Note From Editor:

This month we have a beautiful peace of warm, smooth and powerful magic from my good friend Brad “Scarnecky” Gordon. Take the time to really study what this effect is all about. At first glance it seems to be a simple pick a card trick. It’s so much more than that. Re-read it several times until you “get it.”

– Jeff Stone

The post Commit and Reveal appeared first on Stone Cold Magic Magazine.

Introduction

I’ve always been a huge fan of magic tricks with matchbooks, and ever since I read “Match-ic Wand” found in Joshua Jays super smooth book “Magic The Complete Course” I’ve been pondering and experimenting with the idea of causing matches to vanish from a matchbook then reappear in magical places. This is simply a combination of Joshua’s effect (originally called “Matches All Gone” by Joel Givens) and the classic pen behind the ear ploy.

The post Chappy Matches appeared first on Stone Cold Magic Magazine.

Note from the editor

It’s fitting that Brad decided to contribute this effect this month. My father’s birthday was this month. He would have been 65. He has the honor of giving me my first moment of astonishment. And it was essentially done with the very trick that Brad’s about to make reference to (the quarter from ear). Though my father’s was a bit different . . . it was pants tag from mouth. Back in the day, kids pants had a rubber-like tag above the back pocket. Mine came off.

My dad used mine to do a few coin vanish moves. Then he magically pulled it out of my mouth. Even today, it still seems like real magic. I have a vivid memory of being able to feel it in my mouth. What a wonderful childhood memory. So thank you Brad for delivering an homage to the classic trick in the month of birth of the man who first showed it to me.

The post Uncle Quarter Master appeared first on Stone Cold Magic Magazine.

Introduction
By Jeff Stone

I’ve known Brad for about 15 years now . . . maybe longer. In all that time, I’ve learned one thing . . . Brad looks great in a French Beret. Ok . . . I guess I’ve learned a few things. One such thing being this: Brad is one of the cleverest guys I know. He’s always thinking. I’ve seen some of his magic journal entries. They’re nothing short of brilliant. We’ve worked together for a long time, and I just love jammin’ and “sessioning” with him. So whenever he offers to donate a trick for the Free Trick of The Month, I jump at the chance. So far, I’ve not been disappointed.

I just finished reading this effect of Scar’s and it’s very clever. I think you’ll enjoy it. Also note that Brad has opted not to include a full presentation for this effect since he is currently working on several. However this effect, as you’ll see, has plenty of room for a real presentation that will really connect with your spectator(s).

Everyone . . . give it up for Brad “Scarnecky” Gordon . . .

I really enjoy the Chicago Opener plot. Here is one of my takes

Props

• A double back Red/Blue gimmick card
• A Red deck of cards
• A blue 5 of Spades (or whatever card

Set Up

• The Red/Blue gimmick card is in an envelope.
• The Blue 5 of Spades has  a spectator’s name written on it
• The Blue 5 of Spades is on the bottom of the red deck.
• The Red 5 of Spades is on top of the red deck.

Effect and Presentation

A red deck of cards is removed from the box and placed upon the table. A blue card is removed from an envelope and placed on the table (this is actually the red/blue gimmick card).

This is a blue card which will simply represent the color blue.

The pack is spread across the table or mat (careful not to expose the blue card on the bottom)

Please pick the blue card from this pack.

Your spectator chooses any card. Now square the deck. The chosen card is revealed and shown to everyone, in this example we will say the Queen of Diamonds.

Now please place your card back in the pack

Take the deck and slip cut the top card (top half of the pack going to the table while the top card is slipped to the top of the bottom half, now in the left hand) and have your spectator place her chosen card (Queen of Diamonds) on top of the tabled portion of the pack. Now place the cards in your left hand on top of the tabled portion.

This action places the pre-signed (blue) 5 of spades on top of your spectators chosen Queen of Diamonds, and keeps the (red) 5 of spades on the top of the pack.

Leave the chosen card protruding from the deck somewhat and show the Queen of Diamonds being pushing into the deck very clearly and smoothly.

Remember when I asked you to pick the blue card? Let’s take a look at the blue card. I don’t even want to touch it.

As these words are being said take the top card of the pack and use it to lift the blue card off the table a bit: I don’t even want to touch it

Not execute a Mexican Turnover/ switch which will reveal the 5 of spades on the table. Place the red card (which is actually the red/blue gimmick, now in your right hand) back on top of the deck.

The Five of Spades? Not quite the same as your card, the Queen of Diamonds right? Well I did ask you at the beginning to please pick the blue card.

Spread the deck to show there is a blue card in the middle of the pack. Cut the blue card to the top. “Please turn that Five of Spades over.” As soon as she turns the tabled five over revealing the red back, execute a double lift to show the blue card is her Queen of Diamonds.

You did pick the blue card after all

Double lift the Queen again and slowly place the blue back card in the middle of the red deck. Take the red backed (tabled) five of spades and motion to your spectator (act like you are going to give her the card but don’t).

Please take this and keep it as a souvenir to remember this experience.

Take the five back and remove a sharpie pen from your pocket or bag. What is your name again. Write her name across the bottom of the five of spades and now give her the card. Keep that with you at all times. But before you go, please take that card and wave it over the pack. Perfect, thank you.

