HDTenEightyP/NetNews huggingface dataset:
From: knepley@CS.ColoState.EDU (Ranseus (Jim Knepley))
Newsgroups: alt.magic
Subject: Re: Help on unknown pass reference
Date: 24 Jan 93 16:11:23 GMT
Distribution: usa
Organization: Colorado State University

In article <C19JA2.EAG@da_vinci.it.uswc.uswest.com> ron@makedust.uswest.com (Ron Schweikert) writes:
>Could someone please send a reference for the "Ham Ping Chien" (sp.,
>sorry I should have written correct spelling down) coin pass, or 
>something that accomplishes the same effect?  It's referred to
>in a coins-across routine in "The Magic of Michael Ammar".  

I learned it from David Harkey, but instructions also appear in David Roth's
'Coin Magic' and maybe 'Expert Coin Magic.'  I believe it's "Hans Ping Ching."
I don't think Bobo's deals with it...  could be wrong.

>Any favorite coin passes that I could focus on? 
I'm a big fan of the 'Jump Shuttle Pass' as tought by David Harkey.  If you're
keen on Coins Accross, David Williamson has a good one that's ultra direct in
his book (the routine is 'Cross eye'd coins accross').

>Also looking for close-up
>move where magician takes signed card back from audience member and
>seems to slip it face down in the middle of the deck (it appears stuck
>halfway down the deck, jogged out half way), pushes it into the deck,
>but then after riffling the deck the signed card appears on top (or
>he can vanish it).  I've been playing with two moves that might
>accomplish the effect (palm covering forced jog) but I'd like some
>other ideas.

It may no longer be in printer, but there was a book called "The Ambitious
Card Omnibus" that has a lot of moves to accomplish this feat.  I never
got it when I saw it because I pooh-pooh'd cards for the beginning of my
magic career.

Good luck,
  Jim
-- 
----- knepley@cs.colostate.edu ----------------------------------------------
 Jim "Ranseus" Knepley |  Avoid rectal-cranial inversion. 
 Programmer, magician, |  "Gun's don't kill, it's those bullet things"   
 computer geek.        |  
Newsgroups: alt.magic
From: so@brownie.cs.wisc.edu (Bryan S. So)
Subject: good/big catalog
Organization: University of Wisconsin, Madison -- Computer Sciences Dept.
Date: Thu, 28 Jan 1993 19:03:56 GMT

Which magic company should I call if I want to buy a good, thick
CATALOG that is worthy to treasure by its own right.  I found it
both amusing and educational to read magic catalogs.  Since there
are many experienced people in the net, some of you must have seen
some really good ones.


Bryan
From: Paul.Haban@dartmouth.edu (Paul Haban)
Newsgroups: alt.magic
Subject: Wanted: Bizzare, Geek or Mental Magic
Date: 25 Jan 93 01:37:32 GMT
Organization: Dartmouth College, Hanover, NH
X-Posted-From: InterNews1.0a5@newshost.dartmouth.edu

got any strange stuff lying about?
think your old issues of 'The Invocation' are no longer in your tastes?
figure the postman is reporting you to the cops because you get 'The
Snake
Oil Almanac?'

heck, if you have any of this kind of cool stuff cluttering up your
shelves
then drop me a line.  I am interested in anything from Burger to
Goldstein 
to Givan.
The stranger the better.

thanks
-paul
The.Incubus@dartmouth.edu
Newsgroups: alt.magic
From: tnielson@spock (THORIN NIELSON)
Subject: Re: Gemini Count! Wowowowow!
Organization: New Mexico State University
Date: Wed, 27 Jan 1993 22:10:33 GMT

In article <1993Jan26.003509.22228@news.cs.brandeis.edu>  
st922964@pip.cc.brandeis.edu writes:

>      What card tricks of yours get the most reaction out of an audience
>      What coin tricks get the most reaction out of an audience?
>      Those two above questions are adressed to everyone.

