Pages from Trendsetter's by Harry Lorayne~1 1245

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HARRY LORAYNE

The impact on the magic fraternity of Harry Lorayne's books, and of his magazine, Apocalypse (see rear flap), is a matter of record and a matter of fact - all over the world.

He has also written (as of now) fourteen books for the public (learning/memory) which have sold millions of copies in sixteen languages.

So his impact on the public is also established and well known.

Harry Lorayne refers to his magical writings as a labor of love, and most amateur magicians and professional magicians throughout the world "love his labor."

He writes his magic books with one thought in mind. He visualizes himself as one of the readers. How would he, as a reader and student, like the book to be written? How would he like the effects to be taught? What kind of routines would he like to learn?

TREND SETTERS consists of a perfect blending of magical knowledge, experience, selectivity and professional writing ability. Harry Lorayne teaches not only the modus operandi of a routine, but also the psychology behind the concepts, and how to entertain with them.

TREND SETTERS starts the thinking processes, revives your love for magical literature, stimulates your enthusiasm and imagination, and makes you wish that it sold for double the price so that it wouldn't get into just anyone's hands!

(continued on rear flap)

BOOKS BY HARRY LORAYNE

Close-Up Card Magic Personal Secrets My Favorite Card Tricks Deck-Sterity Best Of Bill-Fooled The Hundred Dollar Book Dingle's Deceptions Reputation-Makers The Great Divide Tarbell #7 Rim Shots Afterthoughts The Epitome Location The Magic Book Finger Fantasies Card Animations The Card Classics of Ken Krenzel Quantum Leaps Best Of Friends, Volume I Best Of Friends, Volume II Star Quality Trend Setters How To Develop A Super-Power Memory Secrets Of Mind Power Instant Mind Power Miracle Math Memory Isometrics Course Mental Magnetism Course Good Memory-Good Student!

Good Memory-Successful Student!

The Memory Book Remembering People The Page-A-Minute Memory Book Memory Makes Money Super Memory-Super Student Monthly magic magazine: Apocalypse Stars Of Magic video tape

HARRY LORAYNE Illustrated by

Robert E. Lorayne

Published by HARRY LORAYNE, INC. 62 Jane Street New York, NY 10014

Š Copyright 1990 by HARRY LORAYNE, INC. All rights reserved. No part of this publication may be reproduced in any form or by any means, which are now known or to be invented, without the written permission of the author and publisher.

For Renee and Robert and For all who love card magic as much as I do

Table Of Contents

Foreword

11 SECTION I

Primal Screen 15 Primal Sandwich 19 Primal Ambition 22 To A Primal Number 25 Primal Final 30 Revolving Pass Extensions 32 Original 4-2-1 4-2-1-1 4-3 4-No Break 4-4 Would It Be A Miracle? 39 Without A Clue 44 Without A Clue, Impromptu 52 A Pathway Kind Of Thing 56

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HARRY LORAYNE

SECTION II

Nine, Five, Seven, Five 63 Convincing 68 "Keyn" Location 71 Out Of This Galaxy 75 The Pop-Up Ace Pyramid 80 HaLo Cut Handling(s) 87 Four Faces Best 93 Rhythmic Sandwich Change 98 Melt-Through 104 Crimp Unseen 110 SECTION III

Double Edged 115 Two-Time Mate 121 Kings "High"Way 128 No Cut/Pass Method In Or Out 4-Card Switch 135 Simple Lie Detector 140 The Detective Card 145 Cryptic Triptych 151 Spread Control Eerie Control 155 In My Book 158 Side Swipe 165 SECTION IV

The Equalizer 171 Quick Estimation 179 Ah, Finally! 183 Another Non-Reverse Reverse 189 Upward Bound 194 Side Glance 197 Imaginative Ace Controls 201

TREND SETTERS

Flip Force 206 Flip "Fource" Ace Revelation The 52nd Card 214

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SECTION V Spread Passable 221 Miracle Of Thirteen 226 Aces To Catch 234 The Lorayne Force Underground Spinout 243 The Summit Switch 245 Straight Away 251 Universal Reversal 257 Chapter And (Re)Verse 261 Instantly Wired, Plus 264 Double Reverse 268 Near Perfect 271 Last Word

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Foreword If you take the time to read the Foreword of BEST OF FRIENDS, VOLUME II you'll find out that I had too much material for that book. Rather than hurt the feelings of friends by omitting their effects, all my own effects and routines that I had put aside for that volume were not used.

