ace of spades Archives - Stone Cold Magic Magazine

Mysteries are Mysterious

Jeff Stone — Fri, 20 Jun 2014 00:03:15 +0000

The clear star that is yesterday shoots pineapples with a machine gun. Significant understanding is often one floor above you. What is Jeff talking about? Take a minute and try to solve that riddle. Post your comments below. It’s a riddle. I will not reveal the answer. To paraphrase Max Maven, some things are unknowable. True mystery is alive and well. We as magic folk are the keepers and perpetuators (I made up that word) of many forms of mystery.

The world record for solving a Rubik’s Cube is 5.55 seconds (held by Mats Valk). Is it a mystery that a human being can solve the cube that fast? Maybe. In reality, it comes down to years of practice, pattern recognition and the memorization of a butt-load of algorithms. I can solve it in about 35 seconds. There was a time where I thought it was impossible to get below 2 minutes. Then after years of practice I got down to an average of 1.5 minutes.

Years later, I got to about a minute average. Then 45 seconds, now 35 as of June, 2014. I’m not sure if I’ll ever get down to the single digits, but I do see a future where my average is under 20 seconds. Is it a mystery? It feels like it to those who can’t solve it. The fact is, it’s not a mystery. It’s a puzzle. It’s a puzzle that many have obsessed over and spent way too many hours with, but still a puzzle nonetheless.

I can also show you a Queen of Hearts and place it in your hand face down. Then a second later when you turn it over, it’s an Ace of Spades. Is that a mystery? Yes. Ironically, your spectator will often think, however, that it’s a puzzle and the Rubik’s Cube is a mystery.

Root:

Let’s Remember Our Roots. The Root: Perform mysteries, not puzzles. Right off the bat, I’m sure that some of you are thinking that puzzles have a place in a magic show, and you’d be right. As part of my close up show, I solve the Rubik’s Cube. No trickery, just a demonstration of skill that leads into a trick/mystery with the Rubik’s Cube. So, I’m not saying that you can’t have puzzles in your repertoire.

What I am saying is that magic done poorly comes across as a puzzle rather than a mystery. By poorly, I mean many things: poor presentation skills, poor use of a gimmick, fumbling, etc. For example, take the old classic drawer box prop. You open the drawer; it’s empty. You place some object in it; close it; reopen it; the object is gone. Then you close it again, reopen it and the object is back. It’s there; it’s gone; it’s there; it’s gone; open; close; open; close, etc., etc.

Presenting as I just did above is not magic. It’s not mystery. It becomes a puzzle for the audience to figure out. Here is the puzzle: How does this box hide stuff that he puts in it? That’s a puzzle folks, not a mystery. The drawer box may be too far gone to ever be more than a puzzle. Or not. I leave that to you. I use it only because it clearly demonstrates the point.

What kind of connection are you making with your audience. Are they too busy trying to figure out (i.e., solve the puzzle) of what you just did, or are they trying to enjoy the moment of astonishment as it attempts to wash over them? Though you don’t have 100% control of that, you do have a huge influence on it.

Branch:

Let’s Build Our Branches. Your Challenge: To quote the greatest metal band ever, “Seek and Destroy.” Examine your presentation, demeanor, verbiage, material, props, dress, etc. Seek for anything that leads the spectator to think that you’ve just given them a puzzle to solve and destroy it. If they think that they’re supposed to solve the puzzle, it’s partly your fault. Granted we’ve got a long history of crappy “magicians” who’ve made the beds we lie in. We need to wake up, and get some new sheets.

Rewrite your scripts. Restructure your tricks, Rethink your patter, Rework your wardrobe. Do what ever is necessary to communicate (both verbally and non-verbally) that you are offering something mysterious, not a puzzle to be solved. Like the meaning of that clear star that is yesterday that shoots pineapples with a machine gun, and the true location of significant understanding, some things are simply unknowable, and it’s your job to educate your audience and open their minds to this critical role that they play in the world of magic.

Now go study the classics and go discover your true magical self.

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Invisible Deck Finesse

Geoff Williams — Sat, 25 Aug 2012 00:07:40 +0000

Note From Editor:

In last month’s issue of the magazine, I published my handling of the Invisible Deck set up. It sparked a healthy discussion. Inspired by the discussion, Geoff Williams offered his handling and a few pointers as well. And here it is in his own words. Thank you Geoff!

R = Right

L = Left

RH = Right Hand

LH = Left Hand

FD = Face Down

FU = Face Up

If you’re looking for the Don Alan routine, this ain’t it. What you will find are some helpful ideas to help make your Invisible Deck (ID) routine stronger. If you don’t have an ID, do yourself a favor and buy one from your favorite dealer.First of all, throw away the Joker from your ID. You won’t be needing it. I’m serious. DO it; I’ll wait.

Secondly, let’s redo the back-to-back pairs of cards so that we don’t have to calculate values or suits: pair all odd cards with the next highest value of THE SAME SUIT. This means you’ll pair the Ace of Spades with the 2 of Spades, the 3 of Spades with the 4 of Spades, the 7 of Diamonds with the 8 of Diamonds, the 5 of Hearts with the 6 of Hearts, the Jack of Clubs with the Queen of Clubs, etc. The only exceptions are the Kings (Clubs will be back-to-back with Diamonds because C & D are back-to-back in the alphabet. The other two Kings get paired with each other). I think of the BLACK Kings as being ODD so they’ll show on the odd side of the deck with all of the other odd cards.

Now when someone names a card, there are no messy calculations! Examples:

— If they name the 3 of Hearts, your key is the 4 of Hearts.

— If they name the 5 of Spades, your key is the 6 of Spades.

— If they name the 10 of Diamonds, your key is the 9 of Diamonds (Remember, the ODD card of the pair will be one less than the EVEN card of the pair).