I'm fairly new (been practicing for about two years), but I get a good  
response (when I do it correctly) from the signed card trick and Brother  
Hamman's Eight Ball Queens. My grandfather nearly wept with joy and  
amazement when he saw that one.

Also, Ed Marlo invented a neat little trick where four cards are chosen,  
three of them happen to be twos, the last an ace, so the magician proceeds  
to turn the ace into a two and by that time the other twos have become  
aces and the ace that was just turned into a two becomes an ace again.  
Whew! I think the audience likes it so much because the magician seems to  
make a mistake or two that turn out to be fantastic miracles. I wish I  
could remember the name of the trick. (BTW I will trade tricks if you  
haven't seen this one).

Unfortunately I sometimes get better reaction from the tricks that pretty  
much work themselves. The audience expects to see something fishy, and if  
it works itself, they seem to have a greater respect for you.

Thorin Nielson --
Basking in the Cultural Radiance of Las Cruces, NM.



Newsgroups: alt.magic
From: presto@bach.udel.edu (Jason Y Nocks)
Subject: Re: Close up
Organization: University of Delaware
Date: Sun, 24 Jan 1993 07:05:20 GMT

In article <727655368.16622@zooid.guild.org> kronos@zooid.guild.org (Kronos) writes:
>Stage magic is quite different from close up magic. I find that close up magic
>is a little harder to do, and requeires a little more ingenuity in order to
>keep people interested as well as from discovering how it is done. I work in a

  I would have to disagree with you here. Stage magic is quite difficult to do
WELL. The problem isn't keeping one person's attention. The problem is keeping
the entire audience focused on what you want them to focus on. This situation
requires a great deal of showmanship and stage presence. I'll agree that
sleight of hand requires tons of practice, but effective stage magic requires
months of rehearsals. And, as mentioned, practice only gets you so far.
Particularly in stage magic, you need the benefit of audience feedback to find
out what works and what doesn't. In close-up you can instantly see by the look
on someone's face whether things are going well or not. This is often not the
case on stage. Sometimes the lights are so bright that you can't see the
audience at all.

  I don't remember who told me this, but another magician once talked mainly
to one area of the audience during the show. He couldn't see who was there
because of the lighting, but tried to focus on some guy that he imagined in
the audience periodically during his show. After the show, he was told that
there was nobody at all on that side of the auditorium, and the audience had
really enjoyed watching him talk to nobody at all.

>restaurant where a lot of the customers just come in to see me do a trick or
>two, and usually even though they have seen it a million times, they want to
>see it one more time and they bring their friends in. I find that after one
>night of doing just a few tricks, that I have mastered them to the point where
>I don't even think about doing them anymore I just do them. Granted its not
>the best way to earn money but my tips have jumped to about 200 a night, when
>they used to be 80 a night. Not bad. 
> 
>I also need a request. Has anybody here ever used the Ultimate Holey Terror
>II? If so... a little tip here or there about the actual execution of the
>trick would be appreciated.... Stupid thing is TOUGH!!!! Thanks a lot!
> 
>Kronos

  Sorry I can't help you out here. I am always impressed by an excellent
close-up performer, but stage workers (like Lance Burton, Siegfried and Roy,
and even DC - who reportedly performs over 500 shows each year, yes that
averages to more than one show every night!) probably work just as hard
(sorry, make that TOP stage performers) as top close-up magicians. That's
just my $.02

-Jason


-- 
| presto@brahms.udel.edu       | A senior E.E. at the U of D with a side order
| presto@freezer.cns.udel.edu  | of stage and close-up magic. The views
| nocks@snow-white.ee.udel.edu | expressed are exclusively my own (etc).
Newsgroups: alt.magic,alt.magick
From: ba@mrcnext.cso.uiuc.edu (B.A. Davis-Howe)
Subject: Re: You prefer white or black magic?
Organization: University of Illinois at Urbana
Date: Wed, 27 Jan 1993 20:30:41 GMT

derich@netcom.com (Scott A. Steinbrink) writes:

>If you had a choice, would you prefer black or white magic?

