Amazing magic trick

Warning ! this is just magic trick who Heart diseases don't see this.

Learning Magic

Once upon a time, the teaching of performance magic had been a secretive and sensitive subject, such that professional magicians felt unwilling to share knowledge with anyone outside the profession lest the laity might discover their secrets. This made it hard for an interested apprentice to learn magic beyond the basics. Some magic organisations had and still have strict rules that demand members must not discuss magic secrets with anyone but established magicians.
Ever since the 1584 publication of Reginald Scot's Discoverie of Witchcraft, and up until the end of the 19th century, only a few books had helped budding magicians to learn the craft. Books remain useful today. For the modern student, a video recording transcends the power of a book, letting the apprentice mimic the master, following along as the magician dissects presentation and performance of latter-day versions of ancient artistry.
The next step up from a video is a magic club or workshop. Here magicians, both seasoned and novitiate, can work together and help one another for mutual improvement, to learn new techniques, to discuss all aspects of magic, to perform for each other — sharing advice, encouragement and criticism.
The world's largest magic organization is the International Brotherhood of Magicians (which also publishes a monthly journal entitled The Linking Ring).

COIN WASHER

The magician causes a borrowed coin and a metal washer to change places under apparently impossible conditions.
A cup is shown to contain a metal washer. The washer is dropped out onto the table. The cup and the magician's hands are seen to be empty.

A spectator drops a coin into the cup. The magician picks up the washer, works it between his or her finger tips and it is seen to change into the coin.
The cup is tilted toward the spectators and the washer slides out. Again the magician's hands are seen to be empty.

Props & Setup

Two identical large metal washers, a cup or other container with the bottom slightly recessed, magician's wax or equivalent such as soft soap, or other putty like temporary adhesive.
Prepare the cup by turning it mouth down and applying a thick layer of the wax to the center. The waxed area should be thick enough so that the side of the coin/washer toward the cup is not touching the cup bottom. The waxed area should not extend to the edges of the coin/washer. These two precautions will eliminate any fumbling during presentation.
Stick one washer to the wax area, turn the cup mouth up and drop the other washer into the cup.

Handling
Cup Bottom Steal

One of the two washers is stuck to the bottom of the cup with magician's wax or other temporary adhesive. Enough wax should be used to hold the washer or coin away from the actual cup bottom. This makes it easy for the finger tip to engage the edge of the washer or coin and free it from the wax. Once free of the wax, the washer or coin will fall against the third and fourth fingers. This finger palm position is used throughout the routine to conceal the extra object in play.

Tip Out Switch

The coin slides out of the cup and lands in classic palm position. The washer is concealed in finger palm position. The fingers are curled up and the front of the hand turned towards the spectators so they cannot see into the hand.

Drop In Cup & Cup Pickup

To the audience it appears you are dropping the coin back into the cup. Actually the washer is allowed to slide off the fingers into the cup while the coin is retained in the classic palm.


After the washer has fallen into the cup, the classic palm is relaxed so the coin can drop to finger palm position. The hand then picks up the cup, the first and second fingers and thumb taking hold of the cup at the bottom so that as the cup is raised the third and fourth fingers are below the cup bottom.

As the cup is lifted, the finger palmed coin or disc is stuck to the bottom of the cup.

Transformation

With the coin finger palmed in the right hand, the washer is picked up off the table. The left hand turns palm up, the fingers curled in and the washer apparently dropped into the left hand. In fact, the finger palmed coin is released and the washer pulled back and finger palmed. The left fingers then mask the apparent washer as it is moved towards the tips of the left fingers.

The hands turn so the backs are towards the spectators. The apparent washer is rubbed and turned between the finger tips, slowly exposing it and creating the illusion that it is visibly changing into the coin.

With the coin visible at the left finger tips, the right hand moves to the cup, lifts it, attaches the finger palmed washer to the bottom of the cup, tips the cup forward so the washer inside the cup slides out and falls onto the table surface.

