A comment on Wesley James' Seminal work on a flawed text, Erdnase

It should come as no surprise that the Magic Makers DVDs, The Man Who Knows Erdnase, are the final word on the subject. Wesley James comes complete with drunken parrot, Simon! This action packed duo then embarks on the a journey that took the greatest magician of the 20th century (Dai Vernon) a lifetime of study (and still remained incomplete) only 7 DVDs! I do not own the DVDs, I will not own them and I highly recommend you do not as well.

With this lack of ownership I don't feel I am quite entitled to an opinion without first watching this 7 DVD monstrosity. I do believe attempting to watch the 7 DVDs would fill me with rage and anger thus causing me to do something irrational and irresponsible, possibly (god save us) even learn something from the ACTUAL text, The Expert at the Card Table.

For commentary on this DVD set please jump your bums to:
Phantom Notebooks

Enjoy!

Blind Cuts I and II

Both of these cuts present interesting problems for the card worker. The issue I see most is that those attempting to learn the move disregard the text and instead imitate what they beleive is happening in the photograph. The photo representing the action is not the case with regards to the bold and bare faced blind cut as well as the slip cut people do today.

The error, the BBB cut description has one short passage that is the key to both of these cuts. It reads,

"It is the movement towards the dealer that makes the blind possible"

How do we interpret the above text? Is one packet moving? Both packets moving? Then there is this swinging action.

The action is accomplished as the left hand lifts and moves with the whole deck. The cut happening in mid movement towards the dealer. Although Erdnase mentions the movement of the left hand packet first followed by the right hand packet he does not mention the moments simultaneously or not. Here is where the last setence comes into play.

The action is done with the intent of moving towards the dealer. A note magician's fail to appreciate. You can not quite do this move away from yourself (this applies to both blinds). Rather you must do it towards the side of the left hand (or whichever have you choose to lead the cut with).

These two cuts must be read and appreciated together as they are both attempting to accomplish a similar thing, a cut in which deception is lining the cards. Read Blind Cut II then return to Blind Cut I. Let me know how you make out with it.

I hope this post will help rid the world of those blasted atrocious slip cuts away from the body in a straight line with no possibility for deception.

Back to Erdnase...

In between Erdnase

Although Erdnase is regarded as the first text to provide meticulous detail, I am seeing more and more people unable to comprehend or appreciate the fine detail. I will use for example The Systems of Palming.

First, Erdnase specifically references them as systems, not moves, implying the necessity of transitions in and out. These transitions and contexts he provides, Method One, it is clearly noted that the cards are over hand shuffled to retain top stock. Then obtain a break during square up and the palm would remove a block of cards, a somewhat random albeit estimable number.
If you attempt this palm after an overhand shuffle, say Shuffle I to retain top stock or Shuffle II to retain top stock then immediately go into the palm. You will note the ease in which the palm is accomplished and the necessity of the deck to be turned in the hands before squaring (obtain break) then palming instantly before placing the cards down.
Erdnase provides perfect solutions for specific situations and after very particular sets of card play procedures have taken place. Nothing to scoff at and certainly anyone saying it is dated, is indirectly implying the rules of cards have changed or the procedures varied. I haven't found that to be true, but then again, who am I?

Light as a Feather

Vernon mentions playing cards being that of butterflies ready to take flight and as such should be handled accordingly. Erdnase is a book where that applies strongly! If a move needs a hard grip perhaps you should reconsider the move and the neccessity for the application. Personally I am finding the less pressure I put on the cards in any Erdnase situation the better they reward me, yes even the shifts, espeically the shifts!! If one is so inclined try this, go to somewhere in Erdnase and attempt the moves with the deck turned 90 degrees to where it should be. This won't matter so much for the longitudinal shift but try it for the second deal, the bottom deal, the palms, etc. It's quite interesting to see the results and you might be surprised at yourself!

