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n mflGnzinc OF innovflTion LVIII



This is PRECURSOR LVIII and is published in March 1997. PRECURSOR is edited by William P. Miesel and is published by unikorn nagik. The editorial offices are at 2215 Myrtle Street, Erie, Pennsylvania, 16502-2643. PRECURSOR will be published more than three times a year, and it will be sold for $18.00 (U.S.) for three issues. Outside the United States, Canada, and Mexico, three issues are sent Air Mail for $20.00 (U.S.). While playing with Dan Block's "On The Palm Of His Hand" in PRECURSOR XLIV, and trying for consistency, J. K. Hartnan came up with "Whipswitch." "Whipswitch" is an instantaneous change in identity of one of two cards. "Australian Aces - Revisited" by Toa Craven takes an old trick from Glenn Gravatt's 50 MODERN CARD TRICKS that is not very deceptive and turns it into a fooler. Randy Di Marco got the inspiration for this version of the "Collectors," "The Undercover Collectors," watching Mike Powers and Kevin King explain the "Precursor Collectors" to me in the PRECURSOR Suite at the 1996 Original Close-Up Convention in Batavia. Most Dice Stacking routines need a climax and that is what Warren Stephens' "Dice Stack Finale" is. This climax is perfect for the dice and dice cup that I use. The inside measurement of my dice cup has a diameter of 2 1/8" and my jumbo die is 1 1/2" square and the distance between two opposite corners is 2". If this jumbo die is in the dice cup, a slight squeeze on the outside of the cup right along the edges of the die and it can be retained inside when the cup is lifted mouth down. Danny Block gives us a "Single Die Holdout" that has two things going for it. It is strictly a one-handed method and not too difficult to execute. "Remember And Forget" by Reinhard Miiller is an interesting application of Gene Finnell's "Free Cut Principle" to acquire a specific placement of certain cards from where they can be handled as desired. "Australian Doubles" is another of Marty Kane's excursions along the road of down/under deals. It contains some very humourous aspects. Back in the fall of 1995, during a session with Nick Trost and Lou Gallo, Lou showed us a version of "Matchburger" which, since then, has appeared in LOU GALLO THE UNDERGROUND MAN. I liked the trick very much and Nick loved the premise but wanted a subtlety to replace the Half Pass. "Poker Exchange" is a method that we worked out together. George Haag saw my "One More Signed Card" in VISIONARY CARD EFFECTS and sent me "The Future Card" that he has been using for almost a decade. It has a very clean and natural effect and is very easy to perform. 1

A favorite trick of both Ed Eckl and myself is Ed Mario's "Elevator Cards" and it is also a favorite with our friend, Ron Zollweg, who gives us his version, "The Elevator Salesmen." Toa Hubbard gives us "More on the Allerchrist Card Trick." This is a good idea to work into the "Allerchrist Card Trick" which can be found in SCARNE ON CARD TRICKS. See also the "Allerchrist Fix" by Jon Racherbaumer in PRECURSOR LIV. William P. Miesel December 28, 1996

THE WORLD'S GREATEST After Mel Stover's "The World's Greatest" appeared in the last issue of PRECURSOR, Mel offered a couple of suggestions that you may want to take into considerat ion. 1. He thought that the following opening to the original patter would be stronger. "The 'World's Greatest Gambler' was seated next to the 'World's Greatest Magician' on an airplane. The 'World's Greatest Gambler' turned to ME (pause after putting very heavy emphasis on ME) and said, '- - -.'" Continue with the original patter. 2. Mel further suggests that the stand for displaying the cards should be constructed out of a sheet of clear plastic. In this way, the stand can just be turned around to show the match. 3. In rereading the trick, I discovered that the explanation in step #7 is not totally clear so I am providing the following illustration.

Divisible by 3

A remainder of 1

A remainder of 2

4. And finally, Mel feels the final patter line should be, "If I were to tell you, I wouldn't be The World's Greatest Magician" with very heavy emphasis on the final phrase. Mel Stover & William P. Miesel


The mechanics of the following card change evolved while working through Dan Block's "On The Palm Of His Hand" in PRECURSOR LIV. They are, regrettably, difficult to articulate in terms of specific actions. Assuming that the general idea is adequately communicated, mastery is really a question of acquiring a knack rather than the exercise of special skill. A number of lead-ins to the change itself will suggest themselves; one is given to present a complete effect. Give the deck to a spectator for shuffling. Take it back, pointing out that the identity of the top two cards has been randomly determined. While pattering, form a Tilt opening beneath the uppermost two cards. Lift the top card with the right hand from above. Show its face to Spectator #1 by twisting the hand thumb up. Straddling the longsides of the card between the forefinger and the little finger, drop the thumb to the lower right corner, and grasp the card there. Lower it and insert it into the Tilt opening, supposedly into the center of the deck. Arch the right hand over the deck, push the selection square, and lift up on the inner end of the card below it transferring the Tilt opening under that card which is third from the top. Lift the new top card in the same manner and show it to Spectator #2. Insert it into the Tilt opening. Push it square, retaining a little finger flesh break beneath it. Tap the top of the deck or snap your fingers. Flip the top card face up flush on the deck, saying to Spectator #1, "That's your card." Take it in the right hand at its midpoint of the right side and use it to flip the next card face up flush on top, announcing to Spectator #2, "This is your card;" all the while, maintaining the break. Spectator #2 will say that you are wrong, the face up card on top of the deck is not his card. "It isn't? What is the name of your card?" you ask disconsolately. At the same time, insert the outer left corner of the right hand card into the break, move the card forward into alignment with the deck, right-jogged for half its width, and take off the double card on top of it, the right thumb, at the midpoint of the extreme right edge, very lightly clasping it in place. Now, look down at the "double" card and repeat the correct name of Spectator #2's card, at the same time appearing to toss or snap the incorrect card onto the deck, in the course of which it changes instantaneously into the right one. Actually, "Whipswitch" is executed as follows: At the starting point, the right hand package is positioned three or four inches above the deck, its left side more or less over the center longitude of the deck. Very rapidly, move the right hand two inches or so downward, toward the deck, then stop abruptly with a fractional jerk upward, at the same time canting or tilting the right hand cards just a bit leftward.

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