— If they name the Queen of Clubs, your key is the Jack of Clubs. You don’t even have to remember the numeric values for the Queens and Jacks; just remember all Jacks are paired with their Queens (of the same suit).

— If they name the King of Spades, your key is the King of Hearts.

Easy as pie.

Thirdly, put the ID in the box with the ODD cards facing OUT (which should be easy for you to remember as they are both 3-letter words that begin with pretty much the same letter). Think of “out” as being the front side of the box (not directly attached to the box flap). As soon as you know the spectator’s card, orient the box accordingly and remove the deck with the opposite set of cards showing (facing up). In other words, if they choose a 10 (which is EVEN), hold the box so that, when the box is opened and the cards are removed, the ODD cards are showing.

“Let me know if you see a card face down.” As you are spreading the cards between your hands, make sure to move the spread in a slow sweeping fashion from L to R, apparently so that more folks can get a close-up of your impeccable card-spreading technique. Unbeknownst to them, you’re just helping to disguise the discrepancy that, if the named card was a 10, no other 10s are showing up. Sneaky, huh.

The actual revelation is as follows: You spot your “key” card. Look up as you lightly separate the FD selection from below your key. The spectators see one FD card in an otherwise FU deck (and will alert you). Break the spread at the reversed card, with it being the bottom card of the RH spread, and place the selection FD on the table. All attention will be drawn to that card which means no one will be aware that you’re putting the LH block on top of the block in your RH. You have just cut the deck.

Here’s where a very nice “touch” happens. Square the deck and hold it in Biddle (overhand) grip in your RH. Slowly flash your LH empty palm and the bottom of the ID in your RH. The audience will see the back of a card which subliminally sells the idea of the ID being normal. Say, “Hold it. Let’s be sure there’re no other cards reversed” (which of course, there are but they don’t know that). Repeat the sweeping L to R deck-spreading business again to show all cards facing up. PUT THE DECK BACK INTO THE BOX IN THE PROPER ORIENTATION (odd cards facing outward) and hold the box in your LH. Ask again for the identity of the selected card. Have someone else pick up the tabled, FD card and show it around.

After the gasps and applause have subsided, take back the card and, if it’s ODD, PLACE IT BACK INTO THE BOX IN THE VERY FRONT (facing out) or, if it’s EVEN, PLACE IT IN THE VERY BACK (facing the flap). Put the box away.

Here’s the cool part – you are instantly reset!

If you’ve performed a correctly-structured ID routine, no one will ask to examine the deck.

By the way, if you find that certain pairs of cards in your ID are separating prematurely, you can touch them up by using either Roughing Fluid, available at most well-stocked magic shops, or by using Testor’s “Dull Cote” spray. You’ll find it in a squatty little aerosol can in the craft (i.e., model airplane) section of most variety and hobby stores (WalMart, Michaels, Hobby Lobby, etc.). Place the cards in question face down on newspaper and give them several light dustings. Good as new!

The post Invisible Deck Finesse appeared first on Stone Cold Magic Magazine.

Ace Freely

Jeff Stone — Mon, 28 Feb 2011 00:07:03 +0000

Effect:

This is a killer four ace production. The deck is spread to show that all the cards are face-down. Then the magician cuts the cards, and suddenly two Aces appear.

Then the cards are spread face-down again, but one Ace has magically turned face-up. The three Aces that have appeared are spread face-down on the table. The deck is given to a spectator.

Both hands are shown empty, then both hands wave over the three tabled cards, and the fourth card just suddenly appears on the table with the other three. This is some powerful stuff.

Necessary Moves:

In order to do this effect, you will need to be able to do a handful of utility sleights. Fear not if you are not schooled in the ways of coin prestidigitation, for I will lead you grasshopper. Here’s the list of moves:

Double Undercut Card Control
Slip Cut
Braue Reversal
Brad Gordon’s Blip
The Anti-Vanish

If you are already familiar with these, you will still want to read them, because I’m using modified version of each move. I will explain each move first; then we will move on to the performance where we tie all of the moves together.

Double Undercut Card Control:

This is a simple method to move a card, or a stock of cards, from the top of the deck to the bottom of the deck without disturbing the rest of the pack. In our case, we want to control one card to the bottom. For now, it doesn’t matter what that card is; just look at the top card of the deck; that will be the card we are controlling. By the way, I know that your card that is on the top of your deck is the Five of Spades. I’ll teach you how I did that later.

Hold the deck in the left hand in dealer’s grip while holding the cards from above with the right hand in Deep Overhand Grip. With the right thumb, get a thumb break above the top card. Figure one shows the position your hands should be in right now.

Now with your right thumb riffle up the back of the deck and break the deck at about the half-way point (see fig. 2).

You will use your left hand to cut this “broken” packet from the bottom to the top of the deck. Figure three shows your position after this cut. Now cut the rest of the cards, below the break, to the top of the deck, and you will now have moved the top card to the bottom of the deck.

Slip Cut:

No, this has nothing to do with scissors and lady’s apparel. This is a move that is used to cut the top card into the center of the deck while looking like you gave the deck a legitimate straight cut (as opposed to a crooked cut).

However, we are going to use this in a slightly modified fashion. What follows is a description of the modified version. Hold the deck in the left hand dealer’s grip with right hand above in Deep Overhand Grip. With the right thumb, riffle up the back of the deck and break it at about the half-way point.

Get a left pinky break at this point. Basically, all you’ve done thus far is gotten a left little pinky break in the middle of the deck. You are about to pick up the top half of the deck (above the break) with your right hand, but as you do, your left thumb will place pressure on the top card of the deck.

While you pull the top half up and out, the top card will slip down onto the bottom half of the deck (see fig. 4).

Once the top half clears the deck, the top card will fall flat on the bottom half, however, your mission – should you chose to accept it, and you will – is to prevent that card from falling flush with the other cards. You will actually catch a left pinky break below it. Then you will drop the right hand’s packet onto the left hand’s packet.