Illusions- Not the big gawdy box types

I alluded to the idea of some moves or sleights in magic, rather, sequences lets say, of moves in magic that are so impossible you disregard them. This was with reference to dropping the deck a tiny bit after the top palm. In any case, there are many examples of technique where the 2 or 3 actions produce not only a perfect illusion but the illusion of comfort to the audience. I recall being burned badly by an exemplary executed Tenkai palm. The hands of this performer were so natural and slow as well as fingers spread that I was floored! This doesn't only apply to palming, anyone who has developed a fairly deceptive second deal, strike, push off, or one-handed will certainly be able to attest to this. If you have ever shown someone the top card, dealt down a bunch of cards then revealed the top card to be the same, you know the impact it has on someone. Leaving the card face up and then dealing once more, in which they usually reply they understand when they really have no idea. You turn the card down one more and begin dealing again before revealing the same top card, and surprise! The audience member is baffled but knows what happened, as odd as that sounds. That is an example of a technique being so good, it has the illusion of being what it is meant to simulate while still maintaining it's inherent impossibility as a maneuver in and of itself! False shuffles come to mind as well, a very well executed strip out, Shank or Zarrow shuffle can fool those 'in the know' especially when top cards start changing and following Erdnase's sequence of shuffle, shuffle, cuts, most are left baffled once you start doing a sequence of cuts. Vernon has wonderful work in Inner Card Trilogy on the 2 shuffle Zarrow sequence, aside from superior technique, by undercutting to your left and shuffling under the top card of the bottom packet (left) the top card changes, upon maintaining a break and shuffling once more as mentioned above, one will find the deck is as it was to begin with but it has been cut, all the while you are holding a break at this point, you may simply cut to the break or a sequence of run cuts can right the cards to how they begun, a wonderful sequence to keep people thinking you are playing fair.
On a side note, I don't know who or how much people are getting from these postings. So seeing as comments are available please post your thoughts, part of writing this is not only for my personal documentation but also for me to receive thought from others either for or against my statements and in the hopes that I may grow as a magician, which certainly helps when attempting to document individual thoughts on such seminal work!

"Dropping the Deck"

I believe on more than one occasion the idea of dropping the deck is mentioned in Erdnase. Now this statement seems unusual. Try one of the moves in Erdnase where a drop is mentioned (Systems of Palming is a good section to consider). Have you been able to drop the deck in what appears to be a natural way? I have, but not without difficulty in acquiring the knack, and of course I don't claim it is perfect. But one must consider the thoughts on placing a deck down with authority as is customary by so many card workers to date. Although the loud thud which accompanies what appears to be a brutal attack on the deck and the table is reassuring it certainly seems to go against Erdnase's thoughts on grace with the deck. That lovely pounding given to a pack of playing cards is an action suited to a bungler. So here we are with this dilemma of sorts. The way in which one places a deck of cards down gives you a great deal of information about an individual. The cards must move the same way the finished card expert does. If graceful then with grace, if bungling then with a thud or other equal odd action. What we do learn however in come capacity is how Erdnase likely handled cards, lightly with a hands off feel and a remarkable touch. Also the drop has tremendous advantages to it. The deception inherent in concealing a card or cards after one has lightly dropped a deck of cards to a surface is astounding. The hand appears to open and let all within fall, yet you may be holding out. Following the thought that anyone with any minute assumption of foul play at the table immediately means discontinuing any risky maneuvers this dropping action helps to reinforce legitimacy. Much like when one has acquired the ability to deal the second card of the deck. If you were to show someone the deal face down, it looks perfect, then you show the unmoved card, it's startling, now leaving it face up you continue to deal. The impact is even greater. Once more turned down and dealt in slow motion perhaps solidifies the notion that even the keenest observer can not detect the technique. I believe this inability to fathom that the second from top card is possible to take simulating the first parallels with Erdnase's dropping of the deck. Thus bringing the technique to a level of refinement prior to and after the initial means has been made. Truly an idea and concept that 'borders on the wonderful', we are forever in the debt of this man we will never truly know.

Improving Erdnase

In case you fair readers haven't noticed, I have a small obsession with Erdnase. Recently I have been approached or rather reprimanded for encouraging the use of "dated" techniques. The problem is those "improved" techniques are not improvements at all. They are garbage, disgusting excuses for technique. I quickly jumped to the realization that the techniques being shown or recommended to me are not improvements but rather they are easier to acquire proficiency in than those brilliant methods presented by Erdnase.
Those techniques associated with the bottom deal come to mind. There is little doubt in my mind that Erdnase was a bottom dealer. His praise for techniques related to the bottom deal, these include but are not limited to, the bottom palm, the replacement, the bottom deal itself, etc. coupled with his mention of flaw in other techniques or restrictions, such as the requirement of marked cards in utilizing the second deal all lead one to believe Erdnase enjoyed his dealing from the bottom of the deck. The bottom deal is for another post. The point being, the bottom deal has to be one of the most "improved" techniques or Erdnase's.
How and why would anyone dream of attempting to improve such a seminal text on a topic and technique which the author is clearly an expert, an innovator and a polished professional. Before people try to improve Erdnase, why not learn the techniques correctly, become as good as you can at them, then once you have reached a level of mastery that "borders on the wonderful" you can attempt (and that is all it will be, an attempt) to improve the masters work.
I don't think any artist in his right mind would improve Van Gogh's self-portrait, or Beethoven's Moonlight Sonata, perhaps a touch of realism in Monet's impressionist work? Or someone might want to correct Mona Lisa's smile. That is of course because you are an expert of such unmatched skill and care that you are greater than those who came before you, even if you can't do what they did, with lower quality tools.