The Routine
Pick up the cup. Look down into it as you shake it so the washer will rattle against the sides.
Tilt the mouth of the cup toward the audience and allow the washer to slide out onto the table surface.
Put the cup down, pick up the washer, turn it between the fingers and then place it back on the table, making it obvious that both hands are empty.
Pick up the cup with the right hand in the following manner. The right thumb and first and second fingers go around the cup near the bottom so that when the cup is lifted the third and fourth right fingers are below the bottom of the cup.
Extend the right arm forward, asking a spectator to drop a coin into the cup. As this takes place, the right third finger tip rises up against the bottom of the cup, finds the front edge of the washer and pulls it free of the wax so that it drops into the right hand.
As soon as the spectator drops the coin in the cup, take hold of the cup with the left hand, bring the cup toward your body, look down into it while shaking it so the coin rattles.
Tilt the cup to the right and let the coin slide out into the right hand. The position of the right hand is palm up, fingers curled up slightly to obscure the spectator's view into the right palm, the washer resting in finger palm position against the bottom joints of the fingers. The coin should land directly on the center of the palm so that it can be classic palmed.
Move the left hand a bit to the left, rotate the right hand over the mouth of the cup and let the finger palmed washer drop into the cup. The coin is retained in the right hand.
Immediately move the right hand to the right of cup and lower the right hand down to the bottom of the cup. At the same time let the classic palmed coin drop onto the right fingers.
Take hold of the cup near the bottom with the right thumb and first finger, the rest of the fingers moving under the bottom of the cup and attaching the coin to the wax.
Shake the cup so the coin (actually the washer) rattles. Take the cup with the left hand and move the left hand a few inches to the left. The right hand will be seen to be empty.
Give the cup another shake or two. Then extend the left arm forward to place the cup down on the table. In performing these actions, free the coin from the bottom of the cup and let it drop into left finger palm position.
Just as the left hand is putting the cup down on the table, the right hand moves forward, back of the hand toward the spectators, and picks up the washer on the table. This pickup is done with the right finger tips on top of the washer, the right thumb under it.
The following right and left hand actions should be done simultaneously: Bring the left hand back, rotating it so that it palm up, but with the left fingers curled up to hide the coin. Bring the right hand back, rotating it to the left and finger or classic palm the washer as the right fingers move down into the left palm and touch the coin lying there.
Take hold of the coin with the right finger tips and move the coin toward the left finger tips. The right and left hands rotate to the right and move to the center of the body. The coin is now half hidden by the left and right finger tips.
Appear to be working the washer (actually the coin) between the finger tips. Move the finger tips back slowly to reveal that it is no longer the washer but the coin.
Hold the coin at the tips of the left fingers so it is visible and move the left hand up and away from the right hand.
The right hand moves forward, picks up the cup and tilts it forward to show that the washer is now in the cup. In doing so the washer finger palmed in the right hand is attached to the bottom of the cup.
To clean up: drop the spectator's coin in the cup, move cup toward the spectator and turn it over to let the borrowed coin drop out. Steal the washer from the bottom of the cup.

Performance Notes
This is a neat bit of prestidigitation that is based on a Sam Berland move. A fair amount of rudimentary sleight of hand is involved and a good deal of practice is recommended. However the results are a very clean cut transposition that is impossible seeming and highly visual even in formal close up situations.
A gold coin or other object could be used in place of the metal washer, although the hole in the washer makes it easy to identify and the transposition obvious.
An advanced version of the gimmicked cup can be made up using a magnet rather than the adhesive. A steel core coin has to be used, along with two ferrous metal washers. The magnet should be just strong enough to lightly attract the coin or washer and a false bottom must be added to create enough distance between the magnet and the inside cup bottom to ensure that the coin or washer in the cup doesn't cling to the magnet. The advantage of this setup is that when the coin or washer is dropped into the cup, as it hits the bottom interior it knocks the coin or washer under the cup off the magnet into the curled fingers.

By Richard Robinson

INSTANT GLIMPSE

Here's a fine move to use if you want to glimpse the top card imperceptibly as the deck is revolved/turned into your other hand.

Simply get a break or separation beneath the top card at the rear with your right thumb tip as your right hand holds the deck from above. The separation is about a 1/4 of an inch / 6.4 mm.

Start to turn your right hand as your left hand approaches to take the deck. Glance down and, as you can see in the photograph, the index corner of the top card can be glimpsed - easily. As soon as the glimpse is facilitated, allow the top card to quickly coalesce with the deck.
Try it once, and you'll know just the angle that makes it easiest for you to see into that separation. You're also in perfect position to glimpse the top and bottom card at the same time during the turning action.

Without missing a beat, continue turning your left hand until it brings the deck in face down horizontal position. The right hand now simply regrips the deck from above and the action is completed.

By Doug Edwards

TOSS VANISHING

Thin Air VanishThe magician displays an object in her hand then throws the object up into the air where it promptly disappears.
Last Place Vanish
The magician tosses an object back and forth between the hands. Finally the fingers of one hand close around the object. After a moment of suitable contemplation, that hand is reopened to show the object has disappeared.
Shuffle And Gone Vanish
An object is tossed back and forth between the hands. At some point the hand that is the current recipient of the object tosses it into the air where the object immediately vanishes.
The Acquitement
The requirements for this type of vanish are facility with palming, an object that can be palmed and the ability to play the part of a magician.
This vanish is all pretense. Thus the performer must learn to properly pretend that what he wants the audience to think they are seeing is what they are seeing.
This is where that oft-used word misdirection proves inadequate and it becomes obvious that the true task of performer is to conduct the attention of the audience so they can momentarily accept the play as reality.

