic effect probably derives from Yank Hoe'’s Sympathetic Coins. The modern Matrix itself has been the subject of much scrutiny. Indeed, many a youth has been squandered on the development of yet another variant. This Particular handling uses sleeving in the fashion of a servante. Since the effect is that of a translocation of objects, as opposed to a vanish or a transformation, specta- tors are much less likely to suspect the use of sleeves in the methodology. Needed are 5 identical coins in your R (right) pocket, a table to perform on, and 4 cards to use as the customary covers. The table should be cloth covered: its surface should have some “give”. The presence of spectators will make your efforts that much more satisfying, although you might want to omit them in the initial practice runs. The coins are taken out of your pocket, flashed as a group, and tossed to the LH (eft hand). One coin is however secretly retained in the RH. Carl simply palms it classically during the wind-up to the throw. Maneuver the coin surreptitiously to fingertip rest i.e. on the fingertips of the palm down hand, fingers curled in. The coin is allowed to rest (literally) on the finger’s tips. From this position it is pushed edgewise against the second finger, while gripped flat between thumb and third fingers. Thumb presses against the second finger and slips off to the side. The resultant motion of the second finger will kick the coin back- wards towards the sleeve. The arm goes up fraction- ally past the horizontal plane to point to a specta- tor as you sleeve the coin. LH hands the coins to the spectator and request that they disposed separately on the table in no particular arrangement. This will result in a 4-sided shape. (why ask for a square? Think of it as a way of let- ting the audience express their creativity) Hand them the cards, with the request that each individual coin be covered.a , = fig. fig.2 You are about to explain the premise of the effect, punctuating verbal communication with gestures. LH picks up a card at the L_and one one the R, transferring them to the RH which receives them in a thumb and index grip (fig. 1). The hands’ action are now coordinated; The LH is recipient of your attention. reach over to the leftmost coin with your pointed index finger and slide the coin to the R uncovered coin, and back to its former position. In the interim, the RH falls to your side. The sleeved coin is recuperated as it falls in hand, covered from sight by the cards. Keep the coin in fingerpalm. LH meets RH in front of you to take one of the cards. RH pinches the coin flat behind the card with thumb underneath the card and fingers up front. Seemingly prepare to deposit the cards over the coins by covering them. The next hand action are simultane- ‘ous. The LH card, still covering the coin, glides forward until the innermost edge of the coin is felt by the thumb. The second finger then presses where the outermost edge of the coin should be, an action which will cause the inner edge to lift off the table's sur- face fractionally. Pinch the coin/card assembly between the thumb and second finger, lifting the lot off the table. The coin has disappeared. (this is a rather lengthy description of the Dingle/Schneider Pick-Up move. It is instantaneous in performance.) The RH basically reverses the same action to place the coin on the table. The L side coin appears to have travelled to the R. The hands freeze for one beat. Second fingers reach underneath and flick the cards up; follow by pinching the cards {and coin) between first and second fingers. The freed thumbs flick off the corners in the process. Re-grip the cards so that the thumbs are on top, and the fingers on the face of the cards. The fingers of the LH fully cover the coin.Turn the cards face up while the thumb pushes the card to the extreme fingertips. Reverse the motion. the coin remains concealed throughout. These actions take place as you illustrate the coin’s presumed flight path, punctuating words with concurrent ges tures. Reposition your LH card over the two visible coins (retaining the grip on the coin) as the RH approaches a covered card. Hesitate for a beat, then scale out the face up card and place your rh ready to do the Dingle/Schneider. Effect the second translocation and repeat the acquitment/ finger-flicking routine. The second acquitment is performed during a shoulder shrug. Scale out the RH card as you prepare for the last translocation by openly sliding the last coin farther to the R. Cover the 3 coin pile with the LH as the RH covers the last coin with its card. Do the simultaneous pick-up and steal. Take a step back. The translo- cation is over. there is a card in both hands; RH conceals a coin pinched underneath. As you raise your arms