>Why?


>I'd pick white so I can help God spread some goodness all around the earth.

This has prolly already been said, but...your terminology sucks.

Classifying magic as white=good and black=evil is racist, ignorant, and
generally quite unpopular in this group.

On the other hand, there are at least a few of us who will state that we 
practice *both* black and white magic.  However, we *don't* mean good/evil.
My personal usage of white magic is the expansive, connective, frequently
group-operated sort of magic I do during the full moon.  Black magic is the
introspective, self-focused, solitary magic I do when the moon is dark.  I
tend to prefer white over black, both because I like to work with groups and
because self-examination is never a "happy, happy, joy, joy" kind of 
experience.  However, I try to make sure I do both every lunar cycle--to
maintain balance.

Enjoy the journey!
                      --Br'anArthur
                                      Queer, Peculiar, and Wyrd! :-)

******************************************************************************
"We are secretly replacing the fine quartz crystals this medicine pouch maker
usually uses with Folgers crystals.  Let's see what happens...."
                                      --DACCrowell
From: fdeignan@vax.clarku.edu
Newsgroups: alt.magic
Subject: Bros John Hamman
Date: 28 Jan 93 01:41:17 GMT
Organization: Clark University

After reading the posts on the Gemini Count and the effect of The Twins,
I took my Bros John Hamman book off the bookshelf and looked up the
effect.  Needless to say I am now in the process of practicing the
Gemini Count so that I can perform The Twins and the other effects
Hamman does with this count.

Thanks for the post, Thorin!  It got me moving on some new effects that
I might have passed by for some reason or another.  I love the patter
with The Twins!
From: kronos@zooid.guild.org (Kronos)
Newsgroups: alt.magic
Subject: Close up
Date: 21 Jan 93 22:29:28 GMT

Stage magic is quite different from close up magic. I find that close up magic
is a little harder to do, and requeires a little more ingenuity in order to
keep people interested as well as from discovering how it is done. I work in a
restaurant where a lot of the customers just come in to see me do a trick or
two, and usually even though they have seen it a million times, they want to
see it one more time and they bring their friends in. I find that after one
night of doing just a few tricks, that I have mastered them to the point where
I don't even think about doing them anymore I just do them. Granted its not
the best way to earn money but my tips have jumped to about 200 a night, when
they used to be 80 a night. Not bad. 
 
I also need a request. Has anybody here ever used the Ultimate Holey Terror
II? If so... a little tip here or there about the actual execution of the
trick would be appreciated.... Stupid thing is TOUGH!!!! Thanks a lot!
 
Kronos
From: gouldh@memstvx1.memst.edu
Newsgroups: alt.magic
Subject: re: Gemini count Double Pinochle
Date: 26 Jan 93 12:32:17 -0600
Organization: Memphis State University

I agree the Gemini count is great. I use it doing the TWINS and it
is one of my best recieved effects. THe women love the patter and 
appear to like this effect better than any other for cards.  I am not familiar
with double Pinochle - could you provide the patter I can figure out the moves.

      Herb Gould.
Newsgroups: alt.magic
From: st922964@pip.cc.brandeis.edu
Subject: Re: Advice
Reply-To: st922964@pip.cc.brandeis.edu
Organization: Brandeis University
Date: Sat, 23 Jan 1993 18:23:47 GMT