The deck is spread again to show one blue card in the middle of the deck. Slowly remove the blue card and turn it over, thus revealing a Five of Spades with her name written precisely as written on her card. Give both cards to her and be on your magical way.

After Thoughts

You are left dirty with the red/blue gimmick in the center of the pack. In my opinion the clearly spread face down red deck will diminish suspicion but if you’d like: turn the deck over and spread it face up. You already know where the gimmick card is as you placed it in the middle yourself. Simply short spread the pack as you get closer to the middle and continue the spread. This gives you a nice face up spread without revealing the blue sided gimmick.

Experiment with different words to write on the card. It could be his/her favorite color or flower. Or simply sign it and date it as you would a normal souvenir for your spectator.

Enjoy

Scarnecky

The post Scarnecky Opener appeared first on Stone Cold Magic Magazine.

The motivation here was to create a fast, interactive, four card routine which maintains an anytime anywhere function.

Effect

Four aces are placed in different parts of the deck, followed by a quick shuffle. With the spectators help, each ace is quickly located.

Set Up

None really, simply find and remove the four aces from any shuffled or borrowed deck, or have them left over from a previous lead in effect.

Begin

Hold the deck face up in dealers grip. Run your thumb down the top left corner, a little over three quarters of the deck down. You will be performing what I believe to be an Ed Marlo multiple shift. When you stop at a card you should be able so see its pip. Insert an ace above this card half way, and memorize it. (fig 1). For example let us say that you are now memorizing the two of clubs. Place another ace a few cards up in the same manner, followed by the next two aces exactly the same.

The four aces should be protruding from the pack about half way.

Now grasp the deck firmly in a high dealers grip. Place your left thumb on top of the deck pressing downward (fig 2). Now with your left index finger, push the aces downward, this should push a packet of cards out of the bottom.

Grab this packet and strip it out of the bottom followed by a Hindu Shuffle.

• Now if the deck were face down it should be set with 6 to 10 cards on the top of it, followed by the memorized card and then the four aces.

Phase Two

Holding the deck face up, thumb over some cards:
“No aces on the bottom.”

Turn the deck face down and thumb over a couple of top cards. Turn them face up to display them (fig 3).

“No aces on the top, I trust”

Now thumb over one card at a time, displaying it face up with the cards already in hand, turning over the whole packet until you get to the memorized card. Stop.

Get a break under that card and the whole packet above it. Double under cut those cards to the bottom.

“As a magician I will try to cut to an ace, it may be challenging, so let us give it a shot.”

Perform a “Braue Reverse” of the top card. When the first pack turn up into view:

“No ace? Ok one more cut.” “Still no ace?”

This sets one ace face up in the middle of the face down deck.

The situation now should be: One ace is reversed in the middle of the deck with three aces on top of the deck.

Phase Three

“The aces are being stubborn so I’ll demonstrate some sleight of hand”. At this point the deck is in my right hand, and I position it behind my back, snapping the card up over my left shoulder catching it in my left hand. This move is challenging to describe, any kind of revelation will do as the deck stays intact.
• There are some fine moves by Jeff McBride in his Card manipulation videos of which you could use for this sequence.
• If you wanted to get super simple, take the pack behind your back with both hands and then act like you pull an ace right out of the deck. Of course it comes right off the top.

Phase Four

Now we reveal the next ace with a very gutsy little sequence. Spread slowly through the top of the face down deck and ask another spectator to simply touch the back of any card. Be very careful, there is still a face up ace in the middle of the deck. Now when they touch the back of a card, slowly out jog it:

“Are you sure this one?”

Slowly remove it from the deck and touch it to the face up ace, (now on the table) then place it on top of the deck.

• While you are moving the touched card back and forth (from the pack to the tabled ace) it is a very easy matter to obtain a left pinky break above the top card.

Execute a double lift to show that they actually touched an ace. Thumb this ace off the top and at the very same time wrist kill the deck (turning your palm face down to hide the other card).

“Wow an ace, your psychic skills are exceptional”.

Regrip the deck with the right hand keeping it face up, then place it in left hand dealers grip.

Phase Five

Two aces have been located and placed on the table, or a spectators hand. Ask another participant to hold his or her hand above the deck and slowly turn it over.

“Your hand will influence an ace down in the middle of the deck”.

As you say this thumb through the face up deck until you come to the face down ace. Out jog it and ask them to remove it. They will show everyone that it is indeed an ace. After the ace is removed, cut the deck at the exact point the ace was removed. Turn the deck face down.

Phase Six

Ask another spectator to hold their hand over the deck and turn it just like the previous spectator did. Now thumb through the face down deck, or spread it, if you are working with a tabled mat. One card will be seen in the middle face up, and it is NOT the last ace.

“Oops , well that is ok, no problem at all- will you do me a favor and reach back into your life, maybe back to your childhood and recall a magic word of some sort, you’ve got it? Will you please say your magic word?”

• Usually people are quite quick to say some sort of magic word, and often times the will invent something very funny which of course adds to the presentation.