to the horizontal plane, do the flicking sequence until the cards are held lengthwise thumbs uppermost, fingers underneath. The coin is held by the first and second fingers pressing against the thumb. At the horizontal plane, the second fin- ger is allowed to slip inward, propelling the coin (hopefully) in your sleeve. Both hands flick the cards once more, and drop them to the table. Raise your hands slightly. You are in a natural applause cue position. Smile. The sleeved coin is recovered at your leisure. fig.3This is a bare bones description of the original effect described by Jerry Mentzer in one of his Close-Up Cavalcades. Myriad embellishments can be (and indeed were) perpetrated on Mr. Schneider's fine effect. Before messing with it, look it up. Indeed, the general consensus at the Café Paltoquet was that the World does not need yet another version of the Matrix. However, its inclusion into these lecture notes is warranted by the fact that it makes for a nice practice vehicle to perform sleeving and allows you to build up your confidence in using it publicly. (Remember, magic is a performance Art... Besides, people are likely to get the wrong idea if you spend an inordinate amount of time in the bedroom or washroom.) It is a quasi-impromptu piece. 4 coins (?) of a common denomination can be bor- rowed and coasters pressed into service. Carl's insistence in letting the spectators handle the props reccurs throughout his work. The subtext's intent is to create in the spectators an impression of control wherein in fact, they are being directed. It is also cautioned through real-life experience of actual performing situations, where people like to see and feel unusual props... such as a silver dollar. Another aspect to consider is that in the rigours of restaurant or bar work, there may not be room for your close-up mat. And those neat close-up tables take up a lot of space. Fast, flexible, and visual; the Matrix is here to stay. Try Carl’s. You might find it more satifying than simply sleeving in the mirror. And hair will not grow in your palm... lest it’s a full moon.LIQUID ASSET The performer fills a glass with liquid and covers it with a handkerchief. It immediatly vanishes and is recovered later in the performer's pocket. This stand-up piece is dra- matic and visually arresting. It is part of Carl's waik-around repertoire. To try your hand at this particular item, you will need to get hold of a small glass, the size of which is governed by the span of your hand between your second finger and thumb. Carl uses a cordial glass, which has a small stem. An impor- tant feature is that the walls of the glass should be thick, for reasons which will become apparent as you read on. You'll also require a hollow rubber ball of a diameter slightly larger than that of the glass’s mouth. The ball and a 9-inch handkerchief of the same color as the ball are set in your right side jacket pocket. A topit is set up on the left side of your jacket; and it must be accessible through your jacket’s right side pocket. Your Spectators are presumed to be seated at a table, with beverages at hand. This routine can, of course, be performed with spectators standing. Right hand goes to the pocket and fin- gerpalms the ball as index and thumb Pinch the silk at an extreme edge. Remove the hand from the pocket; the silk will unfurl, conveniently shielding the ball from all’angles. As the hand will reach shoulder height to display it, the ball will be sleeved. The hand goes straight up from the pocket; early during the hand's ascent, the wrist is bent inwards towards the sleeve. This makes the fingertips that much closer to the sleeve (Fig, 1). Once past the horizontal plane, the ball is gently nudged and allowed to roll into the sleeve; gravity does the rest. The hand freezes for a beat as the silk displayed. Hand the silk for someone to hold. This allows for examination of the prop without pedestriantly stating so Remember; the right sleeve must be kept above the horizontal plane. (lest you want to indulge into an improvisa- tional effect of a different nature...)Re-introduce the glass; “borrow” some liquid and fill your glass to 3/4 full. Avoiding car- bonated drinks — or hot ones for that matter— is a good idea. Left hand reclaims the silk which is clipped in the Right hand along one of the silk’s sides between first and second fingers. (Fig. 2) l fig.2 Reclaim the glass in your Left hand. Both of your hands are now in front of you at shoulder width, slightly above the horizontal. The next choregraphed sequence will reload the ball into ron fingerpalm.The Right hand is raised to display the silk. It is then lowered as the Left hand is raised to display the glass. Your attention is visibly on the glass as the Right hand intercepts