    I agree with you that the presentation is just as important as practicing
in front of a mirror, but, in my opinion, you really shouldn't go out and
try a trick for anybody unless you have perfected (as much as you can) your
routine in front of a mirror.
    Once you have your routine down pretty well in front of a mirror, and you
can actually fool yourself, then is the time to go try it in front of other
people.  You used Harry Levine as an example, and you said that he did a simple
routine for many people which required minimal sleight of hand, and whatt
sold his routine was his presentation.  That is really only because he 
practiced and practiced his routine in front of a mirror and worked very hard
on his presentation (I presume.)  Also, Harry is one of the most skilled cl
close-up workers I have ever seen... He has worked very hard on all of his
material, and the only way to get as good as he is to practice constantly,
and the best way of practicing IS in front of a mirror
Newsgroups: alt.magic
From: st922964@pip.cc.brandeis.edu
Subject: Re: Gemini Count! Wowowowow!
Reply-To: st922964@pip.cc.brandeis.edu
Organization: Brandeis University
Date: Tue, 26 Jan 1993 00:35:09 GMT

    Thorin - those are the only effects that I've seen that utilize the
Gemeni count... I highly recommend Double Pinochle - this little trick
utilized minimum sleight of hand(just the gemeni count and the Hammand
Count), but has a great storyline, and incredible effect - this is one
of those tricks that will convince people that you are a very talented
close-up worker.
     What card tricks of yours get the most reaction out of an audience
     What coin tricks get the most reaction out of an audience?
     Those two above questions are adressed to everyone.
From: gouldh@memstvx1.memst.edu
Newsgroups: alt.magic
Subject: re: Where to buy Genesis
Date: 22 Jan 93 17:25:22 -0600
Organization: Memphis State University

Genesis is by Jay Scott Berry his address is

                            Celestial Sorcery Inc.
                            11333 Moorpark
                               Suite 1000
                            Studio City, CA  91602

I have used the effect and the two major problems are.
      1. the angles for the spectators are very critical.  You
         absolutely can not do it surrounded
      2. Any backlighting is a instant killer of the effect.

 


						Herb Gould
                                                GouldH@MSUVX1.MEMST.EDU
From: gouldh@memstvx1.memst.edu
Newsgroups: alt.magic
Subject: Anton the Great
Date: 27 Jan 93 17:18:40 GMT
Organization: Memphis State University

Does anybody know of a magician past or present called Anton the Great
or the Great Anton?  If so can you provide a brief biographical sketch or
a reference to him/her.
From: dlytle@OAVAX.CSUCHICO.EDU (Don Lytle)
Newsgroups: alt.magic
Subject: The Association for the Study of Play Conference
Date: 21 Jan 93 18:49:15 GMT
Reply-To: dlytle@OAVAX.CSUCHICO.EDU
Organization: California State University, Chico
NNTP-Posting-Host: oavax.csuchico.edu


  *****   ANNOUNCEMENT AND CALL FOR PAPERS   *****

                                         TASP 1993 - St. Paul, MN
                                 The Association for the Study of Play
                  April 22 - 24, 1993 % The St. Paul Hotel % St. Paul, Minnesota

       The Association For The Study of Play (TASP) will hold its 1993 annual meetings in St. Paul, Minnesota.  The conference will begin Thursday and continue until Saturday, April 24.  There will be featured speakers, playshops, and forums for the discussion and presentation of research papers on all aspects of play research, theory, performance and behavior.
	TASP conferences traditionally have provided a mechanism by which researchers in diverse fields have the opportunity to share ideas and interact in a friendly and collegial atmosphere.
       Papers and proposals for panel sessions or tutorials related to the broad study of play are invited.  Sessions include, but are not limited to:
 - Humor, laughter
 - Computer and cyperspace play
 - Folklore
 - Children's play behavior
 - Cross-cultural play
 - Body work and play art
 - Performance 
 - Anthropology of festive play
 - Sport
 - Literary playfulness

Deadline for submission of abstracts is February 5, 1993.