Toss Mechanics

Every toss vanish requires the performer to conceal the object in the hand. Normally a finger palm or classic palm is used, the particular palm depending on the size and shape of the object and the effect desired.
The Thin Air Vanish normally requires a classic palm since a necessary part of the illusion is a moment when, the arms raised upwards, the fingers are seen outstretched and spread apart.

The ball is tossed from the hands up into the air, the magician following the path of the ball with head and eye movement. The ball is caught between the hands then tossed up again.
On the third toss the ball suddenly seems to vanish as it flies upward, the magician stopping all motion to stare up at the point of disappearance.
In fact, the ball is retained in the down stage hand to effect the vanish. But the audience is convinced it has vanished in mid-air.
The Last Place Vanish, not being as visually abrupt in the transition from truth to fiction, allows the use of almost any type of finger retaining hold such as the finger palm.
The Shuffle And Gone Vanish combines the back and forth rhythms of the Last Place Vanish with the illusive, away from the body disappearance of the Thin Air Vanish. In its mechanics it puts the performer one hand ahead at the moment of vanish.
Toss Timing
The toss vanish differs from other manipulations in that it is a sleight where timing is more important than technique. In fact, with the proper timing, minimal technique is needed. In other words, the performer's primary responsibility is to act out the vanish convincingly.
There is a moment in the toss vanish where reality (the tossing of the object in the air or between the hands) is replaced by a simulation (the object is retired from view, but the tossing continues.) The performer creates the illusion of tossing the object into nothingness by making it impossible for the spectator to discern any change in the proceedings until the final, impossible moment when the object is gone.
There is also the curious phenomenon that the spectators complete the illusion for the performer. Spectators may be wary of the premise of magic, but they are not critical of any particular action performed unless they consider the action unusual.
The performer, maintaining the rhythm and tempo as the effect is played out, accustoms the spectators to the event. So if the event does not appear to have changed, the spectators presume that they are observing and waiting for something that is about to happen rather than something that already has.
Sequence
Generally an object is secretly palmed for eventual production or to take it out of play. This necessitates the palming hand not have the focus of attention. In performing a toss vanish, there is a moment when the object seems to have disappeared and it is during that moment that the palming hand should be given the focus as it reaches for another object or otherwise performs some action. If the opposite, empty hand is given the focus, the palming hand will be immediately suspect.

By Richard Robinson

THE AMBITIOUS OPENER

Two spectators each select a card. The two selected cards are returned to the deck by the spectators. By just touching the top of the deck with one finger the magician causes the two cards to rise to the top of the deck.

This nearly impromptu effect requires only a deck of cards and is quite useful as a warm-up for an Ambitious Card routine where a certain card insists on rising to the top of the deck despite the best efforts of the spectators and magician to locate it elsewhere.

Props and Setup
A deck of cards. The deck is slightly pre-arranged, although this should not scare off would be performers.

The arrangement is to place the 7 of Diamonds and the 8 of Clubs as the two top cards of the deck and the 8 of Diamonds and the 7 of Clubs as the two bottom cards of the deck.
This setup can be made casually after another effect or the deck can be preset and this effect used to open.

Handling
Handling & Presentation
If you're familiar with a false shuffle this is a good place to practice it for a moment. Then turn to one spectator and then a second and force a card on each of them as follows.

The setup finds the 7D and 8C as the two top cards of the deck, while the 7C and 8D are the two bottom cards. The deck is held in the left hand, backs up, left thumb against one long side, left fingers against the other long side. The deck does not rest directly on the left palm, rather there is some air space between the bottom of the deck and the top of the left palm.

The right hand approaches the deck from the short end closest to the performer. The right thumb goes under the deck, the right fingers over the top of the deck. The right first and second fingers come to rest on the top of the deck at the short end furthest from the performer.
Turning to the first spectator, the performer uses his right second finger to pull back the cards on the deck one after the other, requesting the spectator to say, 'Stop.' When the spectator speaks up, the performer raises the stock of card cards that have been pulled back and displays the bottom-most card of the stock to the spectator, then thumbs that card off the bottom of the stock so that it drops face down on the table.