Playing Cards

So, it seems there are trends in my local magic community with regards to playing cards and what type of cards one chooses to use. So what's best? It's hard to say what is or isn't best because some people are more comfortable with borders, etc. Bees generally have the highest quality stock, no borders of course and leave magicians feeling they are unusable due to the apparent inability to use reversed cards. Well there is a technique, yes an actual technique that will hide the face up cards in a real triumph style shuffle. The advantages, of course, allow all your sleights to be more deceptive. It seems that the border is a security blanket to most magicians. Bikes are the economical cards, they are okay all around. Tally Hos are the classy bikes so to speak. The paper stock is top notch although not as good as Bees. Borders are a terrible security blanket. If your cards have borders your technique is off. Short and sweet of it, if you aren't a great fine detail technician then perhaps bordered cards are for you but stay away from difficult moves like second deals, top palms, etc. Where there is movement on the top the deck that could be better hidden by continuous patterns on the cards.
Steamboats are an interesting borderless back cards but I am not sure the quality. I am going to try to locate a handful of decks to use over the next month or two and I will come back with a verdict. As of right now, I am putting my money in Bees and occasionally Tally Hos. What is everyone else using? Other suggestions for cards?
Oh, one more thought, colour doesn't matter. Some will say pros use red because black Sharpie appears on them better. But that implies signing the back of the card. I keep 2 sharpies on my person when performing, one black, one silver, they can go on the front or back of and card of any colour. That is all.

Ins and Out With... ERDNASE!

One of the most important lessons in Erdnase is transitioning between moves. Knowing a palm, shuffle, deal, etc. is wonderful, but, without the proper way to get in and out of the move you are left high and dry. Enter Erdnase! I recall during the "Systems of Palming" Top Palm, method one, Erdnase mentions that upon completion of the shuffle the cards are squared up. But the break above the cards by the pink is held and maintained during the square up, then immediately as they pass from hand to hand *blink* the palm is done. If you have tried this move, you understand how remarkable it is! Try practicing the move, the move alone, drilling it, palm, replace, palm replace. When you are done doing it about 20-30 times try this, give the cards an overhand shuffle as per Erdnase to maintain top stock Method One (Two can be just as easily substituted). Upon completion of maintaining top stock immediately square and execute Top Palm Method One. This includes catching the break with 4th finger during the square, the kick of the first finger momentarily before "dropping" (another post on dropping the deck soon) and finally the placement on the table before retreating to a rest position. As a sequence of moves it is actually easier to accomplish and MORE DECEPTIVE! If you record yourself or watch diligently through a looking glass (Gotta love Erdnase!) you will see how disarming the whole sequence and the transitions really are!
Comments on your progress and conclusions are appreciated and if anyone is so inclined to 'YouTube' it that would be great to see.

What Makes Erdnase So Great?

I often hear people whine and moan about the difficulty of reading Erdnase or the inferiority of the techniques. Of course this is quite simply bull shit but nonetheless I will address it. I will attempt to not repeat the words of Mr. Diaconis in his wonderful Introduction to Revelations. In defining what makes Erdnase so great one needs to consider 2 key things. They context in which the book was written, and who wrote the book. Today our magic texts are authored by a handful of people for the most part, Kaufman et al. The problem lies in the inability of the authors to perform EVERYTHING (I use that term with careful specificity) they write. Erdnase on the other hand wrote the book and practiced the techniques, claiming originality for some of the work. With that in mind, could you imagine a text written by the master with attention to detail so careful that every slight pressure and friction is recorded? Look at older books and even books today and the descriptions leave much to be desired, but Erdnase, not so much. Being the writer it should come as no surprise to think that Erdnase already explored our feeble attempts at improvement. He likely stumbled across the same thoughts. So many improvements seem so obvious, modified Erdnase Grip for example, that is making the assumption that Erdnase wasn't intelligent enough to try it with those two fingers together? Let be realistic.
The context in which the book was written is apparently financial desperation coupled with the attention to detail required of a card cheat. The combination is dangerous, every detail is handled with care and it is written by a man who can't afford for it not to be a success, at least that is the impression I get. Therefore every slight moment is meticulously recorded and analyzed to ensure the reader understands and can learn the technique.
With regards to the context, consider that Erdnase was the innovator of many of the techniques in the book. This would mean he experimented until he ended at those conclusions. But also that he wrote the book, analyzing the movements so diligently that new information, evolution or understanding would be acquired. Now we have to assume Erdnase was capable of performing all these techniques nearly flawlessly, perhaps to perfection. With that in mind certainly his understanding of the move and personal evolution must have been long and impressive. So with that in mind; consider all the apparent improvements people are making, they are misinformed changes and one must consider that such simply improvements were considered by the author. Which is why he arrived at such specific techniques with such careful timing and thought. Especially with regards to the use of the left and right hand. I recall off hand the bottom deal description in which he mentions the left hand doing nine tenths of the work. A very important consideration. Yet today we see that people rely heavily on the strike technique. Likely something Erdnase had experience with in some form. The book is clearly written with emphasis on the Bottom Deal, but that is for another day.
That is a very condensed version of why Erdnase is so great! Those who don't think so, haven't read and clearly don't understand the book. Sorry to say...