Send abstracts (100 word maximum), audio-visual needs, and registration fees ($60 professional and $20 student made payable to TASP) to:

Dr. Don Lytle
Department of Physical Education
California State University, Chico  95929-0330. 
Bitnet/E-Mail: DLYTLE@OAVAX.CSUCHICO.EDU; FAX: 916 898-4932; 
Phone: {916} 898-6617 or 898-6373 {message}/894-5028 {evening}.
Newsgroups: alt.magic
From: sasaki@netop3.harvard.edu (Marty Sasaki)
Subject: Practice...
Reply-To: sasaki@netop3.harvard.edu (Marty Sasaki)
Organization: Harvard University
Date: Mon, 25 Jan 1993 16:42:12 GMT


My note about performing in front of people was not meant to say that
practicing in front of a mirror is not worth it. I guess what I meant
to say (after reading my post, I didn't say this) is that after a
point, practicing in front of a mirror won't make you a better
magician, you need to practice performing.

I also wanted to say (and didn't say in my post) that one shouldn't
sweat over mirror practice. Practice until you are comfortable with an
effect and then go out and perform. If you waited until you could do
something perfectly, then you would never perform, you would spend all
of your time practicing. How much practice is enough? It depends on
the effect and your own ability.

And yes, Harry Levine is one of the best closeup magicians I have ever
seen. And yes, it takes a lot of practice. As an example, Harry does
the Derek Dingle riffle pass. He does it so well that you can be
looking at his hands after he tells you he is going to do the pass and
you can't see it. So I asked him, what did it take to be able to do
the pass that well? Harry told me that he took the bus to school and
every day for a year he practiced the pass to and from school.
--
Marty Sasaki               Harvard University           Sasaki Kite Fabrications
sasaki@noc.harvard.edu     Network Operations Division  26 Green Street
                           10 Ware Street               Jamaica Plain, MA 02130
                           Cambridge, MA 02138-4002     phone/fax: 617-522-8546
From: kronos@zooid.guild.org (Kronos)
Newsgroups: alt.magic
Subject: Tricks
Date: 22 Jan 93 21:43:56 GMT

Well..... Does anyone have a nice 4 Ace trick that they would like to share
with me??? I have one but The one I am looking for I do not have around. And
it is not in my books either (which I have a total of about 50 of) Mystifyning
isn't it. Well... help would be liked... and I would be willingto trade a
trick of mine that I learned from a friend of mine. So.. how about it!!!!
 
 
Kronos
From: HCM100@psuvm.psu.edu (Sleight of Hans)
Newsgroups: alt.magic
Subject: Best Rections (WAS RE: Gemini Count! Wowowowow!)
Date: 27 Jan 93 16:55:40 GMT
 <1993Jan26.003509.22228@news.cs.brandeis.edu>
Organization: Penn State University

In article <1993Jan26.003509.22228@news.cs.brandeis.edu>,
st922964@pip.cc.brandeis.edu says:
>     What card tricks of yours get the most reaction out of an audience

TRIUMPH.  Definitely.  I've worked my own patter/presentation and combined
it with John Bannons SAFE TRIUMPH as a followup and Harry Lorraines POKER
DEAL as a kicker.  Dai Vernon was an absolute genious.

>     What coin tricks get the most reaction out of an audience?

John Bannons VACUUM PACKED.  A quarter in bottle routine.  I've also worked
my own handling, but the use of tweezers to remove the coin eliminates
any possibilities of problems (U magicians knowwhatimean...) and makes the
effect completely unexplainable.

As far as sleight of hand goes, probably Shell Coins Across from Expert Coin
Magic.

>     Those two above questions are adressed to everyone.

Great subject!  Let's all particiapte!  Even if you are a layperson, post
what you thought the best effect you have ever seen was!

| O |                                                                   | O |
|   | Hans C. Masing          "By all means marry: If you get a good    |   |
| O | HCM100 @ PSUVM.psu.edu   wife, you'll become happy; if you get    | O |
|   | HCM100 @ CBA1.psu.edu    a bad one, you'll become a philosopher." |   |
| O | Penn State MIS Dept.                           - Socrates         | O |
|   |                                                                   |   |
Newsgroups: alt.magic
From: cragaisi@nyx.cs.du.edu (Chris)
Subject: Re: mirrors
Organization: University of Denver, Dept. of Math & Comp. Sci.
Date: Tue, 26 Jan 93 14:08:51 GMT

Just a brief note on the use of mirrors for practice (at least from my
experience):
 
Mirrors - good.
 
