Springing The Cards

Dear Simon,
I'm just starting out learning card sleights and I'm having trouble with what seems like it shouldn't be difficult: springing or streaming the cards from one hand to the other. Any suggestions on working this move?

Dear Card Worker,
Springing the cards from hand to hand is one of those visuals that normal people immediately associate with a magician. It is nicely showy and displays a confident skill with a deck of cards.

It is described in many books including "Expert Card Technique" by Hugard and Braue. This book has been re-printed in a very inexpensive form by Dover Publications and really is a book you should get if you wish to become a top notch card person.

It is also on the Jeff McBride videos. Jeff is a very good teacher and the technique is very clearly shown along with, as a bonus, a whole slew of other flourishes.

One tip. When practicing, do so over a bed. Everybody drops the cards a lot at first and by practising this way you don't have to bend over so far to pick them up! Even though it will seem to be very tough at first, keep at it. It really is much easier to do than it first appears. In fact I taught a friend how to do this in under a day and she doesn't handle cards at all well.

As a bonus, when you have learned to spring the cards from hand to hand you will be well on your way to learning a good Pressure Fan - another hallmark sign of a card expert.
Best, Simon

Monte Count

Dear Simon,
I occasionally see references to a Two Card Monte. Is this something that is actually used by monte workers or is just something magicians have invented? Is it worth following up in terms of effect?

Dear Card Worker,
Two card monte does exist but bears very little, if any, resemblance to the street game designed to take as much money in as a short a time from the idiots stupid enough to play it!

A basic version of the effect (you are correct in assuming that it is a magic trick) can be found in many childrens' magic kits including some of the ones that a company I write for puts out. It is essentially a double faced card and a double backed card used for various card transpositions. At this level it is little more than an amusing puzzle.

A much more sophisticated version with a full routine was released a number of years ago by, if memory serves correctly, Jim Steinmeyer. The cunning handling and routine made this quite the fooler and it should still be available from good quality magic dealers like Denny and Lee among others.

If you are interested definitely get the full blown version to play with to see if it suits your style. If you are into gambling style routines it could easily be adapted to fit such a presentation.
Best, Simon

Too Close

Dear Simon,
I'm comfortable in front of an audience in a stage type setting. But when I perform close up work with cards I can't seem to avoid feeling nervous.

Dear Card Worker,
You are not unique in your situation. Many stage performers, including some very big names, find it uncomfortable and nerve racking to do close up.

I suspect it is because on stage you are much more in control of both the audience and the show. It is, if you like, a formal performance where an audience will, hopefully, act accordingly.

Close up is much more informal and the audience much less under control and likely to join in. It is also much more free flowing with little chance to do a set routine every time; you need to be more flexible. While some, like myself, love the flexibility others, being used to performing set pieces find it nerve inducing.

Don't forget that sometimes adrenaline is mistaken for nerves. Your body is getting pumped up to perform and at times might produce too much causing you to be a little shaky and even, in some cases, light headed!

You have, of course, answered your own question. It is just time and experience that will stop the shaking hands. Use material you are totally confident in and realize that you are the only one who knows what is going to happen next. Do magic whenever you can and under as many different conditions as you can. That way you'll gradually become comfortable in them all.

I love doing magic in bars where the performance can be totally chaotic and, sometimes, very difficult. But, having mastered (to a degree anyway) that difficult venue others become much so much easier.

The more you do it the easier it will become. Every performer has been nervous at some time and managed to overcome it in performance. A few deep breaths before starting is a good thing. It relaxes the body and may help you. Good luck learning to control those pesky nerves!
Best, Simon

Dealing Seconds

Dear Simon,
What are my options for using a second deal? I've tried the strike second deal but after a few deals the top card gets out of alignment.

Dear Card Worker,
I guess you must be very into your card magic to take on such a move as the Second Deal. It can be an alarmingly frustrating move to get down perfectly.

There are two main types of second deals. The first is the Strike which would appear to be the one you are having trouble with. Here the top card of the deck is moved out of the way of the second card, allowing the second card to be dealt.

The reason your card is going out of alignment is the use of too much pressure on it. Lighten up on the move and you'll find that it stays neatly in place. It is really all about lightness of touch here.

The second type of second deal is the Push-Off. This is where two cards are pushed as one from the deck and the top one pulled back as the second card is dealt. I make no secret of my preference for this type of second deal as, in my opinion, it looks more natural.

You can read all about both types of deal in my book 'Second To None' which describes over 15 different deals (both strikes and push-offs) along with a number of effects using the deals.