Figure five shows the situation just before you drop the right hand’s packet onto the left hand’s packet.

Once you’ve completed this, you will have a break in the middle of the deck directly below what used to be the top card. Trust me; you’ll need to be able to do this in a minute.

Braue Reversal:

This is Fred Braue’s move that is a great way to get a card reversed in the middle of the deck right under the spectator’s nose, which is kind of disgusting if you think about it.

This move is very similar to the double undercut described earlier… you DID read it right? Fine… go back and read it… I’ll wait… no really… it’s ok… I’ll wait. Thank you; now don’t skip any more of the directions or you’ll have to go in time out.

Here’s the deal: hold the deck in the left hand’s dealer grip and right hand Deep Overhand Grip. Get a thumb break beneath the top card. This is the card that will end up reversed.

Riffle up the back of the deck and break it in half as if you are about to do a double undercut, and you are, but slightly different. With your left hand, take the bottom half of the deck (the part that is below the break) and turn it face-up on top of the deck (on top of the card that you are holding a thumb break beneath).

Figure six shows this with the face-up cards jogged to the left for clarity. In actual performance, you will square the cards flush. Notice, however, that you are still holding a break beneath that former top card.

Now the situation is that you have a block of face-up cards; below that is a face-down card which used to be the top card. You then have a thumb break, followed by the rest of the deck face-down. Take the part of the deck from the bottom (below the break) with your left hand and turn it face-up and replace it on the bottom of the deck. You can let go of your break now. You have just sandwiched the former top card face-down into a face-up deck.

Note About Double Undercut, Slip Cut, And Braue Reversal:

Notice that the above three moves are techniques that alter the state or location of the top card of the deck. The first move (double undercut) moves the top card to the bottom.

The second move (slip cut) moves the top card to the middle of the deck, and the Braue Reversal moves the top card to the middle of the deck and reverses it. Notice, also, that the rest of the deck’s order does not change when performing these moves. These moves are the bulk of the effect. This is where all the work is done.

Brad Gordon’s B’lip:

This is probably the best color change I’ve ever seen. A card is shown, and in the blink of an eye it changes visibly and instantly to another card. Having said that, I feel kind of dirty not using this move the way Brad intended it to be used.

It’s used in a more subtle way for this effect. Here’s the description of the Blip the way it was intended: Hold the deck in the left hand dealer’s grip. Turn the top card face-up. As you do, get a left pinky break beneath the second card. The position is that you have the deck in the left hand, and you are holding a left pinky break beneath two cards which are back-to-back. With the right hand, pick up the double from the outer right corners. As you do so, arch the cards (remember, the audience thinks this is one face-up card, not two back-to-back cards).

Figure seven shows the arch. Hold the arched double above the deck about four or five inches.

Now here comes the knacky part: quickly open the right hand releasing the pressure on the double. The cards will fall to the deck, but they will flip over sideways like a book, and by the time they land on the deck, the other card from the double will be showing.

This makes for a killer color change. The move is basically a squeeze-then-release-thing. It takes some practice to get the feel, but it’s fairly simple. You’ll like doing this move; it’s brilliant.

Here’s the dirty part. I told you I kind of use it for a different purpose. You’ll notice that when you do the move, the double stays together pretty well and remains undetected. I take advantage of this and use the move as a way to show a double lift as being only one card.

I turn over my double as you normally would a double (not a back-to-back). Then, I pick up the double with the face upward and execute the Blip. The result is the double flying down to the deck and turning face-down to match with the rest of the deck.

This creates the illusion of carelessly tossing a single card from your right hand to the awaiting deck of cards. We’ll be using that in a minute as well. Hang in there; we’re almost to the routine.

The Anti-Vanish:

The last move you need is my Anti-Vanish. This idea has to be in print somewhere, but I’ve never found it, so here it is: Place four cards in a pile on the table face-down (audience thinks it’s only three cards). Place your right hand on top of them to cover them completely. Now if you put pressure on the cards and spread to the right, the bottom three cards will spread, but the fourth (top) card will move with your hand to the right and remain concealed. Move your hand over to the right, and place your left hand to the left of the packet in the same manner as the right hand. In the Figure 8, the fourth card is concealed under my right hand.

Now if you tilt your right hand to the right ever so slightly, the card underneath will kind of pop up at a slight angle. Figure nine shows an exaggeration of this position.

You’ll need to use a close-up pad for the card to pop up the right way. Also, note that when you do this, the audience should never see the card under your right hand. They should be completely unaware of its existence.

Now all that is left is to move the right hand to the left and the left hand to the right. As you do this, your right hand’s card will go on top of the three spread cards.

This happens right about when your left hand is over your right hand. When you get to that point, spread your fingers wide open on both hands and immediately move them back to where they were (right hand to the right, and left hand to the right). When this is done properly, you will be in a position that looks like figure ten.

It will seem as if the fourth card appeared right on top of the three spread cards. This is quite a freaky illusion if you do it right. Just practice it a lot before doing it for anyone.

Routine:

Ok, let’s see if we can put all of this together. The above section was to get you familiar with all the necessary tools to perform the mechanics of the effect. Below, I will show you how to put the pieces together, but you will still need to work on your script. Make sure you really know the above moves well before you move on.

Step One:

In this step, we will get the four Aces on top of the deck in this order, from the top down: two red Aces, The Ace of Clubs, then The Ace of Spades. You can either do this before you start your performance or you can do it right in front of them. I usually just do it while they’re watching. It only takes a couple of seconds.

Step Two:

Now we need to distribute these Aces for our first production, so double under cut the top Ace to the bottom. This will leave the deck in this order, from the top down: Red Ace, Ace of Clubs, Ace of Spades, the whole deck, Red Ace. Next, slip cut the top Ace (red) to the center, but hold a break below it.