As you are saying this cut the face up card to the top of the deck. Obtain a break under the 2 top cards (the top one is face up, the second one is the last ace face down beneath it). Any magical way that you know of changing one card for another in this situation is good. I prefer to use sort of a delayed change. It is simply a modified double lift.

Start a normal double lift with these two cards but before it is turned over, stop. Instead of turning the double card over, turn the deck over on top of the double (fig 4).

Stop and wait, wave the deck over the three aces on the table (fig 5), saying their magic word in this case: “Abracadabra” then turn the deck over to find the card has changed into an ace. Thumb it off onto the other aces and cut the deck to get rid of any evidence.

• A one-handed “Charlier” would be perfect, or a pass. I personally feel this clean up is unnecessary. All I do is thumb off the last ace with my left thumb. Then I grip the deck in to Biddle grip with my right hand and swing cut the top half into the left hand and I keep the bottom half in right hand “Biddle grip”, pointing with the right hand index finger at the aces.

“The four aces”

Then I replace the right handed half onto the left hands half. Casual and smooth it’s invisible.

I’ve never yet had someone ask about the deck, and I have done this routine hundreds of times.

Notes

I trust you’ll try this one, it is very fun and VERY versatile. You’ll find it can be performed walk around very easily. Simply use a participants hand to hold the aces as they are produced. I prefer to perform it standing with no table, allowing more spectators to pleasantly get involved.

I have always agreed with many, that pulling the aces out of the deck just to lose them again, followed by finding them in a magical manner is seemingly illogical. Obviously producing them magically first is ideal. Sometimes I will have the aces preset on top of the deck or better yet I will pull the aces out to perform “Vacuum Cleaner Cards” or “Dr Daley’s Last Trick” or something else that uses the four aces, kings, or jacks. After a few of these effects, I can choose to perform this practical routine.

Please take a moment to reply and “like” this effect.

The post “Q” Aces appeared first on Stone Cold Magic Magazine.

After working a walk around gig for a spell, you walk up to someone while holding a pack of cards (out of the card case).

“Hello sir, how are you doing today? Can I show you something amazing?”

He delightfully agrees.

“All we need to do is spread through this pack” (spread it face down) “and a card turns over”, (ace of diamonds).

The ace is seen to be placed back in the pack face down.

“If I place that card back into the pack, all it takes is a moment and the Ace of Diamonds turns face up once again.”

The pack is spread again to show the ace has turned over once again.

“I know this is blowing your mind isn’t it? So let’s try it one more time.”

The card is clearly placed back into the pack face down, the pack is even spread face down to show NO card is face up yet.

“Once again all we need to do is give your card a moment and it will turn around.”

Pause for a moment.

“And there it is your card has instantly turned over right before your very eyes.”

At this moment the ace visually seems to pop right out of the pack (face up). The card is removed from the pack face up.

“Isn’t that amazing, your card has turned over 3 times?”

The spectator states that he didn’t even pick a card, so how is that his card.

“What? This isn’t your card?”

“No” says the spectator.

“This isn’t your card? Hmmmm, very strange, but this has to be your card, because . . . “

As this is said, the ace is now turned over to reveal the spectators actual name written across its back.

“Your name has been written on the back. Please keep this card as a souvenir. Thank you for helping me with this magical moment.”

The Workings:

Obviously, before hand you must learn the name of your spectator and in my opinion only the first name needs to be written.

• There are many ways of learning a spectators name through casual conversation.
• If you are doing a very important gig for a special client, it may be in your best interest to simply ask the individual who has hired you for some details about the particular event. Ask for a few of the names of the individuals who are in charge for your own professional reference.
• In this modern age, you can “Google” the target individuals name to find out some additional information which may or may not assist you. Chances are you will be able to come up with either their name, a nickname, or the name of someone who is close to them. Use your common sense and respect when choosing and including the name you finally decide on.

Write the name across the back of a preferably red card (writing shows up better on red backed cards). Write the name down the center; if it is a bicycle pack keep the name inside of the rectangle found on the back of bicycle cards (where the angels are sitting upon their bicycles).

• This reason for this is to keep the name hidden from view, while spreading the pack. Ideally you could perform a regular card effect before moving into “Unpicked” being careful NOT to reveal the name card.

Once you are ready to perform this effect, secretly turn the “named card” face up in the middle of the deck. A Braue Reversal will do the trick.

Step One:

Be sure that you have written the correct name of the spectator in question.

The best way to do this would be to ask them their name after your approach. I would recommend that you ask the names of everyone else who might be amongst the group, and do try to remember the names.

• This may be common sense but then again it could also be seen as sage advice.

Proceed with the patter, as stated in the effect section. Be sure to state after the first spread, “Watch as A card turns face up” “A card”. Stating this will distance the first phase from the last.

After you remove the card (face up), simply turn the rest of the pack (face up). Place the “named card” on top of the pack (face up).

Check point:

• You are now holding the pack in left hand dealers grip, face up with the “named card” face up on the face of the pack (figure 1).

Execute a “Braue Reversal” of the top “named card” and either cut the pack so the “named card” will be in the middle face up, OR while doing the “Braue Reverse”- on the second cut, simply reverse the second half underneath the pack.