Groomed... not that kind

This is getting a little off topic but I feel it is something I need to put somewhere. When I was very young my parents planted this seed of financial wealth and success beyond all belief. I can recall it from as young as 6 years old. I was being groomed, little did I know this would become a self-fulfilling prophecy of sorts.
When I was old enough (roughly 11 years old) my parents made sure I was aware of the family finances and where they were, how much etc. Bare in mind I have an older sibling by a few years so this pressure to be successful, or rich, rather, was quite intense. As I matured and made my awkward way through puberty and I found myself confronting many difficult tasks; including but not limited to, women, school work, money, business ventures, etc.
By age 17 I had 2 businesses. One legal, one not. I started a small black jack ring in my school and tutored in mathematics. I had no overhead other than playing cards. In choosing my schedule I made sure I had both lunch periods free to run the mini-casino of sorts. I made money, often large amounts. Sometimes 10-20 dollars per hand as the house. At 17 making this kind of money during lunch hour was quite significant.
I was encouraged to keep up with school as well. my marks dropped before peaking my last year, when they mattered most. I managed to talk the school into allowing me to start a club, The Magic Club. Obviously jokes came from other students, I was required to post sign up sheets, inevitably they were marked with the hatred I had come to live with, "The Magic School Bus Club" was common.
Total members? Roughly 6 people in a school of nearly 1500. Two people were teachers, 1 was my girlfriend, 1 myself, 1 my girlfriend's sister and the other my good friend. We needed 5 to run the club. So why the club? It allowed me to put President of Student run club on my resume and it had a budget, the important part, of 400 dollars per semester. This covered the cost of playing cards for my casino operation. At age 18 I was making between 200-500 dollars per week dealing cards at one table during lunch hours. I tutored as well adding about 120 dollars per week. A whooping total of between 320 and 620 dollars per week. Not bad for an 18 year old kid working under and at the card table.
Where am I going with this? My parents embedded this drive to make money. They created a small monster that has empowered me to do anything. The school ,outside of regular curriculum, invested about 8000 dollars in me as an individual, without scholarships.
So why does this matter? This matters because I just recently spoke to a high school freshman class that had no drive. no desire and no idea what was going on. Although this blog is meant for magic reasons primarily I feel the need to express my thoughts regarding a personal drive and motivation especially with regards to success.
How does this fit back with the grooming I mentioned earlier? You might hear newspapers or business channels talk about a son or daughter of a company being groomed for a position. Well my parents did just that with me. But there is no position, I had to make it. They actually made me groom myself. I now have such a strong drive to produce that I have business plans for about 8 businesses prepared and tucked away, marketing plans for all of them. Minimal start up and minimal overhead. Great potential for high ROI. This all came about because I started reading and educating myself with books. I still read everything I can get my hands on with regards to marketing, advertising, public relations, direct marketing, publicity, success, etc.
Why does this matter? This matters because it is everything they didn't teach me in school. This is all the information that has empowered me to go on and do ANYTHING I want. I am confident in my abilities, I know I can accomplish anything. I can make money at anything.
That's what I do, I make money. Lot's of it and quickly. Money is there when I need it and when anyone else does. It's all legit and by the books, but nobody taught me this, I had to teach my self.
So why the post? I want to encourage anyone who reads this blog with any sincerity to apply that drive for Erdnase and buy 2 books, Guerilla Marketing and How to Win Friends, and Influence People. Yeah, I know you have heard of them, but you haven't read them. In the rare case that you have read them; I encourage you to buy Marketing Your Services for People Who Hate To Sell.
I am telling you this because I don't want to hear people complain about money to me, much like so many friends do. Not asking me for it but stating they don't have it, can't make it, etc. Yes they can, they just don't know how. They don't teach success in school.