It's those "not used" effects and routines, which were good enough for, and intended for, BEST OF FRIENDS, VOLUME II, that became the nucleus of this book. Those, added to some others that I'd wanted to keep for myself for a while, form the whole.

There are many direct effects and routines contained herein; in fact, they're all direct effects and routines. However, most of them, if not all of them, are also pathways, concepts - trends. They should start you thinking along certain avenues that you may never have explored before.

If they do, I've made a contribution to the art. But, make no mistake about it - even if you'd just as soon not do any thinking on your own, you can perform all the effects and routines in this book exactly as I do, exactly as they're taught here. I just wanted you to know that there is room for thought in all of them, and that they may all just start some new, or at least different, trends in card magic.

In my opinion (which, admittedly, may be somewhat biased) every item is, by itself, worth the price of the book.

In other words, each and every effect or routine is a practical, usable one. I do not believe in, nor have I included any, "filler" items - the kind of filler items I see more and more of in contemporary magic books. Also, in most cases, when I wanted to teach a sleight only, I worked out an effect utilizing that sleight, so that I wouldn't have to teach only the sleight. I don't usually care for sleights just for sleights' sake, unless it's a utility item, like a palm.

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HARRY LORAYNE

So, even if two or three of the ideas are, perhaps, a bit beyond you at the moment, there are plenty of others to work with, to keep you busy and entertained. And, as is usually the case, the two or three that may be a bit beyond you now won't be in a short while.

I think you're in for a good time!

HARRY LORAYNE

The Lorayne Spin (Reputation-Makers)

SECTION I

Primal Screen Primal Sandwich Primal Ambition To A Primal Number Primal Final Revolving Pass Extensions Would It Be A Miracle?

Without A Clue Without A Clue, Impromptu A Pathway Kind Of Thing

Primal Screen I liked Ron Bauer's The Screened Leipzig Pass (Genii; February 1983). It started the thinking processes simmering.

From what I could determine, the Leipzig Pass originally appeared in a 1931 Sphinx. It seems that Bert Allerton was the first to do a version of it which brought the vital card to second from top instead of directly to the top. He simply sidejogged the top card slightly to the right. Not bad. (And, getting the vital card to second from the top rather than to the top is much better, in my opinion.) Ron Bauer's method is to clip the top card between the right third and fourth fingers. That separates the top card from the rest of the deck.

Also not bad.

However, both of the above-mentioned methods necessitate a bit of handling, no matter how slight, before you riffle down to be stopped. I still liked the idea, but I wanted to do it completely "clean." Well, I've come up with the, seemingly obvious, method. I love it, I use it. Some pretty decent effect ideas also came to mind. I'll teach the move, then I'll get into some of those effect ideas.

Fig. 1

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HARRY LORAYNE

Hold the shuffled deck in left-hand dealing position, ready to riffle down at the outer left corner with your left thumb. Your right hand rests naturally, and normally, on top of the deck. The fleshy pad of your right forefingertip is above the outer left corner of the top card. That's important.

(Fig. 1.) Riffle down asking to be stopped, in the standard way, as in the last illustration.

Fig. 2

Fig. 3

When you're stopped, your right hand lifts the top half, above the stop point, as it would ordinarily do, except that it tilts to the right. That is, it moves clockwise a bit so that your palm faces almost directly to the left. So does the face of the top half deck. Your hand tilts that way in order to use its half deck to flip over the stopped-at card, the card on top of the left half. Your left thumb partially pushes off that card, the face of the right-hand half contacts its outer-right corner, and flips it face up. (Fig. 2 shows the stop-action situation just prior to flipping that card face up.) In flipping over that card, your right hand turns almost palm down. This has to be done later; might as well do it now, too, so that it becomes the feint for the sleight.

Okay; the card is flipped face up and named. As I said, the flipping face up of the card also acts as the feint. It "sets" that concept in the viewer's mind. Flipping the card