• Explaining the Braue Reversal is beyond the scope of this book. For details on the move, check out “Counts Cuts Moves and Subtlety” by Jerry Mentzer. Or please find this move amongst Daryl’s “Encyclopedia of Card Sleights” videos/DVDs, or even “Card College” by Roberto Giobbi.

Step Two:

Spread the pack face down again after pausing for a moment.

• I prefer to use a pause instead of a snap or a blow. If you design some script to create a laugh, this would work even better as to create build up and drama inside of this effect. At this point, instead of using the “A card” script, I suggest using “The Ace of Diamonds has turned face up.”
• By stating “A card” in the first phase followed by “The Ace of Diamonds” in this second phase will in my opinion, create steps leading from total disconnection/mediocre trick leading into a little miracle.

Recap:

• The pack was spread and “A card” turned face up (wow big deal) is what you expect your spectator to think.
• The card is lost back in the pack, and then spread face up again, and “The Ace of Diamonds” turns face up. (Ok that was a little bit better because I just watched you put that card back in the pack) is what you expect the spectator to be thinking this time.
• The goal now is to have the “Ace of Diamonds” embedded in your spectator’s minds, and also to build up the expectation of the card turning over once again.

Step Three (final step):

Now this will be the most difficult step to execute.

As in the second step, remove the “name card” and turn the rest of the pack (face up) in your left hand.

“The ace of diamonds has turned face up again”

Place the “name card” on top of the pack again (face up) and perform Dai Vernon’s Depth Illusion (also mistakenly known as Marlo’s Tilt Move)

Without going into great detail for the Depth Illusion it is simply pulling up the top two face up cards and holding a fairly large break below. Take the “name card” or “Ace of Diamonds” from the top of the pack and place it underneath the tilted card.

The illusion is that you are placing the card into the middle of the pack, but in actuality “it” is going right underneath the top card.

Allow the pack to square up, and turn it face down.

• Obviously you don’t really need to do the “Tilt Move” because you can use your favorite method for controlling the “named card” to the (face down) bottom.
• From the (face up) start point, you may actually use a “Hindu Shuffle Control” or an “Over hand shuffle control” to get the “named card to the face.

Here is the moment which the pause is very important, because after a short pause you will go ahead and spread the pack face down, but this time there will NOT be a face up card revealed.

Assuming the “Depth Illusion Move” has been used. It is very important that you remember the bottom card is an indifferent card and the card right above is the “name card”.

You must now position the “name card” to be directly on bottom. This is a very easy thing to do; in fact the best way to do it is while you spread the deck (face down) showing no face up card.

As the cards are spread, thumb all the cards over until you get to the very last card, this card is simply moved to the top of the pack as you square it back up.

• The position now is that you are holding the pack in face down position (dealers grip). The “name card” is on the bottom, and you are preparing yourself to do the “Pop Out Move”.
• You can either use the Piet Forton “Pop Out Move” or Harry Lorayne’s “Pop Out Move” from “Quantum Leaps”, which requires a swing cut.

Again, at this point I am not going to explain the pop out move, I would rather that you hunt down the material of these fine artists to learn a “Pop Out Move”.

• Briefly- the “Pop Out Move” is causing the bottom (face down) card to visually turn over seemingly from the center of the pack.

Instead of explaining the “Pop Out Move” I shall describe something that I created on my own some fifteen years ago. It is a very simple way of causing a card to turn over, while hiding its back.

• I do realize that this little move was likely developed independently by many magicians around the world; however I am currently unaware of anyone else using this.

Simple Move:

All you need to do is grasp the deck in right hand “Overhand” grip (Often mistakenly referred to as “biddle” grip) and then swing cut the top half into the left hand. (Figure 2)

The left hand takes its pack and moves away from the right hand pack a few inches and then rebounds back as if to complete a cut.

Instead of completing a cut, your left fingers move below the right hand pack until they reach the center of the bottom card. (Figure 3)

Pause for a split second and press upward with your left fingers. At the very same time begin to slide the bottom card to the left- moving your right hand a bit to the right and the left fingers pulling to the left. (Figure 4)

Then the right hand moves downward causing the bottom card to instantly turn over. This is a fluid motion which will create the illusion of the card jumping out of the middle, (face up).

• If you don’t have a table available, it is a simple and ideal matter to use the spectators hand as the landing platform for the card.

Conclusion:

The “name card” has appeared and this time you shall state “Now your card has instantly turned over in the pack.”

Pick up the card and pause a moment (the idea is for them to have heard you say “your card”) wait for them to make a statement in regards to the “your card” patter. If they don’t right away, slowly/clearly express it again in this manner.

“Wasn’t that amazing that your card magically turned over in the pack three times.”

Your spectator will surely get the clue at this point, but if “he/she” does not THEN another spectator will surely speak out.

If not still then take this route:

“You don’t seem too impressed. This was your card wasn’t it?”

Of course they will answer “NO”.

Assuming your spectator has responded as desired, by saying “I didn’t even choose a card, how could that be my card?”

“What, this isn’t your card?” “NO” “Are you sure, I was sure this was your card.” “Nope”.

“This has to be your card.”

While stating this, the card is turned face down to reveal their name written across its back.

“It has your name written across its back, please take this card and keep it as a souvenir.”