Proper Magician's Attire

Robert Houdin wrote, "It will be hardly necessary, I imagine, to dilate upon the absurdity of wearing the long robe of a magician. Let us leave tinsel and high-crowned hairs hats to mountebanks; the ordinary dress of a gentleman is the only costume appropriate to a high-class conjuror. The most probable result of assuming the conventional garb of a wizard will be to make the wearer an object of derision.
Extremely intelligent words from a brilliant man and top notch co juror. Yet, Magicians rarely follow the advice of this past master. I am constantly and rather consistently shocked at the low quality of garb magicians choose to wear. I don't know about you, but personally I wear nothing but the best, my shirts are made in Italy my suits as well, my socks cost more than some people's suits. How can someone consider wearing a suit that comes to 33 dollars approximately. There are promotions at discount suit clothiers that advertise 3 suits for 99 dollars. Absolutely disgusting! What's worse is people believe this is a deal! That's like being sold a burlap sack and saying its a nice style of shirt, uncut for her pleasure. You make the neck hole, completely custom! When investing in one's self especially as a magician wouldn't you want to be wearing your fee at least. I don't know about others but when I perform you can be damn sure it is not cheap. I am not cheap, my outfit is not cheap and my clients understand, respect and pay me with that in mind.
Another wonderful display is that magician whose tie is enveloped in playing cards, bunnies or something else equally ridiculous. I recall a time when I was filling in for a friend who was meant to fill in for someone else but mis-scheduled slightly. In any case, upon completing this walk around engagement which was at a local eating establishment I recall some wonderful comments, "You're a real magician!" This person was commenting on the comparison between myself and the other magician. "The other guy does bad tricks, you do real magic!" Another wonderful comment and I am glad to hear them but sad to at the same time. Why are other magicians performing cheesy terrible magic that even children find offensive. People are not stupid, your audience doesn't believe a word you say, stop treating them like that and for Christ sake spend the 100 dollars on a nice silk tie!
Once we get past our on 'bunglers' at the tie table, we are of course greeted with the shoes... polished? No no no! Why polish your shoes? "I am going for a casual look" Yes, so are the homeless who are wearing similar shoes that have been thrown out and are not polished as well. At least the homeless fellow is taken seriously for his vocation you simply are imitating the poor person. If you dress like rubbish, you will look like rubbish, and if you look like rubbish you will be treated accordinsly. Get soine decent clothes people, please!

My Favorite Erdnase Quotes!

My favorite quote in Erdnase currently is the following, it can be found on page 84 line 1 of the Bible Erdnase edition.
"The art of card palming can be brought to a degree of perfect that borders on the wonderful."
Why is this quote so important? Well, I think it is pretty safe to say that most magicians palm a card like a small child tries to steal a chocolate bar, conspicuously and with a grin of grins on their face. I recall seeing one magician who repeatedly cops cards and removes your selected card from his pocket still in cop. This salient point was mentioned to said magician who immediately disregarded and continued to disappoint audiences, to which he is still doing today. Fortunately he isn't a paid performer in any circumstance. Which leads to my next point, when did it become alright to be bad at magic? I can appreciate one's inability to attain certain skills and even specific techniques in magic, but why settle for the worst techniques and the worst tricks? If you are so passionate about a specific hobby why not learn the best. I'm a touch frustrated as per usual and have decided to remain rather reclusive from the magic community within my local area. If they only knew how much easier magic can become once the requisite skills have been acquired, perhaps the worst magicians we see would put in the time to become good. We all have dreams.

"The System"

A friend of mine recently suggested I watch the cult like video "The Secret." Mostly due to the fact that I refused to read the book. I watched it; it presents some interesting points and for all intensive purposes it does seem correct albeit a rehash of what others have already concluded nearly 100 years ago. The error I see with it lies in their claim to be able to well wish off cancer, and other disease and illness. How preposterous a position to take. All that being said, it certainly is helping people and if that is the case then it certainly can't be that bad. It is also supposed to be some sort of borderline miracle working tool so, "let them eat cake." If this book is the one book (or video) to change your life then I would have to say Erdnase is the equivalent book of sorts for magicians. It is the one book that will change your magic life beyond all others more than all others. Well...it COULD be the book that does that. Of course that only applies if one is to truly take the words and information between the lines that Erdnase presents. As mentioned in an earlier post, once you understand the moves and some of Erdnase that is when you will really start to 'get it.' For those that make complaints about lack of time or inability to conceal a card due to hand size (Erdnase discusses the hand issue); I have no patience for. Not only do I have on patience, but I have no respect for someone who can claim to love an art form and all that jazz and then basically spit in the face of those that work so hard to elevate the art and present it in a light that will gain Magic some respect amongst the community at large. We aren't all children's performers working 100 bucks a pop. Some of us command and are worth thousands per performance. Some of us refuse to perform for children! Certainly a jack of all trades is a master of none and I feel this applies to magic as well. BUT fortunately we have "The System" it is arguably the cheapest book in magic with the most valuable information to boot. So when you look at your book shelf and compare it to your DVD shelf remember, all those people on DVD, they read Erdnase!