Now you should have this order: Ace of Clubs, Ace of Spades, half of the deck, Red Ace, right thumb break (or left pinky break – whichever you prefer), half of the deck, Red Ace. You can hold this situation in your left hand as you address the audience and gesture. It only takes a second to get to this position.

Step Three:

We are now going to reveal the first two Aces (red and red). We will use the Braue Reversal for this. While holding the left pinky break below the red Ace in the center, bring the right hand over and hold the deck in Deep Overhand Grip.

You will get a right thumb break above the top card (Ace of Clubs). Now you have two breaks and your situation is as follows: Ace of Clubs, right thumb break, Ace of Spades, half of the deck, Red Ace, left pinky break, rest of the deck, Red Ace. With the left hand, remove all of the cards below the pinky break and place them face-up on top of the deck this will reveal a Red Ace.

Next, take the cards below the thumb break and turn them face-up and replace them on the bottom, but leave them jogged to the left (see fig. 11).

You will now be holding no breaks, and you will be showing the two red Aces. Now remove the one from the center of the pack; place it face-up on the table, and square up the cards. Next remove the other red Ace from the face and place it on top of the one on the table.

Step Four:

Here is where we reveal the third Ace. Turn the deck face-down and spread the cards below the two red Aces, and the Ace of Clubs will be face-up in the center of the pack (see fig. 12).

Remove it, and place it face-up on the right end of the spread. Place the other two red Aces there as well (see fig. 13).

As you square up the cards, get a break below the fourth card from the top (The Ace of Spades). Immediately table the deck face-up with the left hand as the right picks up all four cards (audience thinks it’s only three). Ask the spectator to hold the deck for you.

Step Five:

Next, we need to really drive home the fact (?) that you are only holding three cards (even though it’s four). The spectator is holding the deck at this point. You have three Aces face-up in your right hand with The Ace of Spades face-down below them.

Hold them by their right edges. With the left thumb, peel off the top face-up Ace and revolve it around to the bottom of the packet as you say the name of the Ace (see fig. 14).

You will repeat this with the other two face-up Aces. At this point, most people will believe that there are only three cards, but you want to really eliminate the possibility of them thinking you had four, so that the next part is as powerful as possible. Here’s how you really convince them that you only have three cards. Turn the packet face-up. This will show The Ace of Clubs.

Peel it off and flip it face-down into the left hand. Peel off the second card (A Red Ace) the same way, leaving it face-down on top of the Ace of Clubs in your left hand. You are now left with a double in your right hand. The card showing is the other Red Ace. You will now execute Brad Gordon’s Blip. This will launch the card and turn it face-down landing on top of the two cards in the left hand. This really makes the spectators believe that you only had three cards.

Step Six:

This is the revelation of the fourth Ace. If you’ve followed everything I’ve said so far, you should have the four Aces in your left hand face-down (the audience believes it’s only three). The top Ace is the Ace of Spades. If this is not the situation you are in, go to your room, and don’t eat any supper.

Tomorrow, try again. Are you still here? Ok great. Now what you need to do is drop the three (?) cards onto the table in a pile and execute my Anti-Vanish Move exactly as described above. This will cause the fourth Ace to appear right in front of their eyes. Turn over all four cards to show them.

Presentation:

Here is the performance from the audience’s perspective. I’ll note the actions in parenthesis: For this effect, we need the four Aces. I can find them by cutting (Do Step Two). But I’ll show you a more flashy way (Do Step Three).

There’s Ace number one and Ace number two (remove red Aces and place on table). For the third one, all I have to do is snap my fingers, and it turns over (turn over and spread). There’s the Ace of Clubs (place on top of spread), Ace of Hearts, and Ace of Diamonds (place on top of Ace of Clubs).

I’ll take the three Aces; you take the deck (give deck to spectator or table it as you keep the three (?) Aces with your right hand). Here they are, one, two, three Aces (pivot each under packet; then turn packet face-up). That’s the Ace of Clubs (turn face-down into left hand), the Ace of Hearts (turn face-down into left hand), and the Ace of Diamonds (do the Blip).

The only one missing is the big one, The Ace of Spades (drop cards to table in a pile). Here are the three (spread, concealing the fourth Ace). All I have to do to make the fourth one leave the deck is wave my hands over these three (do The Anti-Vanish), and the Ace of Spades appears (turn over all four cards to show the Aces; then go into a four Ace routine).

Notes:

The above presentation was not an attempt to give you words to say during your presentation of this effect. It was an attempt to give you a flow of how the effect will be performed. You will need to use your own script. Master the mechanics first; then work on creating a presentation that works for you.

Also, remember, this is a four Ace production, so once you’ve produced the Aces, you’ll need to do something with them. Do a four Ace routine. Also, you may have noticed that there is no figure three… don’t panic, it’s been removed on purpose.

This is an awesome effect on lay people and many magicians. Each of the moves described in this effect are merely tools in the magicians tool belt. Use them for this effect, but don’t be afraid to experiment.

Use them to inspire your own routines, or use them to enhance effects that you already do. However, make sure you practice these moves, and please, for the sake of the *Art of Astonishment, don’t ruin it by performing it prematurely.

Oh if you were wondering how I knew that your top card was a Five of Spades, you have been scammed. If you are not wondering how I knew your top card was a Five of Spades, it’s because your top card wasn’t a Five of Spades.

However, for those of you who happened to be the lucky 1 in 52 who did have the Five of Spades on top, well… you thought I was psychic. Chalk it up to luck, but I astonished you! Remember that feeling. That’s what we’re trying to instill in our audience.

The post Ace Freely appeared first on Stone Cold Magic Magazine.

Counterfeit Cards

Jeff Stone — Thu, 30 Dec 2010 00:07:44 +0000

Effect

The performer shows a blank deck of cards, and then suddenly changes one blank into the Ace of Spades. Next, the Ace of Spades is split into two separate cards. Part of the Ace is on one card and part of the Ace is on the other card (see fig.1). Then another Ace of Spades is created, and then the entire deck is created. View The Performance

Materials

You’ll need one deck, one blank card, Three Ace of Spades, a good art eraser.