Final Thoughts:

At first glance you may be tempted to use the old “Your Name” gag, PLEASE don’t. In my humble opinion and as discussed with Jeff Stone, this effect is NOT even a magic trick until their “actual name” is revealed.

The turning of the cards is a visual bit of fun, and there is clearly magical build up; however NO card was chosen so it will not be that impressive until the end when the card visually flips over after showing the conditions.

• Revealing that you knew their name before hand is where the true magic will be established.

There was a wonderful trick that I still perform from time to time called “Cardian Angel” by Paul Harris. If you are not familiar with this effect, please look it up and check it out.

• Simply- “Cardian Angel” was an effect where the angel found on the back of a bicycle card is seen to become animated, by riffling the pack the angel reaches inward and pulls out a tiny card, this card is seen to have the spectators name printed across its back.
• There was an idea included in the instructions which due to certain restrictions of the effect stated that you could learn the name of someone who is close to the spectator instead of using their actual name.
• This idea might even be a bit more powerful, because after meeting and learning your spectators actual name, the name of the person who is close to them has not even been spoken and this will (in my opinion) add a very powerful, spooky moment to “Unpicked”.

Another Little Tip:

• At the end of the effect create as much time distortion as possible after revealing the card with a pop-out move. Place the card in their hand face up before revealing their name, thus adding the element of magic happening within their grasp.

The appropriate patter would be:

• “Will you please hold out your hand sir” “Thank you”
• Place the card in his/her hand. “Now it is your card”

Quite possibly causing a few laughs, “It really is your card, please turn it over.”

Credits and Resources:

I would like to state and give thanks to Al Schneider. This effect was initially designed to fall under the guidelines of “The Schnieder Technique”

• Predictability
• Doing a single effect
• Showing previous conditions
• Pausing before an effect
• Pausing after an effect occurs
• Repetition (three phases)

Please take a moment to reply and “like” this effect.

The post Unpicked appeared first on Stone Cold Magic Magazine.

The all time best-selling Stone Cold Magic Product is by far . . . Stone Frixion Fire. The biggest thing people have told me they’ve liked about this book is that it got their creative juices flowing. The book is full of full blown routines as well as random untested ideas. Ideas lead to more ideas. Because of this, as mentioned in the news section this month, we’re doing a DVD on the Frixion pen, so to get everyone juiced about the upcoming DVD, I thought I give you an effect from the book.

This is one that Brad Gordon came up with. It’s one that isn’t a full routine, but gives you room for creating your own presentation. For an effect that is a fully fleshed out routine from the book, see the July 2009 Free Monthly Magic Trick, Money To Burn.

Here’s an email word-for-word from Brad. We were talking about a gig that Diamond Jim did as a Pirate Character, and here’s what Brad had to say:

Diamond Jim Davis reminded me of pirates and I personally love maps (all kinds, pirate kind especially). So you have a large map and the last clue tells you to hold the map in the sun at high noon – well it’s not noon right now and we are indoors, so let’s use a match/lighter to simulate the sun. The map is actually folded [and heated] (yep the ink will all vanish when the paper is folded into fourths). Map is unfolded to show the finale X marks the spot or something of that nature.

I just whipped up a quick drawing based on Brad’s idea. Feel free, obviously, to make yours a bit better. You get the idea and, of course, remember: RED = Frixion® Ink. BLUE = Normal Ink. Start with a drawing like the one above. Then after waiting for the ink to dry (remember the trip to Phoenix), modify it with Frixion® ink to look something like the smaller drawing below (note: the image below is showing only a portion of the image above)

With the two drawings shown, you have a final product that looks like the trail on the map passes by a large rock and leads back to where you started. However after using makeshift sunlight (lighter), the real map and “X” marking the spot is reveled.

Rather than an “X” you could reveal a previously selected card or any other prediction. The presentation could be focused on giving the spectator a treasure map because you couldn’t find the chosen card. Then as you show the treasure map, you “realize” that it just goes in circles. Then you again “realize” that a warning to “View Map in Sunlight” has been placed upon the map. Apply heat for you makeshift sunlight, and behold the treasure (a.k.a. the selection) is revealed.

Please Take a Moment to Reply To and “like” This Effect.

The post (Fri)X(ion) Marks the Spot appeared first on Stone Cold Magic Magazine.

One fine day I was exercising a personal ritual of mine which consisted of sitting peacefully, thinking and writing in my journal. I am a very peculiar person who really enjoys to have the television on while reading and writing. Normally I love to put in a movie of some kind (without commercials) so that I can somewhat listen to the movie. In fact I have listened to Forrest Gump at least 20 times, however I have never seen it, can you imagine?

On this particular day I found myself watching Karate Kid II. This, by the way, is another movie I had never seen, only heard. I happened to notice or pay attention, however, to a certain part of the movie where Daniel-San was pulled into a sticky situation. There were blocks of ice lined up in a row, and the other lads were trying to push a bet onto Daniel-san (Karate kid) that he couldn’t break the ice blocks. Mr. Miyagi took the bet and told Daniel he believed that he could in fact break the ice. This is the part that really struck a relative chord with me personally.

Before I continue, allow me to provide a few definitions of a Ritual.