A True Understanding

Erdnase mentions that a proper understanding of the workings of a move is required to learn the move, and that this understanding will reduce the amount of practice time required. But when and how does one gauge when a move is truly understood? I believe I have a means to accomplish and measure this. When you learn something in Erdnase and you no longer worry about the technique but start concerning yourself with the minutia of the move, for example, with the blind shuffle I and II to retain top stock. Why does method one use this large cut? When will it be used? The second shuffle seems more deceptive at first glance. Well although this is all fine and dandy, one starts to think about the move beyond the technique. So if one is surrounded surely you can not perform Blind Shuffle II with a break. Furthermore, in discussion with a magician friend he asked why I vs. II and when? Another thought is that the deception can be just as great if the top stock maintained is relatively small and your actions are very smooth. The last packet thrown on top from below the seperation if only 10-12 cards doesn't look so choppy and it doesn't look like such a significant cut is made perhaps only matter of fact-ly done.
When details like that are considered I believe the understanding Erdnase referred to is attained. Time will enable one to understand the entire book that way! I am going to go sit down with my card conjuring compadre right now.

Stocking and Culling with Erdnase

I don't quite understand why, but, I have a terrible phobia for the culling and stocking sections of the beautiful book that is Erdnase. I can't quite put it into words but I imagine it is the same thing I see in people who fear palming or haven't worked to a specific technique yet. I simply haven't matured into that section of the book.
There in lies the beauty of Erdnase; it is a book you mature with and into. Those that recommend it right off the bat are erring in that they are handing Steinbeck to a 5 year old. They simply can't do it yet. Even though they might want to, the individual simply hasn't reached that point in maturity. I believe you hit puberty when you pick up Erdnase and start to devour it. Much like a young adult being exposed to sexuality in school and otherwise. Erdnase is the book that separates the men from the boys. With that in mind; are you one of the men or the boys? There is no wrong or right answer. Simply a question and perhaps foreshadowing where you could be moving in the future. I can certainly say I will be moving towards the Culling and Stocking sections eventually. But right now I am quite content in studying, analyzing and enjoying Systems of Palming (particularly Top Palm, First Method). The move is brilliant and a careful read will give the requisite details for the move.
My most recent discovery is that the right hand holds the break as the left hand squares. But immediately following the square the palm is made. SO, when do you pick up the break? As the cards move from a dealers grip to a finger tips grip for the square? As the right hand pick up the deck from the table? Still something I am playing with of course but I think the move is nearly competent enough to move to something else.
Like Michael Skinner advocated, magic and sleights are like gems. You need to pull them out polish them up then put them away taking a new gem out to polish. Of course you need to find the gems to polish first and foremost. Fortunately for us all, Erdnase is a mine full of gem!

The Year of Erdnase

It seems that this year is the year of Erdnase. With the release of the Bible Edition of Erdnase from The Conjuring Arts Research Center (conjuringarts.org), Al Ackerman and Wes James both pumping out a DVD set via A-1 (I believe) and Magic Makers, respectively. With so much hype and new information coming forth for the book and the unknown author; magicians seem to be falling in love with the romance surrounding the book, the techniques and most importantly the skills and wisdom embodied in the 1902 title. But, as has been discussed in an earlier post, will this improve the skill level of magicians? I think so. Here is my reasoning, with awareness comes a greater liklihood of someone picking up and reading the book or watching it via DVD. Since most DVD's today contain rather drab material and poor slapped together technique often done incorrectly and with the intention of being easy to master.

Fooled?