Too much practice in front of a mirror - bad.  I've found that after
rehearsing exclusively in front of a mirror, I tend to perform the trick
while looking away from my hands and my head and eyes cast slightly down
(from the position I would normally take if I were in front of my mirror).
This causes 2 things to happen: first, I look like a 50s movie zombie, and
second, people direct their attention where I direct mine (away from the
material and towards portions of the spectators anatomy where my sightless
gaze unwittingly rests - it's unwanted circumstance, and uncomfortable for
both of us).
 
As a result, I work in front of a mirror until I'm sure that the angles are
covered and the sleight looks good (incidentally, mirrors are also great for
examining the _natural_ action that the sleight is trying to slip by as and
then making the sleight match it as closely as possible) and then I get away
from the mirror and rehearse the trick - patter, pauses, and everything -
for at least as long as the mirror session went.

It works for me.

Chris
--
	"The plan was simple.  Unfortunately, so was Bullwinkle."
Newsgroups: alt.magic
From: tnielson@kirk (THORIN NIELSON)
Subject: Faro Shuffle??!?
Organization: New Mexico State University
Date: Sat, 23 Jan 1993 21:00:10 GMT


Question:

I've seen a lot of literature, routines, etc. having to do with the Faro  
shuffle (from Ed Marlo, Brother Hamman). And I have begun to learn how to  
do the shuffle. But I must admit that I'm missing some important skill as  
I can't do very many perfectly, (problems cutting, sticky cards, problems  
abound).

I want to know,

IS IT WORTH THE TROUBLE???

Do any of you have any advice as to how I might go about mastering this  
shuffle?  Do any of you make Faro routines a big part of your act?  Are  
these tricks so effective that it would warrant my exploration into the  
Faro phenomena?

Thorin Nielson -




Newsgroups: alt.magic
From: eo@cbnewsb.cb.att.com (Ed Oliveri)
Subject: Re: Penn and Teller
Organization: AT&T
Distribution: na
Date: Thu, 21 Jan 1993 21:55:40 GMT

In article <MYEE.93Jan15132302@sunny1.apple.com> myee@apple.com (Michael K. Yee) writes:
>mjamroz@casbah.acns.nwu.edu (Margaret Jamroz) writes:
>> eo@cbnewsb.cb.att.com (Ed Oliveri) writes:
>
>>>I saw Penn and Teller's New Year's Eve stage show in Stamford, Conn.
>>>last month.  The show's program did not list the bits, so could you tell me
>>>if they performed "The Bleeding?"  (Was it the great sleight-of-hand
>>>finale?)
>
>> Yup, Ed.  That's the one.  Was it way cool, or what?
>
>> maggie
>
>	Can someone describe "The Bleeding" sleight?  Many Thanks,
>
>	=mike

Well, first of all, I'm not a magician, so I can't describe it
technically, e.g. ". . . and then Teller used Elonzo's Elusive Twist
to produce the wine glass."  Second, I saw it on New Year's Eve,
and, well, for some reason the details of the performance escape me.

Anyway, Penn and Teller step behind a screen, take off their clothes,
and don sleeveless tee-shirts that hang down to their knees.
(Penn even takes off his glasses and lets his hair down.)  Then they
step up on a platform and take turns producing objects in their
hands "from thin air."  At the end, Penn makes a gun with his hand and
shoots Teller, whose blood spurts from his wounds and drenches Penn.

Anyone who's seen the bit knows that this is a poor description of it--
I guess next time I'll take notes :-)  Go see it for yourself.

-- 
Ed Oliveri, eo@cbnewsb.att.com     OR     att!cbnewsb!eo
Newsgroups: alt.magic,alt.magick