Rit – u – al [rich – oo – uh l]

1. An established or prescribed procedure for a religious or other rite.
2. Observance of set forms in public worship.
3. A book of rites or ceremonies.
4. Any practice or pattern of behavior regularly performed in a set manner.
5. A prescribed code of behavior regulating social conduct, as that exemplified by the raising of one’s hat or the shaking of hands in greeting.
6. Psychiatry a specific act, as hand-washing, performed repetitively to a pathological degree, occurring as a common symptom of obsessive-compulsive neurosis.

Daniel stood up to the blocks of ice which were aligned side by side with a small gap in between each. He placed his hands together and seemed to do some slight meditation. Slowly rubbing his hands together the ice was in full view. Daniel slowly ran through the motions with his hand sort of setting up his path of power. Inside of this moment of ritual my mind moved ahead of Daniel, and before he actually made his attempt to break the ice, I actually saw him in my own mind breaking the ice.

What an interesting thing I thought. It no longer mattered if he actually successfully broke the ice, for I saw him do it in my mind. What if he would have stopped and not gone through with it? For me it would not have mattered because of the powerful impact his little ritual had on me.

Imagine for a moment if he would have just stepped right up to the ice without the ritual and blasted his hand through it. This would, of course, have been successful, but it would have nowhere near the same impact upon me. This could be looked at as relative to drama and build up, however I personally feel it is something completely different and much more special.

By creating ritual before you really actually do something magical will not only enhance your performances it will also provide our spectators the opportunity to imagine what it is that you will be creating.

For example, imagine you are about to perform the floating dollar bill. It would not be necessary to state you are going to cause it to float. All that would be necessary would be to create a bit of ritual mixed with some assumption.

Floating Dollar bill mixed with Ritual example

First crumple the dollar bill, and place it on the table or working surface. By motioning with your hands above the bill as if you are concentrating on making it do something, your spectator’s mind will begin to fill in the blanks. She may see it float or she may see it move a little bit in her mind. Now pause after the perceived effort, and pick up the dollar bill. By holding it in the air with the left hand and waving your right hand below it and above it as if it is suspended (which it is not yet). This may cause your witnesses to see that the bill will be floating or that you are trying to make it float.

The third phase would be to place it on the table and motion with your hands in an upward manner trying to cause it to rise. It doesn’t – NOW here you have built up drama and anticipation and provided her the opportunity to imagine that the bill will or could possibly float and she has seen it without question in her mind.

Next phase would be to have her hold out her hand. Placing the bill in her hand, a bit more concentration and suddenly the bill rises a bit off her hand and then back again, ending the effect. So you can see how powerful the ritual will be.

On the other side of the coin, I feel that using ritual will afford us magicians the opportunity to not even perform a trick or to make a mistake and mess up a specific routine. With ritual added to the beginning of an effect. The actual magic doesn’t even need to happen. The ritualistic implication can be powerful enough in my humble opinion.

We begin to scratch the surface of suggestion, hypnosis and/or NLP. However in my opinion there really is no need to go that far. Most of our magic can be approached with a presupposing attitude. “This bill can float; I’ve seen it happen before; I don’t doubt it, and here is what it would look like;” . . . even if the bill never moves. Of course this is not our desired outcome – to fail. However this could be used to your advantage to really hook your spectators, and for those who have a little bit more of an overactive imagination, these kinds of things will really hit home.

Formulating little rituals will, in my opinion, create extra mystery, power, drama, excitement and interest in our magic . Please give it a try as it doesn’t even really matter what trick or effect you choose add ritual to, so feel free to begin.

With Great thanks,

Brad “Scarnecky” Gordon

The post Ritual appeared first on Stone Cold Magic Magazine.

As magicians, and magical enthusiasts we have a unique advantage over others. Inside of many social situations or circumstances we are regarded by our peers as being able to do things that are quite special (magical). Having said that I am reminded of a time some ten years ago, that really stands out in my personal memory.

I found myself living and working in the Southern California area (Orange County to be precise), and my job at the time was located in Irvine. I really enjoyed the time I got to spend there and the people were quite amazing. Intellectually and socially some of the best people I’ve ever had the chance to meet and know where there in Irvine.

So of course I would often show magic tricks to my fellow employees, and what eventually happened was that a few of my co-workers would continually say things like: “Hey even the way you remove your wallet and take money out to pay for lunch is magical”.

This was the first time I had ever heard anything like that . I, of course, asked what they meant. Their explanation would be one of the strongest seeds planted in my personal psyche which has grown powerful roots inside of my life.

They explained to me that because of all the magic I had shown them, they were always on the look-out because at any given moment I might do something strange or pull out a deck of cards etc. Combined with their observations for how I would handle small objects (I think you all know what I am referring to).

Holding objects in such ways as to maximize its uniqueness or handling items in such a way as to make them visible to spectators at various angles. From that moment on I had become more aware of not just the tricks I perform but also the assumptions which people see or even expect.

It took me several years to really understand the importance of this memory/observation, and I began to make efforts to take advantage of the knowledge. I started to take note of what words and/or phrases would create magical feelings (either inside of me or as feedback from others), and I began to treat these things exactly as I would treat a magic trick.