Preparation

Take one extra Ace, and erase the center pip (yes, it will erase). Take the second extra Ace, and erase the corner indices (see fig. 1). Place these two cards face to face with the “indices only” card face up. Place these two face to face cards on top of the deck. Next place the regular Ace of Spades on the bottom of the deck, and place a blank beneath this (see fig. 2). Obviously, this effect is an opener.

Performance

Perform a reverse fan to show all cards as blank. This is also known as the Blank Fan. Then square up the cards and show the bottom card to be blank. Next, perform The Erdnase Color Change (explained in Dethroned). This will cause the Ace of Spades to magically appear. Take it from the bottom, turn the deck over. Place the Ace of Spades on top of the deck face up. Now the situation, from the top down is as follows: a face up Ace of Spades, then below that, you have the two face to face erased Aces, then the rest of the deck, and finally, on the bottom is a blank card. Now perform the Atomic Split that is described in “I Said, ‘Watch the Joker.'” However, in this version of the Atomic Split, you’ll only be using three cards instead of five. When you’ve completed the Split, you should be holding the cards as in figure 3.

You’ve apparently split the card apart and some ink is on one card and some ink is on another card (you tell the audience that you should’ve waited for the ink to dry). Next, show the audience the bottom card which is the blank card. Next, revolve the blank card over the left edge of the deck onto the top of the deck (see Dethroned fig. 10). At this point, you have a face up blank card on top and the Ace of Spades face down below the blank. Simply turn the blank card down, and perform the Erdnase Color Change again. This time it will be much more subtle because the cards are face down. All this does is switch the top and second from the top cards.

Now, do a double lift to show the blank. Turn the double face down again; then lift the single off to show that you’ve produced another Ace of Spades. Place the Ace of Spades off to the side on the table. You now have a normal deck with a blank on the top. Overhand shuffle the blank to the bottom of the deck as you say, “I can shuffle all I want, but it doesn’t matter because the rest of the cards are still blank.” Then do another reverse fan to show the cards to be blank. Then turn the deck face up and use the Erdnase Color Change to create one card. Place it aside, and you can create as many cards as you want, one at a time. After only a couple however, I will simply snap my fingers and show that the entire deck is now printed. You can either secretly remove the blank card or you can show it as one card that didn’t print and put it away in your pocket.

Either way, this is a great effect, and you’ll find that it’s a lot of fun to play around with The Atomic Split. You can do math effects with this move where you split an Eight into two Fours; then split the four into two Twos. There are a ton of various applications for this move. Enjoy! For an alternate handling (along with 16 other effects) order the Stone Cold Magic DVD and get the Stone Cold Magic E-Book For Free.

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Free Paul Harris/Richard Turner Mandolin Back Bicycle Cards

Jeff Stone — Fri, 27 Aug 2010 06:16:03 +0000

Here’s your chance to get a free deck of the Paul Harris/Richard Turner Mandolin decks. I just got them in stock, and surprisingly they feel and handle quite differently . . . there’s a definite noticeable difference.

I really like them. I was able to do a Faro right out of the box. For me, that’s a miracle!

So here’s the deal, order any DVD from Stone Cold Magic and use the coupon code below. When you do, you’ll get 25% off of your order plus a Free deck of Mandolin Back Bicycle Reds (that’s the only available color for the time being)

Coupon Code: MANDOLIN25

This Coupon Code Expires Next Tuesday (8/31/10), so don’t wait!

Order Now!

Mandolin Backs Ad Copy:
Standard Bicycle playing card deck with a Brand new look from United States Playing Card Company!

Design:
Paul Harris directed the development of the new 809 Bicycle back with USPCC. Paul worked with three world class artists (including Garrett Thomas) to create a soothing traditional looking back that’s instantly trusted as part of the Bicycle family. And yes, this classic looking deck even features the trademarked Bicycle Ace of Spades, Joker and the traditional box.

Quality:
Richard Turner worked directly with USPCC manufacturing to ensure the new Bicycle 809 Mandolin has a superior cut and quality. These are exquisitely crafted decks! Once you feel these cards you will never want to put them down.

Order Now!

Check out what others are saying About SCM DVDs:

Stone Frixion Fire:

“Jeff Stone’s new ‘Frixion’ dvd features an entire world of ideas and will undoubtedly inspire many viewers to create their own exciting variations. Very fun stuff!”
– Jay Sankey

I had a chance to watch your DVD today . . . would you consider letting me write one up for Genii magazine? At the moment, I’m thinking of “Burnin’ Time.”
– David Acer (Genii Magazine)

Ive already watched the performance section and was blown away. I never realized how powerful these things can be. My head is already spinning with ideas and ways to use them.
– Brandon S.

I just got done with . . . Stone Frixion Fire. WOW! You and your cohorts are some creative guys, there are some great ideas there, it really has my wheels turning.
– Jay Best

Gemstones:

I’ve been a big Jeff Stone fan for a while now. Not only is he a good friend, he creates powerful, direct and -most of all- commercial close-up magic. I also really respect Jeff as a teacher. He really knows what he’s talking about. ‘GEMSTONES’ is the perfect opportunity to get to know Jeff and learn how his very clever mind ticks!
– Jay Sankey

Got this yesterday and took a look at it this morning. One word: COMMERCIAL! Really good stuff on here. My personal faves were Quarterback, Doctoring Daley & Safe Key Ping. All stuff I could see myself doing. Another one I like as well! When working for lay folk, I only do coin stuff that’s easy to do and easy to follow. Misrer’s Nightmare truly fits the bill. Pick it up!
– Cameron Francis

Every single trick on it is worth practicing and performing, I think my favorite effect on there is probably Quasi-Photo, I can’t wait to practice it. I can really tell you put a whole lot of thought into this project.
– David M

Stone Cold Magic:

If you are looking for a fresh dose of commercial, audience-tested card magic, look no further than Jeff Stone’s Stone Cold Magic. There’s plenty of useable card effects presented in a wonderfully friendly, casual and straightforward manner.