I had the opportunity to sit down with a few magicians from out of town who presented some very interesting material! They were very good! We had a lot of fun and shared a bunch of interesting things. My issue comes in when we consider fooling one another. I understand there are magician foolers but when sitting down with one another what material should one use? Magician foolers that takes advantage of the fact that the audience has a certain knowledge? What about material for laymen? Do we perform our usual? Is there material applying to both laymen and magicians?
These thoughts brought me to one ideal conclusion and therefore a goal. All your material should be commercial so as to please the laiety yet still deceptive and clever enough to fool your fellow magicians. So this brings up the question, what fools both and serves to entertain? In a recent phone discussion with an older magician this question came up and lead to some thoughts on gimmicks and gaffs. Some effects require them, some effects are simply elevated using them. I suppose the Tommy Downs coin work comes to mind and Vernon requesting to see the gimmick. A sleight of hand hand gimmicked version were shown and the gimmicked version was clearly better.
This have become a jumble of incoherence so I will leave end it with the effect. At the end of the day it's the effect that matters. Fooling both groups is great, and doing it by any means necessary is wonderful but be certain that it maintains entertaining.

One last thought, fooling magicians is often very specific in nature. A card being selected and returned, rarely is the trick or revelation the fooler, rather the control or means of maintaining control, fools or doesn't. For a layman, it usually boils down to the revelation or denouement of the effect. In conclusion, one would be wise to break down effects into varying elements, such as selection and controlling procedure and revelations and mixing and matching them so as to fool magicians with the control process while still leaving laymen bedazzled by the end result, the effect.

The DoubleLift

In briefly looking through some online forums full of brilliant minds the number of topics about the double lift is truly astounding. I am shocked at how many magicians are so incompetent they can't properly reason through the move.
The common response and thought is that the double lift isn't difficult. It's easy! That's what everyone is saying. But clearly these people are idiots. The move isn't easy, it is simple. There is a great deal of difference between a lack of difficulty and simplicity. Terribly complex solutions to problems are improved by simplicity not increasing levels of difficulty or intricacies. But this is getting off topic.
Next we see the argument between which double lift is better than the other. "This one look more natural" is often heard; "This is how a laymen would turnover a card" is another popular response. Both are terribly erroneous. Natural actions are suited not only to individuals but reaction to one's evironment. Therefore a double lift performed while sitting down in a relaxed setting might not be natural if one were standing. Also the mood of the performer might alter small details that make big differences, speed of action, grace, etc. Furthermore the statement of a laymen's technique is completel ridiculous. You are not a laymen. If you are a laymen you shouldn't be doing a double lift.
That being said, the idea of having just one double lift is ridiculous a well. Certainly a host of techniques all accomplishing the same things but used when the moment permits would be much more impactful than a one-size-fits-all technique that would be out of place regardless of how severe the discrepency. If it is only a little bit awkward that's fine but it is not the best and therefore it holds flaws. So we find error in the wonderful question, "What's the best double-lift?" There isn't one! Now if we can discontinue posting this horrid question perhaps magicians can save the time they would have spent fighting for Dingle or Lepaul and spend more time actually practicing whatever technique they prefer.

Lost Magicians

For many magicians the name L'Homme Masque means nothing. But a read through Camille Gaultier's Magic Without Apparatus will bring you across a number of entries attributed to this mysterious masked man. So, I ask, why has nobody written a book specifically on L'Homme Masque? His material and character is strong enough to justify further investigation into biographical details, effects performed by him, who he really was, etc. Now, that being said, I must acknowledge Genii magazine for doing a cover issue on our Peruvian pal. For those interested the back issue is, July 2000. In this article we discover a remarkable fact about L'Homme Masque, he trained both of his hands in accomplishing every sleight he did! This issue of Genii has the most information I have found but still why has their not been a single volume dedicated to this miraculous conjurer of yesteryear? Well I am certainly not an authority nor am I in any position to take up a project of such magnitude! But I do hope that someone decides to pursue this unusual masked man and share their findings in a book for the magic fraternity. Limited to 500 copies of course!

The Classics

I think it is reasonably safe to say the main magician's of the past to study with regards to classics are Erdnase, Robert-Houdin, Sachs and Hofzinser. So why don't more magicians read the texts of these magicians? It seems that nearly every quesiton in magic has been answered directly or indirectly in the works of these men. Best of all; Erdnase, Sachs and Robert-Houdin's have all been reprinted in affordable formats. The Essential Robert-Houdin, although pricey at first glance is really quite a bargain when you start pricing out the individual books within the larger tome. Erdnase is 10-15 dollars at most and Sachs about the same, thanks to the Dover reprints. Certainly it can't be an accessibility issue to these texts. Those requiring translating are very readable so I can't imagine it being a language issue. Hofzinser's books are a little more difficult to fine but with a little leg work shouldn't be too hard to obtain. Perhaps a few quotes will clear up this lack of reading and studying and most importantly, of practice