The stock is returned to the deck, the deck squared up, and the process repeated with a second spectator so that a second card is selected, shown to the spectator briefly and then dropped onto the first selected card on the table.During this selection process, the right thumb comes into contact with the bottom card of the deck and when the portion of the deck pulled back by the right fingers is pulled away the right thumb presses on the bottom card and brings it away as well. When the stock held by the right is pulled back and clears the stock remaining in the left hand the bottom card of the right stock is the former bottom card of the deck.

The stock in the right hand is tilted up very briefly so that the spectator just gets a glimpse of this bottom card, then the card is thumbed off face down onto the table top. The process is repeated and now two spectators have apparently chosen two cards.

The deck is placed on the table. The magician picks up the two face down cards and turns them over, swinging them apart to display both, but not called out their value.


He turns the cards face down again, mixes them between his hands, then hands one face down card to one spectator telling the spectator to push it into the deck so that about half of the card remains extended from the deck. He hands the second card face down to the second spectator and asks that the spectator also push the card into the deck about half way.

The magician stares down at the deck, raises his hands so that his open palms are visible to the audience, and squares up the deck in the process pushing the two protruding cards flush with the rest of the deck. In squaring the deck, the magician keeps his hands from covering the top of the deck even momentarily, pushing the protruding cards into the deck from the sides, front and back.

Again the magician raises his hands palms toward the audience, then extends his right finger and touches the center of the top card for a moment. He pauses, then turns over the two top cards. To the surprise of the spectators the two selected cards have mysteriously risen to the top of the deck.

Performance Notes
Please note the timing and the pauses that allow these two principles to be combined into a new effect. The force is quite simple with good cover and in this case is more of a selection than a force so it doesn't have to be anything more than it is. In other words a cleaner or more convincing force wouldn't make much difference here.

The fact that the 8 of Diamonds and 7 of Clubs appear to be the 7 of Diamonds and 8 of Clubs after being absent from view for a few moments is the basis of many early Princess Card Tricks. Here the two spectators are each given a brief glimpse of their selected cards, but the rest of the audience only glimpses the two cards as a pair before their rise to the top.
The effect can also be worked with one spectator. Run through the stop force, but in each case drop the card face down on the table without initially showing it to the spectator. Table the deck, pick up the two cards, spread them slightly so the spectator can see their faces, hand the two cards to the spectator face down asking him to mix the cards and then push them into the middle of the tabled deck.

By Richard Robinson

Robert Houdin

Jean-Eugène Robert-Houdin, known as "The Father of Modern Magic," performed throughout Europe in the 1840s and 50s. He was one of the first magicians to perform for the public in theaters, as opposed to at country fairs, on street corners or in the marketplace.
Robert-Houdin's shows included not just magic as we know it today, but also demonstrations of lifelike mechanical figures. His early training as a clockmaker helped him create these automata, some of which wrote or played instruments and even an acrobat that swung on a trapeze.
Jean-Eugène Robert-Houdin
Science and technology very much influenced the inventions of Robert-Houdin. In his autobiography, he writes about consulting scientists and conducting experiments to figure out how to perform a particular trick.
He also kept up with recent scientific developments. Jean-Eugène Robert-Houdin was one of the first people to find a use for electromagnetism. He created a new trick called "The Light and Heavy Chest." He invited a spectator on stage to lift the small wooden box he said he kept to store his money. His volunteer always did this easily. Then the magician commanded the box to stay where it was, so it could not be stolen. No matter how hard the volunteer tried after that, he couldn't move it.
Hidden inside the wooden chest was a metal plate, and an electromagnet sat under the stage. When his assistant turned on the magnet, the strong attraction made it impossible to move the chest. Robert-Houdin wrote in his autobiography that at this time "the phenomena of electromagnetism were wholly unknown to the general public. I took very good care not to enlighten my audience as to this marvel of science."
But it didn't last. According to Robert-Houdin, "At a later period, when electromagnetism had become more generally known, I thought it advisable to make an addition to the Light and Heavy Chest in order to throw the public off the scent..." When his audiences learned about electromagnetism, Robert-Houdin totally changed his performance of the trick. He had three volunteers raise the light box off the floor using a rope and pulley system. Then he would command the box to become heavy and it would sink to the floor, raising the three men holding the rope up off the stage.
In his autobiography, Robert-Houdin said that he performed this same trick in an entirely different way in 1856. The French government asked him to travel to French-occupied Algeria. Robert-Houdin wrote that they feared that Algerian magicians who could eat glass and apparently heal wounds would encourage the Algerians to rise up and fight the French soldiers. They wanted Robert-Houdin to perform for the Algerians, hoping to convince them that the French magician had even greater power.
Robert-Houdin usually entertained the people who came to see his show, but this time he was supposed to frighten the Algerians in his audience. He wrote that in Algeria, he invited a very strong man up on stage and claimed that he would use his powers to make that man so weak that the man would be unable to lift this small box. Robert-Houdin wrote that he could lift it easily but the man could not because the magician had turned on the electromagnet. He said he also rigged the handle of the box with electricity, so it gave the man an electric shock which sent him running from the stage.
Jean-Eugène Robert-Houdin was a great magician and an inventor who studied science and used the cutting-edge technologies of his day in his shows. One of the most famous magicians who ever lived read about Robert-Houdin and wanted to be like him. That's why a boy named Erich Weiss chose the name Harry Houdini.