My only criticism is that Jeff came up with the idea of using the Erdnase-Houdini Color Change as an invisible palm. It looks so darn good, I wish to heck I had thought of it!!
– Jay Sankey

Jeff is a real worker and tips his mitt in this DVD. There are some great ideas that are really USABLE. In addition, it’s just a fun watch as noted by others. Jeff is really a funny guy. I enjoyed the DVD a lot.
– Tim Trono

Order Now!

Remember, this offer expires Midnight Tuesday Night (August 31st, 2010 at 11:59 PM PST)

Get a 25% discount off of ALL DVDs and a free deck of Mandolins:

Order Now!

Remember your Coupon Code: MANDOLIN25

Thanks!

Jeffro

The post Free Paul Harris/Richard Turner Mandolin Back Bicycle Cards appeared first on Stone Cold Magic Magazine.

I’m Just Trying to Get to The Goose

Jeff Stone — Wed, 30 Jun 2010 00:03:18 +0000

I’ve said it before; I’ll say it again.

“I’m Just Trying To Get to The Goose”
-Jay Sankey

Root:
Let’s remember our roots. This month’s root: Lay People Are NOT Magicians. Sure, every lay-folk has an uncle Earl who tortures them with the dreaded 21 card trick, and many lay people even know a trick or two themselves. But just because I change my spark plugs, that doesn’t mean I’m a mechanic, and I certainly would never allow someone with my skill set to work on my car. We, all too often, think way too hard about our magic, method and material. We over complicate everything. Jay Sankey points (or used to point) this out in his lecture. He talks about how magicians will often do a card trick . . . then the backs change colors . . . then you produce coins from the cards . . . then you produce a jumbo coin . . . then you open up your coat and a goose flies out. To Paraphrase Jay Sankey: after years of experience, I try to streamline my magic. Now, “I’m just trying to get the goose.”

When I heard Jay say that, it stuck with me like a bad llama cake on a cold Turkish night. Sure you might fry a magician or two when the backs change colors and the jumbo coin appears, but the real punch line is the goose. So why not just produce the goose? Metaphorically speaking of course. The point I’m shooting for here is to remind you that lay people don’t think like we do. If you do this month’s branch described below, you’ll see exactly what I mean. However, I’m pretty sure that many of you will read the branch and completely dismiss it as a waste of time. Try it. You’ll change your mind.

Branch:
Let’s build our branches. I want you to perform one particular trick (I’ll get to it in a minute) for at least 20 different laypeople. I want them to be people you don’t know, or at the very least who have never seen you do a magic trick. Here’s the trick and the patter and everything:

Magi: I’d like to test your short term memory

Action: Show the Ace of Spades. Place it face down on the table

Magi: What color is the card I just placed on the table?

Spec: Black.

Magic: I can see why you would say that, because there is some black there, but what other color is it?

Spec: (likely will say) White (the color of the rest of the face of the card. Or they may say) Blue (the color of the back of the card).

Magi: Correct. It has all of those colors, but you didn’t mention the yellow, the silver and the other colors

Action: Turn over the face down card to reveal that it’s not the Ace of Spades, but rather the Queen of Spades (or some other face card).

That’s it folks. Method? A double lift. I’m telling you that this will fool a lay person, and it will feel like real magic to them. You’ll never fool a magician with this – not unless you come up with some crazy way of switching the cards that he’s never seen, but for a lay person, a simple low-tech double lift is the key. Try it. You’ll be amazed at the response you get – as amazed as the spectator is at the effect. Lay People Are NOT Magicians . . . don’t treat them like they are.

Now go study the classics, and go discover your true magical self.

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

The post I’m Just Trying to Get to The Goose appeared first on Stone Cold Magic Magazine.

Doctor

Jeff Stone — Mon, 25 May 2009 05:06:20 +0000

Created By Dick Roy and Jeff Stone
Described By Jeff Stone

A friend of mine, Dick Roy, came up with this cool application of Bill Simon’s Business Card Prophesy Move. The name, Doctor was something I came up with using Dick’s initials, D.R.. Get it . . . Dr . . . Doctor.

Anyway, I’ve been doing this effect since 1992 when Dick first showed it to me. What follows is my presentation of Dick’s idea to use Simon’s move with a double facer (DF).

Effect:
The magi shows the spectator a “misprinted” card. The card happens to have two faces (let’s say Ace of Spades and Four of Hearts) and no back. The spectator places the card in the middle of the deck, and just happens to magically sandwich it between the Ace and Four in the deck.

Method:

I’ve already told you that this uses Bill Simon’s move. That’s about it. I’ll walk you through the presentation in a moment. As always, that’s the most important part. For an explanation on the prophesy move, check out the February 2008 Free Monthly Magic Trick, All Four One.

Setup:

Four of Hearts on the bottom of the deck.
Ace of Spades on the Top of the deck
Double Facer (Ace of Spades/Four of Hearts) in a “protective” vinyl wallet or baseball card protector, etc

A lot of people are concerned about showing a gimmicked card to a spectator. I never have been. Two words: Anniversary Waltz. In my mind, if any trick is going to draw suspicion to the gimmick it would be Anniversary Waltz because you are claiming to have fused two cards. Whereas in Doctor, you claim nothing special about how the card was created other than it was a “mistake” at a card plant.

Update (6/10/09) – Further Credits:

Shortly after publishing this effect here on the site, I received an email from Oliver Meech informing me that this is pretty much the same as a Steve Beam effect. I contacted Mr. Beam to get the details. Oliver is correct. This is basically the same effect as one previously published by Mr. Beam.