I hope that helps you along your way!
Best, Simon

Triples

Dear Simon,
In an effect I'm doing I need to lift the three top cards as one. I'm not sure of the best way to manage this. I can do it by riffling which can draw attention to what I'm doing, or by trying to pick up the correct number of cards as I look at the deck. What would you suggest?

Dear Card Worker,
Riffling the deck can draw attention to it as, of course, does looking hard at the deck. The answer here lies not in the technique you are using but the fact that you are drawing attention to the technique you are using.

As it happens I do several effects that require a break under three cards in preparation for a Triple Lift. I set the three cards one handed by pushing over the top three cards with my left thumb and, as I draw them back square onto the deck, taking the break. This does require some practise but is very efficient.

The hand holding the deck drops to my side as I chat to the spectators. By talking as I do the move ensures that they are looking at my face not at my hands. As Ken Brooke used to say, "If they aren't looking at the prop then they can never see the move!"

If setting the cards one handed is too much for you, use both hands but don't look at the deck as you do so. It's not that tough to push over three cards and take your break without looking. It literally is the work of a second and can be covered by a patter line causing them to focus on you rather than the cards.

So, rather than look for a new technique, concentrate on taking the break without looking, using your speech to direct attention to you and away from the cards.

As a side note far too many magicians spend way too much time looking at their hands rather than paying attention to the spectators. The more you learn to do the magic almost automatically and spend your time interacting with your audience, the better you will become as a performer.
Best, Simon

How Ambitious

Dear Simon,
The Ambitious Card routines I've seen seem to be overly ambitious to the point where I'm not sure the audience can follow what's going on or cares much. Do you know what the original intent of the effect was? Also, do you have a favorite version?

Dear Card Worker,
The Ambitious Card is one of the most popular plot lines in magic that just about every card guy of note (including myself) has published variations and routines on.

Tracking back the original meant inquiring into the mind of my great friend Max Maven. If he doesn't know a magical fact its probably not worth knowing. Max says that it is usually credited to a French magician Gustav Alberti in the mid-1800s. However there is a related idea in Ponsin's "Nouvelle Magie Blanch Devoilee" published in 1854 that might precede that. Thanks Max you never let me down!

One of the first routines I ever learned on this plot line is in Harry Lorayne's wonderful book "Close Up Card Magic." It remains, to this day, a very solid version of the effect.

My opinion on what makes an Ambitious Card routine good consists of three parts. First, I don't think that it should be too long. Once you've proved that you can get a card to magically jump to the top of the deck I don't think that you need to do it 50 million times. Three or four times perhaps, under increasingly difficult conditions, is enough I think.

Second, there needs to be a definite reason as to why the card is doing this magical feat. I don't think that it is enough to just say, "Hey it's on top again!" In my Sambitious Card in "Simon Says" there is a premise that the card will only go to the top if I say, "Please." In my "Heartless" routine (same book) there is a premise that one card is ruthless, vicious and heartless and will always try to kick its way to the top of the heap.

Third, I think that there must be a definite ending, a climax if you like, to the effect. In Heartless for example the whole deck deck ends up with a huge hole through it (proving that all the cards are 'heartless.')

There is a ton of stuff in print on the effect. Daryl even published an entire book on it. Play around with as much as you can then construct your own routine bearing in mind what I've said above. It's a great effect and one that is well worth the time to work upon to get it to fit you and your performing style.
Best, Simon

Push Through

Dear Simon,
I'm working on a push through riffle shuffle and I can't seem to get a smooth movement for the action, both the push through and strip out. Any suggestions?

Dear Card Worker,
The Push Thru Shuffle has a definite learning curve to it, but it is worth while as it is one of the finest of all the full deck false shuffles when done correctly.

There are a number of tips I can give you on the action you are having problems with not the least is the quality of the cards you are using. The action is far smoother with a newer deck than it is with an old one. Old cards get burred edges and can be slightly sticky from use. Humidity also kills cards making delicate actions harder. Use new cards.

When I do the push through action I use quite a big one. The cards after the push through will extend at least half an inch out on the right hand side hidden by my right fingers. The smaller the extension, the tougher the strip out is. I go straight into a cutting sequence after the shuffle so don't need a small extension. I like things to be as easy as possible.

You'll find that by riffling lightly up the back of the deck after the push through but before the strip out you'll put some air into the cards. This makes the strip out much smoother and there will be a lot less chance of leaving any hangers (cards) behind.

Finally, the stripping action is not to the side but rather a more forward and to the right action. By doing this there is less distance for the cards to move before they come clear.