the sleeved ball on its return course. (Again, the wrist is bent inward to facilitate the catch.). Classically palm the ball. The glass still needs to be sealed with the ball. So far, you've been facing the audience. Here you will pivot to 3/4 right as the balll is loaded onto the glass. The glass is lowered and the silk raised simultanously. The hands meet at elbow height in front of your right shoulder, where the Right hand will cover the glass with the silk, sweeping across the top of the glass. As the Right hand crosses over the Left hand, the balll is set on the glass's mouth (fig. 3). It is not jammed in yet. The raised left index masks the spherical profile of the ball, The load is covered from all angles.The Right hand grips the ball-glass assembly vertically between thumb and second fin- ger. Left hand reaches over the glass and partially lifts the cloth hanging in front of the glass; as you do this, both hands are thrusted towards the spectators, ostentatiously to display the glass. The thrust covers you whilst” squeezing the ball into the glass. The cloth and your hand position cover the ball; everything looks as it should. The Right hand takes this opportunity to nip a bit of the cloth between 2nd and 3rd fingers. | fig.4 The glass is covered anew. Ask the spec- tator at your left to hold out their hand, emphatically displaying the desired posi- tion, as per figure 5. You are leaning towards the spectator at this point; this will open your topit for business. As soon as the spectator presents her hand, the glass is squeezed between thumb and 2nd finger and allowed to slip off the thumb; this will propel the glass into the topit. The Right hand and silk continue in an arc which brings the hand up and ends into a toss of the silk onto the spectator's hand. After a suitable pause, the Left hand goes to the jacket pocket. With the glass Upright, the ball goes to the jacket pocket and grips the glass solidly. The thumb then pops the ball out of the glass before reproducing it from the pocket fig.5Carl invariably had the glass signed when he performed this for television work, This may appear to be overkill, but audiences must be convinced that it is the very same glass which is reproduced at the end. Lighter fluid will allow to clean up the glass should social graces, require you to do so. Signing objects became a 7 gag during Carl's participation to the Las Vegas (ane Seminar Impromptu competition where Carl had spectators sign salkshaker, knife, glass, etc. The bail load is reminiscent of the Delayed Action Sleeving, Improved Method described in Bobo’s Modern Coin Magic. The topit vanish, though developped independently sea Carl, bears strong similitude to Michael Ammar's lighter vanish from Haley’s Comet, written up py a hen Minch in the New York Magic Symposium Collection 5 (page 3) . The addition of the silk provides surer cover for the flight of the glass as well as conceal- ing the load of the ball. It adds flamboyance to the effect. The overall han- dling is very free with few restrictions to the performer's movement. Any poo the same impact could be achieved with a pull should be quashed. * Author still is, after all these years, a Lewis Ganson fan.Carl Cloutier is an artist of consummate polyvalence. He's a classically trained actor, working both the stage and televised mediums. He's done voice-over work in both tele- vision and radio commercials, as well as dubbing American series in French. He was a radio news announcer. He’s dabbled (quite seriously) in classical music. His interest in magic goes back to his early teens.His participation in high level magic contests has garnered him a certain notoriety, His accomplishments include winning the following B.M. Close-Up Competition (Salt Lake City, 1992); the MacMillan Convention International Close Up Competition (London, 1992).; Las Vegas Desert Magic Seminar Impromptu Close-up Competition(1993); World Magic Summit (Washington, 1994) and the First place in the Close-Up Competition at the Fédération Internationale des Sociétées Magiques held in Japan.(Yokohama, 1994) Sleeving is not his strongest suit Once more, Robert Audet was our general project coordinator, providing graphic layouts, illustrations and lending a hand in editing. He made sure that deadlines were (somewhat) respected. Robert has a passionate interest for ail things Magical; this still extends to Conjuring, when applicable. Michel Asselin has unsuccessfully tried to wean himself off the magic bug for the past five years. Writing these notes was part of an lame attempt at aversion therapy We would love to get your comments and questions. Please write at: CARL CLOUTIER P.O. Box 207 St-Eustache, Québec, Canada J7R 4K6 Copyright © 1994 Cari Cloutier All Rights Reserved