The original version by Beam is entitled Siamese Stab and can be found in issue #7 of The Trap Door (1984). I’ve corresponded with him regarding the effect, and he was a perfect gentleman about the whole affair and has no “beef” with the fact that we (Beam, Myself and Dick Roy) have developed the same idea. I just wanted to take a minute and personally point out that this is something that many others could learn from. All too often ill intent is assumed when something like this happens.

Please Leave a Comment Below and “like” This Effect:

The post Doctor appeared first on Stone Cold Magic Magazine.

Other Sites

Jeff Stone — Mon, 29 Dec 2008 10:07:24 +0000

Gemstones Teaser:
Due to the holiday rush, and a few circumstances beyond my control, Gemstones has not quite made it to the replicators. However, the master is done, and should be off to the replicators in January 2009. Hang in there gang. Thanks for your patience.

Here’s some exciting news, however. With the purchase of Gemstones, when it becomes available, you will have access to a website specifically for people who own the DVD. Much of the content is password protected, but the password comes with the DVD. I will be doing this with all future DVD projects.

The site will contain alternate handling ideas, bonus effects, downloads of props needed to perform some of the effects. The site will constantly be updated so that the DVD will live on with updated content always available online.

The site is live now. You can see a teaser of the DVD, but it is still not available for purchase yet.

Check it out: Gemstones Site

Stone, Frixion, Fire Update:
So much for my ability to predict the future. I thought that Stone, Frixion, Fire would be available in December… not quite. Thanks again for the patience. Hang in there.

Clever 8:
The Clever 8 sale is now over. The official e-book is now selling at it’s regular price of $24.95. Also, for those who have purchased the hard copy, we’ve got good news.

Get The Stone Cold Magic E book Before the Price Goes Up!
As a test, I released an ebook containing 9 of the 17 effects from my Stone Cold Magic DVD. The test was to offer it at a large discount and apply the price to the DVD for those who later may purchase the DVD.

Rather than bore you with the details of the test, I’ll just give you the punch line. The test is over. As of January 16th, 2009, I will no longer be offering the E-book for $6.99. The price will be going up to $19.95. Also, at that point, the price of the Ebook will no longer be applied to purchase price of the DVD.

So if you want to get the ebook for only $6.99, and would like the cost to be applied to a future purchase of the Stone Cold Magic DVD, then order now! On January 16th, 2009, this deal will no longer exist. Anyone who purchases before then will be entitled to the $6.99 credit toward the DVD provided that they purchase the DVD sometime in 2009. After that, it’s over.

I will, however, continue to give it away for free with the purchase of the DVD.

Get the E-Book now for only $6.99.

Elmwood Magic:
I just wanted to take a minute and recognize someone who is a huge asset to the magic community. His name is Paul Richards. I met Paul about 12 years ago at a convention in Connecticut. You, likely are familiar with his website, www.elmwoodmagic.com. Elmwood has a ton of great original products.

One of my all time favorites is Balloon-a-trick. There are many, many, many more. I just wanted to make everyone aware of a great magic site and creator out there, Paul Richards. Check out the Elmwood Family of Sites:

I’ve got other sites you know:
Finally for those who are interested, I do have a few other sites out there.

Check out my My Space page for a more personal view and less magical view of Mr. Stone Cold Magic.

Check out my You Tube page.

Check out my Face Book page to meet a bunch of other magicians and even some people I went to High School with.

On my Blog, you can read my rants about everything from recent gigs to the inner dialogue of the Ace of Spades.

The post Other Sites appeared first on Stone Cold Magic Magazine.

Ace Freely

Jeff Stone — Sun, 26 Oct 2008 07:01:35 +0000

Blood and fire and spit were everywhere. Cards were singed and torn and screaming in agony. The mysterious man with the make up and outrageous costume who was responsible for this horrific scene is nowhere to be found.

As the cards were panting and choking and trying to recover from this tragedy, a scream was heard from outside of the card box; it was the Ace of Spades gasping what could be his last breath. The 51 cards began to panic.

Will this be the end of the Ace of Spades? Will he ever be the star of another Four Ace Trick? Just when the situation seemed to be coming to its inevitable tragic ending, our hero, the close up magician enters the card box.

He’s more than a magician; he’s a savior, and a healer. He can heal the master spade. The card box echoed with hallelujahs. For this healer is the only man who can fix and repair the ace and not charge a pip and a back. Thus he became known as the man who could heal the Ace Freely.

How entertaining was this “episode”:

The post Ace Freely appeared first on Stone Cold Magic Magazine.

Triptych

Jeff Stone — Thu, 06 Mar 2008 05:06:59 +0000

Introduction:
You gotta love a borrowed shuffled deck effect where most of it happens in the spectator’s hands.

The beauty of this one is that many people will read the effect, and assume that the trick is too simple to have an impact on the audience, and they will skip the rest of the performance and explanation, thus leaving a killer gem for the working pros.

You gotta love this one. It gets many people involved, and on top of that, later when they explain it to their friends, they’ll have forgotten that you ever touched the deck.

Effect:
This is a simple three card revelation where the first card is “found.” It then changes into the second selection which changes into the third selection.

Method:
Let’s go over the basic mechanics of the effect first; then we’ll cover the presentation which is the real meat of this effect.

Moves to know:
First, you’ll need to know how to control three cards to the top of the deck in order and do some false cuts and shuffles. I’ll assume that you’ve got that figured out already.

Secondly, you’ll need to know how to do a double lift. Again, I’ll take the leap and assume that you can do that. However, seriously, if you can’t control cards or do a double lift, you need to stop right now, and learn how to do those things first. Master them well grasshopper.