History Of Magic

Brief History of Magic

2600 B.C. - Present

Considered the "second oldest profession", Magic has been recorded as far back as 2600 B.C. Though this is still disputed, in an Egyptian tomb there is a hieroglyphic which seems to depict the Cups and Balls trick. Some scholars interpret this painting as just a couple people playing a game.
The honor of the first "Magician" is usually bestowed upon a character dating back to the Westcar Papyrus (1700 B.C.) by the name of Dedi. He was noted for decapitating fowl and restoring them to perfect health.
Some of the first practitioners of Magic used it to sway the religious beliefs of people. The high priests of Greece rigged temple doors to open and fires to light without any apparent human intervention.
The theatrical aspects of Magic began to be formalized through the performances of a Frenchman by the name of Jean Eugène Robert-Houdin around the 1840's. Called by many as the "Fat
her of Modern Magic", Robert-Houdin enthralled the people of his era with many mechanical wonders he invented. He also has the distinction of stopping a revolution. In Algiers during 1856, the marabouts or religious leaders were inciting the people to break their ties with France. As an envoy of Napoleon III, Robert-Houdin created the Light and Heavy Box which terrified the strongest men the marabouts could find. Robert-Houdin could control this small roughly 8" by 12" box so that though the weakest child could pick it up, the strongest man could not. Though modern audiences would be bored by this simple display of electromagnetic principles, these concepts were totally alien to 18th century Algerians. Robert-Houdin died at 65 in 1871.
Magic in America actually started with the Indian shamans. They would "cure" disease by spitting out chicken blood and bones from their mouth after acting like they had "sucked" the diseased organs out of the sick person. They would also "float" arrows using horse hair as the secret levitating ingredient. (Amazing what you can do around the old campfire.)
Theatrical magicians were itinerants during the late nineteenth century. Among these were Alexander Herrmann and John Henry Anderson, who billed himself as "The Wizard of the North". In Colonial times, Richard Potter would travel and perform feats which fool even today magicians.
Things really started happening in the early 1900's with the emergence of Vaudeville. This launched that little known magician named Houdini and Blackstone, Thurston, and P.T. Selbit, whose claim to fame was "Sawing a Woman in Half"!
As Vaudeville declined, so to a degree did Magic. It received its next leap in the 1970's thanks to the successful television series The Magic Land of Alakazam with its Texas star, Mark Wilson.
Like the tides, Magic's popularity seems to ebb and flow. So it was in 1974, a young Canadian in jeans and tie-dyed t-shirts turned The Magic Show into a huge success on Broadway. Doug Henning went on to dominate the Magic scene on stage and television due to his "hippie" look and high tech illusions. His pinnacle of Magic was the critically panned Broadway show Merlin which brought the wrath of theatre critics, but the praise of Magic lovers. His recreation of the ancient illusion The Gypsy Moth was worth the price of admission in and of itself.
Then Magic really started to heat up with the introduction to the television screens in 1977 of a young New Jersey illusionist by the stage name of David Copperfield. It took him just a couple years to topple the reining Henning for supremacy of the Magic world. His "disco" image and illusions built around storytelling routines captured the imagination of American and then the world. Today he still is the most recognized magician, evident by the recent shows he performed in New York City during the winter holidays that broke all box office records!
You probably know the rest. There's Siegfried and Roy (Lions and Tigers, but no bears in Las Vegas), Lance Burton (a Gentleman's Magician with a lot of birds), Jeff McBride (I'm turning Japanese), Rudy Coby (the Coolest Magician in the World with four legs), and Penn and Teller (non magician Magicians. Yeah, right!) (Please note that these side comments are not intended to be derogatory, but just a quick way of associating something in their acts that you can remember the next time you pick up the TV Guide and see their show listed.)
1996 was a banner year for Magic. More TV specials were broadcasted then ever before. 1997 is already looking to match that record. So stay tuned. Or go to see it live in a theatre, restaurant or here. Ultimately, Magic is the only theatrical art which needs to be seen live in order to truly appreciate it.

by Middletown/Newburgh, New York