If you have ever even performed one magic trick for friends, family, coworkers, etc, everything you say and do will have a little bit different feel and appeal to them.

For instance if a small group of people are aware of the fact that you do magic, and one day you decided to borrow a lighter, you proceed to light it and hold it in the air, it is safe to assume that those same people would wonder what kind of magic you will do with the lighter.

However, if you were not a magician this action would be considered sort of funny and humorous at best.

Allow me to share examples of what I have seen magicians do who are aware of this. The following examples assume that the individuals who are involved have prior knowledge of the fact that you are a magician.

1. When performing sleight of hand, I’ve seen magicians purposefully show there hands empty not to over-prove anything but to simply toy with the audience.
2. When a magician is sitting at a table playing with a deck of cards (fancy cuts and shuffles)- s/he is sort of begging for someone to ask him/her to do a trick.
3. Asking to borrow small objects from people who know you do magic will create wonder as to what you might do.
4. Sometimes when I offer a piece of gum to my friends they are hesitant because they are naturally suspicious/ wondering if something might happen with the gum.
5. Expressing little magical gestures with your hands will create instant wonder within those around you.
6. Touching a persons clothing or asking them to hold their hands or arms in specific positions will cause wonder as well.

These are just a few examples of the mixture of magic and assumption. Now let me address some things that I do or have done that are magical without the element of “it” being a trick, yet often having the same or similar impact.

A few years ago, I had been doing some extensive reading on the conscious mind  (reactive mind), and I often came across the fact that the conscious part of our brain often acts as a wall. If a random stranger walked up to you and said- “Hey you are a smart guy,” your conscious mind would sort of wonder what is going on (raising an eyebrow).

The conscious mind’s relationship with the ego might cause you to think “Huh, that’s cool but who does he think he is? He doesn’t even know me.” Defenses go straight up, and more often than not these types of statements will distance us from others.

I really wanted to figure out a way to tell people (especially women) how beautiful or neat they are or how good someone is at what s/he does. So instead of causing a persons protective/reactive mind to raise with a statement as in the above, why not create a moment of wonder and magic? At the very same time bypassing that “wall” making a real/ genuine impact on someone.

Here is what I came up with. In this example I will be speaking to a specific magician I admire.

“Dan, I can’t TELL you how awesome you are, I CAN’T tell you that, I can ONLY REMIND you of that which you already know. Do you remember? Perfect.”

You can see how effective this is as a tool for achieving my mentioned objective. I suggest trying this out for yourself to see what kind of reactions it elicits.

At first you will feel sort of robotic as this is a script, but it is NO different (in my opinion) than the scripting we use when performing. The more you use and practice this statement the more natural it will continue to feel.

You will also find that it is very disarming and even if at first this feels strange to the person you are speaking to there will be NO wall raised and will simply feel like a nice reminder for them to carry with them throughout the day.

The whole point that I am getting at with this little article is this: “We” as magicians do NOT always have to be doing tricks to be magical or to make a difference. We can apply all of the skills we have been working on for our personal effects and presentations  to other areas of communication and wonder.

The second example of something which can have a HUGE impact on another person is what I like to call Just Now.

Just now is a concept that I discovered a few years back. There is a little story which comes along with my discovery:

A few years ago I got pulled into the world of texting quite strongly, and I had many friends who also were texting frequently. The thing that struck me the strongest was how immediate the communication was. Our phones are often continuously being held in our hands these days, so the messaging arrives instantaneously.

When my friends would text me something to the effect of “Hey how are you doing, how are things going,” If felt strange to me because I knew that person just created that text and sent it to me just now. “RIGHT NOW” is what I thought, and I wondered what it would feel like if someone happened to send me a text which read- How are you feeling right now at this very moment? ”

As you can see by reading this phrase as if someone sent a text to YOU right now- it feels more important. It makes you sort of ground yourself and pull your brain out of the normal drudgery of the day. As this is no surprise I get the most positive responses and usually elicit wonderful feelings in others when I do this.

By adding anything you wish into the blank space this phrase can be practically anything you wish. “how amazing”, “how gifted”, “how talented”, “what an amazing soccer player”, “how beautiful”, “special”, “unique”

“Shelley, I can’t tell you how _______________ you are, I CAN’T tell you that, I can ONLY REMIND you of that which you already know. Do you remember? Perfect.”

“How are you feeling right now at this very moment?”

Obviously with the above phrase simply substitute “feeling” with “doing“, depending on the circumstances.

I hope that I have provided you with a few communication tools to not only add to your magical life but also your personal life. More importantly it is my continued goal to provide a perspective for others to peer from. Instead of saying “think outside the box” I more wish to say “hey there are an infinite number of boxes available to assist with our creative progress, it’s just a matter of finding and sharing them.”

Until next time

With Great Thanks

Brad “Scarnecky” Gordon

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One of my favorite things to do is jot down little facts in my journal that are very compelling, followed up with many “what if” imagination triggers.  The subjects found in this article just so happens to be one among the very first entered in my journals.

I would like to create an interesting connection or bridge between two very interesting subjects: Modern-Day Science and Magic/Mentalism.  I strongly feel that it is important to shed light on a subject which some people may consider to be sort of far out there.