Finally, you’ll need to be able to do any kind of color change that changes two back-to-back cards. For example: Vernon’s Push Through The Fist Move, Marlo’s In Lieu of Vernon’s Push Through The Fist Move, Brad Gordon’s Blip, etc. The one I use is an old one that I’m not even sure the name of. It’s a pretty standard move though. We’ll cover that on next.

Back to Back Change:
This is one of the simplest, yet most effective ways I know of to switch two back to back cards. Follow along with deck in hand. Start with a face down deck.

Make sure that the top card is the Ace of Spades, and the second card is the King of Hearts. You’re going to show the Ace of Spades, then magically change it to the King of Hearts. Here’s How:

First, turn over the Ace of Spades so that it is face up on top of the face down deck and thus back to back with the King of Hearts.

Now that the cards are back to back, get a left pinky break beneath the two cards. Next, with your right hand, grab the outer right edge of the double and pull it to the right side of the deck and touch it (the double) to the tips of your left finger tips (figure 1).

Next, turn the entire deck face up onto the double in the same manner you would close a book. Then pause for just a second.

The situation now is that you have an entirely face up deck of 51 cards, and the 52nd card which is the switched in card (King of Hearts) is face down below the 51 face up cards.

The face up deck is sort of balanced on both the left fingertips and the right finger tips (figure 2). Now simple use the right finger tips to flip the whole deck face down, again like you are opening a book.

This will “expose” the face up King of Hearts (the switched in card) on top of the face down deck (figure 3).

That’s it. You can, if you’d like, pick up the King of Hearts and show it all around to “sell” that it has changed from the Ace of Spades which is secretly face down on top of the deck.

Custom Application:
In Triptych, we modify this color change very slightly. The only difference is that at the beginning, instead of getting a break below two back to back cards, you will get a break beneath the third card. Thus you’ll have the face up Ace of Spades, the face down King of Hearts, and another face down card beneath the King. You’ll obtain a break beneath that third “indifferent” card.

From there, everything is the same. You’ll pull the three cards to the right, flip the deck on top and flip the deck over again. The big difference, at this point is that you now will have revealed that the Ace of Spades turned into whatever the indifferent card below the king was. So the position of the deck at this point is a face up indifferent card. Below that is the face up King of Hearts, followed by the face down Ace of Spades and the rest of the face down deck.

The groovy thing here is that you are now set to magically change the face up indifferent card into the King of Hearts just by using a double lift. Simply get a break beneath the two face up cards, and turn them face down as one. Then deal off or slide off the top card (King of Hearts) and turn it over to reveal the second change.

That’s that. Those are the moves you need to do this effect. They are very simple, but very powerful. This is one of my favorite ways to open a card set because it immediately gets several people involved and is a very visual and killer card revelation.

Performance:
Note that in the text below, what you are reading is my “script” to the audience. Any comments to you the reader will be in Italics.

You may have heard of gamblers who can “control cards.” Well I’m going to show you how that might work, but I’ll need several people to help me out. First, Bill, can you shuffle these cards and pass them off to Elaine? Great. Elaine, if you’d like you can shuffle further. Now, Elaine, have Roger, Clay, and Miriam each select a card and then hand me the deck.

Note to the Magi: notice how 5 people are immediately involved and how I don’t even touch the deck while it’s being shuffled and while cards are being selected

Clay (the 2nd selection – Control to top), I’ll take yours first and put it back in the deck. Next, I’ll put yours back, Roger (1st selection – Control to above Clay’s card). Finally, I’ll put yours back, Miriam (3rd selection – Control to above Roger’s card).

Note to the Magi: From the top down, you should now have the selections in this order: 3, 1, 2. Give the deck a few false shuffles and cuts retaining the top 3 cards.

As I mentioned earlier, we are going to demonstrate card control, and believe it or not Miriam, I have controlled your card to the top. I’m about to show you proof, but don’t get too excited. It’s not magic; it’s just basic card control which wasted, I mean took 10 years of my life to master.

So here is your card (openly turn over top card – Miriam’s card). That’s basic sleight of hand card control. However, what if I mess up my sleight of hand card control? Well, that’s simple, I would just control your card (point to spectator 2 – Clay) to the top without sleight of hand, but with magic.

Execute the back to back color change with three cards as explained earlier. This will cause selection number three to magically change into selection number 2 which is in place to change to selection number 1 by means of a double lift. This is when you’ll get your first real gasp.

What a lot of people don’t realize (turn over double and remove single face down – this is spec #1’s card) is that I don’t need to control anything to the top of the deck either by magic or sleight of hand because I can just take your card (gesture with the face down card toward spectator 2 as if you are holding his card) and bring it near you (move the face down card to spec #1) and it will just change into your (turn the card over and name whatever the card is) Four of Diamonds.

Final Thoughts:
The End. If you’ve read carefully, you’ve just discovered a gem that will be in your arsenal very soon. Just try this once. The reaction is incredible. It so simple, and you can borrow a deck and the whole procedure (including selecting of cards) is started off without you ever touch the deck.

When I perform this, I open with the line about card control, but I do not mention it again until I’ve returned all three selections to the deck and I’m about to do the first card revelation. Then I remind them that I was going to demonstrate card control. I want them to, just for a moment, not think about me controlling the cards.

However, even if they think that you are doing something suspicious (that means you need to practice your card control more) you can dismiss it by saying, “I told you I was controlling the cards.”

One last thing: if they are hesitant to hand me the deck back after shuffling and selecting cards, I will mention the card control thing. It would play out something like this:

Magician: Great now that you’ve shuffled the cards and had 3 selected, I’ll take the deck back

Spectator: Why can’t I hold the deck while they are returning the cards to the pack?

Magician: Great question. As I mentioned, I’m going to demonstrate sleight of hand card control (make sure you say “sleight of hand card control” not just “card control”), and it would be pretty hard to manipulate the cards if I’m not holding them.

Try it; you’ll like it!

Also, please take the time to “like” this effect on a scale from 1 to 5 below. Thank you!

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