The whole thing has to be very light. If you grip the cards like bricks you'll have all sorts of lock ups and problems. Keep it light and you'll soon be doing it almost without thinking.
Best, Simon

Passed Out

Dear Simon,
Is it best to do the pass when you're doing something else? By that I mean when you're actually doing something with the deck, like cutting or shuffling. Many descriptions of the pass treat it like a juggling maneuver which seem to result in a hand washing effect.

Dear Card Worker,
I'm not quite sure what you mean by it looking like hand washing. There are a number of card workers, including myself, who can do an invisible pass while the deck is being burned.

The jury is split on your main question though, most would agree that you should absolutely not be appearing to shuffle or cut the deck as part of the action. The whole point of the move is that a card is undeniably put into the center of the deck and lost. Nothing happens and yet now it is on top ready either to be revealed as part of an Ambitious Card Routine for example (an overt use of the move) or to be palmed away (a covert use of the move.)

If you appear to be shuffling or cutting then you may as well use a false cut like a Double Undercut or a false shuffle of some kind to get the card where you want it rather than using a Pass.

The main split in the jury is that some believe it to be a misdirectional move required attention to be at least partially diverted from the deck and those who use it under any conditions even whilst being burned by the audience.

Both sides have merits but there is no doubt that asking a question to partially distract a spectator who has to look at you to answer it makes the move considerably easier to cover. Moving your arms around is not something I'd recommend as that simply draws more attention to your hands.

The Pass (of which of course there are many) should look as if you out a card into the center of the deck and square it up. No more, no less. With correct action it is a devastating tool. It also requires a great deal of practice. I played around with it for over five years before using it in actual performance!

Hope that helps you out.
Best, Simon

In Plain Sight

Dear Simon,
I start my show with some card tricks, then move on to effects with other objects, then finish with a favorite card trick. I've been putting the deck away after the card work, then taking it out (actually a different deck) for the finish trick. I'm concerned the spectators will become suspicious about this. Is there any way to leave the deck in plain sight, yet switch it without them noticing?

Dear Card Worker,
Right from the start let's say that the reason some audience members seem to get suspicious is that you are worrying about it as well. Audiences can sense worry!

That aside there are various ways to leave the deck in full view or at least that's what they will think afterwards. A delightful switch used by Edward Marlo as well as by Randy Wakeman will do the job.

Start with the gaffed switch deck in your left hand jacket or trouser pocket. It should be uncased (i.e. not in a box.) At the start of your show remove your ordinary deck and casually toss the case to the outer right corner of the table. Now go into your your, no doubt, sensational card set.

At the end of the card set a little acting is required. You have to pretend that you don't know where the box is. Don't say anything (that would be too much) just reach into both pockets as you look for it then suddenly notice it on the table and reach for it to case the deck. Of course during this action you have switched the decks in your pocket but everything is motivated logically. You can then drop the switched deck off to one side in full view before carrying on.

If you want to have the fake deck in a case you can do a variation of the effect. At the start of your card set remove a Joker from the deck and place it to one side. Do the card tricks then put the deck in its box. Put the deck into the same pocket as a cased fake deck. Suddenly notice that you forgot the Joker and remove the deck (switch) from your pocket to pop the Joker back in. Casually toss the deck to one side and move on.

Both variations are motivated and unmemorable (exactly what you want of course) and, by the time you get back to the deck, their memory will be that it never left their sight.
Best, Simon

Stolen

Dear Simon,
What is the value of the Side Steal? Is it a move I should learn immediately or something I'll only use occasionally?

Dear Card Worker,
The Side Steal seems to have fallen out of use these days which is a pity because it is a very good way to control a card to the top of the deck. I suspect its lack of popularity is due to the fact that it is a particularly difficult move to do well under fire. That's not to say that nobody uses it of course. Bar magic legend Scotty York for example used it all the time when working.

The advantage of a side steal, somewhat like a pass, is that a card is placed into the center of the deck and then, with no other visible action occurring, is on top of the deck. To the spectators' eyes the card must be in the middle of the deck whereas it is on top. The fewer overt, or visible, actions there are, the more magical the effect can become. A double undercut for example could have, to the spectator's mind, 'accidentally' put the card to the top but by using a side steal you negate this thinking. A pass does the same thing.

One rarely used advantage of the side steal over say a pass is that it leaves the deck, apart from the chosen card, in the same order. If your following effect needs a stack of some kind this can be of great help to you.

The real answer to your question requires a restatement of it. You needn't ask how important it is in magic but rather how important is it to you? If you already do a good pass then a side steal may not be needed at all. If you do neither then try both and see which one works best for you!
Best, Simon

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