We see many people discussing NLP (Neuro-Linguistic Programming) on magic forums and within much of the modern day mentalism literature.  Some of us have also watched magicians use NLP in their television specials, as either an explanation for how the magic is happening or genuinely use it to enhance their performance.

I’ve been thinking a great deal about this, and I get the feeling that there just may be a large amount of people who continue to steer clear of this subject.  For those who might be a little bit skeptical or reluctant, I would like to respectfully present a reason to take a closer look at another powerful tool to enlist in your personal arsenal. I will be taking a closer look at two subjects: NLP and LTP.  Let’s get to it ASAP, sorry I couldn’t resist.

First allow me to address the meaning of L T P.  As an acronym for Long Term Potentiation, Wikipedia defines it thus:

In neuroscience, long-term potentiation (LTP) is the long-lasting improvement in communication between two neurons that results from stimulating them simultaneously.  Since neurons communicate via chemical synapses, and because memories are believed to be stored within these synapses, LTP is widely considered one of the major cellular mechanisms that underlies learning and memory.

To Quote Cynthia Kuhn, Ph.D.,  Scott Swartzwelder, Ph.D.,  and Wilkie Wilson, Ph.d., of the Duke University Medical Center.

“We think memory is built one synapse at a time: some synapses that are stimulated repeatedly change how they function (learn) and maintain that change for a long time.  There is an electrical manifestation of this learning that scientists call long-term potentiation (LTP).  It is a long-lasting strengthening (potentiation) of the electrical signal between two neurons that occurs when the synapse between them is stimulated.”

As I was delving further into the world of LTP I was immediately reminded of the dynamic practice of anchoring which is, of course, used in NLP and hypnosis.  For the sake of clarity within this article let us momentarily assume that NLP and Hypnosis are generally accepted professional practices (as they are). Personally not only do I solidly believe, but I also use their benefits every single day of my life.

This subject, to me, is a powerful reinforcement for the reasons behind WHY we should strive as magical performers to create maximum emotional connections between the mystery, the presenter and the audience.

Let’s switch gears a bit, shall we. Anchoring defined by Robert Dilts:  Anchor: “Stimuli that will consistently produce the same internal data in an individual. Anchors occur naturally. Bandler and Grinder discovered old modeling that you can deliberately set-up a stimulus with a gesture or a touch or a sound to hold a state stable. Where an external stimulus is paired with an internal state.”

One might be inclined to ask what exactly a hypnotic anchor is.  Simply put, an anchor is an association to any life memory. “Hypnotic anchors” are composed by using all of our senses including that of sound, sight, smell, taste, touch and even what some may call energy. When applying an “anchor,” the greater number of senses used, the more powerful it becomes.

Without continuing on into the scientific range of these subjects, I would simply like to lay them side by side for you, the reader, to take a look at.  I am sure that it is very easy to see how both of these subjects (NLP hypnotic anchoring and LTP Long Term Potentiation) could be powerful allies in your magical performances.  In my eyes they are, in and of themselves, the very same thing.

If one is so inclined to do more research or study huge books on the subject of NLP, I would say go and do because you will learn a great deal about so many other aspects of that wonderful subject.  However if you’d like to simply take into account these modern day studies of the human brain, it would be safe to assume that by focusing on the basic definition of LTP you can instantly add power to your magic.

A rehearsed touch at the right time, creating laughter, purposefully using a specific scent tying your performance points together, perfectly timed music, a soft kind voice, genuine smiles and eye contact- all of these things used and planned as part of your everyday performing seems to me to be “things” that are just as important as scripting or the very effects we choose.

As a presentational hook, one might be motivated to incorporate this subject matter into the actual scripting.  So instead of using NLP and/or psychology as the reason why the magic is happening, this would be something a little bit different and fresh to bring to the magical dinner table.  “Has anyone here ever heard of LTP?” The rest of your scripting placed here.  Even if this is only used as the initial hook and nothing more, there is something very interesting about the topic.

Upon further study of LTP, I have continually run into new studies and products for pharmaceutical advances which specifically target the human brain’s LTP.  There are even drugs currently on the market which may help the elderly and other individuals who may have a challenging time remembering things.

I wish to again quote: Cynthia Kuhn, Ph.D.,  Scott Swartzwelder, Ph.D.,  and Wilkie Wilson, Ph.d., of the Duke University Medical Center.

What does this teach us?  We all know that we tend to learn what interests us, and we know that we remember emotional events.  Now we know why.  The adrenergic system apparently delivers signals to the brain that facilitate learning and remembering the environment associated with an emotionally powerful event.

This is probably a very important characteristic for both humans and other animals to have, because it tends to help us remember events and places that were either wonderful or threatening, and thus adjust our future behavior accordingly.  So, now it is a little more clear why a smell or a face or a place might make you feel good or bad, even if you cannot immediately recall why.  It’s the brain recalling an emotional experience.

As a whole this solidifies our responsibility as performers to create wonderful memories in our spectators and other onlookers, and I would hope that this little bit of information will get you excited about strengthening your effects, routines and entire acts.

It is so very challenging for me to stress enough how important our spectators are and how completely vital this incredibly special art form of ours really is.

In Great thanks,

Brad “Scarnecky” Gordon

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