"... as a conjurer, three things are essential- first, dexterity; second, dexterity; and third, dexterity." -Robert Houdin

"... it is absolutely necessary for the artist to be an expert." -J. N. Hofzinser

"The finished card-table expert will experience little or no difficulty in accomplishing the various sleights thatlie at the bottom of the conjurer's tricks. The principal feats have already been mastered in acquiring the blind shuffle, blind cuts, bottom deal, second deal, palming and replacing, the run, the crimp, culling and stocking; and his trained fingers will readily accommodate themselves to any new positions or actions." -S.W. Erdnase, The Expert at the Card Table

These masters make it quite clear that proficiency and therefore a great deal of practice are required to attain the requisite level of skill and dexterity needed to present magic properly. Magician's lazy? It's a thought, a visit to most local magic social groups will provide a window to peer through to see just how much people practice , the level of proficiency and the amount of study dedicated to the classics. Have you studied these books lately?
I haven't studied them nearly enough so I am back to the books! Specifically, Erdnase at the moment. Since those books mentioned are not hard to get and I am willing to bet that anyone serious about magic owns at least one of the titles mentioned earlie, I challenge you to go grab one of those books off the shelf and STUDY it, not just read it for fun. Have props or cards in hand and work through it. Learn something! Get good at something! Stop disappointing your audiences and be proud of something you can do.

Magician Stuff

So why a blog? Quite honestly I need a place to post shit, thoughts, work on moves, trick ideas, etc. This won't be original, I am certain that nothing will be original why? Cause an original thought is rare and arguable so why claim them.
Lets start with a book I have been studying intensely for the last few months
In an attempt to be a better magician I have hit the books, or book I should say. The Bible (more appropriate now than ever before with the Erdnase.com release), The Expert at the Card Table by S. W. Erdnase A remarkable book! So in studying Erdnase I am going to post some important points I come across.
Here is a favorite bit of brilliance from Monsieur Erdnase.
In the Introduction to the Legerdemain section we get this step by step list of things to study to be a great magician! Unbelievable! We are actually given a list of things to do to be a better or great magician eventually! Here is the steps as provided by Erdnase.

Step 1.
Study and practice "System of Blind Shuffles" this will accomplish proficiency in making and using breaks and jogs!
Certainly more effective than learning a pass as Erdnase mentions. A card returned and then shuffled leaves the card lost to the spectator. A card replaced and then apparently nothing happening leaves the card at a rough position. The shuffles, breaks and jogs are brilliant!

Step 2.
Take up the study of "System of Palming" with emphasis on the "bottom palm" These two techniques can more often than not replace the need for a shift! Allowing the conjuror to perform a number of brilliant effects!

Note: Erdnase now mentions an elegant solution to a common problem. The card is replaced and needs to be controlled. What do you do? As Erdnase mentions, most will hold the break above the card returned and shift it to the top. Erdnase presents a much more refined intelligent and most importantly NATURAL (Thanks Dr. Elliott!) solution! Have the card returned, break above the card, shuffle immediately, utilizing the skills learned in the "System of Blind Shuffles" to control the selection to top or bottom. Now you can palm off with our lovely work studied in Step 2. as mentioned above. Now the best part! You have the spectator shuffle the cards once the palm has been made! The palm is specifically made during the sqaure up! A surroundable, perfect, natural undetectable method to control a card. A walk-around performer's holy grail! The procedure described, fancifully, steps over the bete-noire of so many performers, surrounded performance and angles!
Step 3. The Diaganol Palm Shift
"Should the performer wish to palm off the selected card without employing a shuffle, we believe the "Diaganol Palm Shift" is easier and far more imperceptible than the shifting of the two packets and then palming, assuming that the different processes are performed equally well. For this reason we suggest early acquirement of the mentioned shift."
I have nothing left to say here! Other than the emphasis on early acquirement. These techniques should be worked on early on!

One more important passage;
"The finished card-table expert will experience little or no difficulty in accomplishing the various sleights that lie at the bottom of the conjurer's tricks. The prinicipal feats have been already mastered in acquiring the blind shuffles, blind cuts, bottom deal, second deal, palming and replacing, the run, the crimp, culling, and stocking; and his trained fingers will readily accommodate themselves to any new position or actions."

Finally a reason why the best magicians are the best at everything! They have remarkably trained hands with remarkable ability because of their muscle memory. The end result? It seems there is a point when your hands are stamped with the Erdnase seal of proficiency! A post-graduate degree in card-table artifice. Once you have worked and trained your fingers, magic isn't all that difficult! A crazy thought but a true one!
Brilliant!