Thinking outside the Erdnase box- To Get Sight of a Selected Card

Before I get into the nitty gritty on this topic, I’d like you to read this excerpt and visualize the move.

“have it (the card) inserted at the end and prevent the spectator from pushing it quite home by squeezing the deck. Then, with the card protruding about a quarter of an inch. covertly turn the deck: partially over by passing it to the other hand, and get sight of the index.”

Play with it for a while, hopefully you haven’t already seen anyone perform this move and you can establish your own interpretation.

Are you done? Okay, get ready to have your mind blown.

The general consensus is with the card partially protruding, the deck is gripped by the short end farthest from the performer by the right hand and turned end for end, so the deck is face up in the left hand. The index is then glimpsed and the card is pushed flush with the thumb of the right hand.

There’s three reasons I don’t think this is the correct interpretation of Erdnase:

A) Erdnase uses the word covertly. By performing the move this way, you are doing the opposite and openly turning the deck over.

B) Erdnase instructs to turn the deck partially, not completely, over

C) Erdnase says the cards are passed to the other

(right) hand, and in the aforementioned method, the deck stays in the left.

Okay so now we’re back on square one. How do you turn the deck over covertly without being incredibly obvious? I toyed with it for a while and came up with this solution:

The deck is in the left hand, with the same hand positioning of the DPS, with the card protruding about half an inch. In passing the deck to the right hand, the left hand starts turning palm down but stops when the deck is perpendicular to the ground, back of the cards facing right and the long side facing the performer. With the right hand grasp the sides of the deck in the following manner: Right thumb on bottom of the side facing performer, second finger grasping the opposite side (next to the left pinky) and forefinger curled on top, nail against the top card. Here comes the sneaky move:

Bend the cards by applying pressure inwards with both hands. This will allow the performer to “covertly” glimpse a sight of the index of the protruding card. (see image)

You obviously don't want to be in this position long, so as soon as you spot the index the left hand releases its grip and the right hand turns the face of the deck towards the audience. I justify this by explaining that I want to push the card flush as fairly as possible with all angles visible to the spectator to “prove” there is no funny business. I position my right pinky on the short end of the deck closest to the ground and push the card flush with my right forefinger. If you have small hands though, you could just tap the card flush with the left hand. Try it out, it's bold but it works!

Things magicians should never do

1. Spring the cards from hand to hand in a crowded elevator

2. Keep a deck in the bathroom (it’s creepy and every time you shower it will destroy the deck)

3. Try to perform a trick while smoking (you can only do so much in a single breath, and passing out is never a good kicker)

4. Play with cards in the bed when your spouse is trying to sleep (especially a riffle pass)

5. Do a torn and restored card trick with someones souvenir playing cards

Updated Links

Just added a bunch of links for you to check out that I frequent. They are listed to the right. Enjoy!

Erdnase was a swinger?

Topic of the day is Blind Cuts- To Retain Bottom Stock- Top Losing One Card

There has been a lot of debate on this technique, and many have dismissed it as obsolete in it’s entirety. I’d just like you to give it a fair shake before tossing it curbside.

The picture is what kills the technique. It’s easy to look at the figure and think this cut is garbage.

Now, Erdnase says to raise the deck “slightly” off the table. Seeing the figure we would assume that it’s several inches, but let’s try focusing more on the text as oppose to Marshall D Smith's interpretation of a millisecond in time. How much does slightly mean? Erdnase is specific to 1/8 of an inch in other parts of the book (who can tell me where?) so hypothetically we could even assume he means less then that, to the point where being specific isn’t practical.

Just something to think about, let’s get into the meat and potatoes of this post.

What I want you to think about is the following line:

“Immediately drop the left-hand packet on the table and bring the right-hand packet down on top with a slight swing”

What does Erdnase mean by swing? Does he mean just slapping the packet on top? What direction should the packet be swung? Realistically that could make a big difference in covering the action of the left hand, even if it is a foot off the table.

Some different swings:

Notes on Telekinesis

1. Definitions

A. Parapsychology- is a controversial discipline that seeks to investigate the existence and causes of psychic abilities.

(1) Telekinesis comes from Greek, tele meaning ‘distant’ and kinesis meaning ‘motion’

(2) Psychokinesis also comes from Greek, psycho meaning ‘mind’ and kinesis meaning ‘motion’

2. Famous individuals claiming to have these abilities

A. Uri Geller

(1) Used Psychokinesis (PK) demonstrations to convince individuals and governments in the 70’s he had the ability to manipulate small objects using the power of his mind. Exposed by the great James Randi in his book, 'The Truth about Uri Geller'

B. Nina Kulagina

(1) Alleged Soviet psychic of the late 1960s and early 1970s, she was apparently successful in repeating psychokinetic phenomena under controlled conditions of the soviet government

C. Felicia Parise

(1) an American medical laboratory technician who allegedly was able to repeatedly demonstrate telekinetic movement of small objects beginning in the 1970s, in the first reported instance spontaneously, and then with practice by intense conscious intention.

D. James Hydrick

(1) an American self-described psychic. Hydrick claimed to be able to perform acts of telekinesis, such as his trademark trick involving the movement of a pencil resting at the edge of a table. Following a nationally televised demonstration of his abilities, he was unable to prove his supernatural abilities, and Hydrick subsequently confessed the fraud to an investigative reporter. Also exposed by the great James Randi on television

E. Eusapia Palladino

(1) An Italian medium who allegedly could cause objects to move during seances in the early 1900s.

3. Common Methods

A. Invisible thread (what I use on the car in the above video)

(1) A very thin string, usually elastic, is attached to the performer and allows apparent distant control of small items. The thread is stretched between the hands, attached to the clothing, or even the eyeglasses of the performer

(a) Expected technique used by Nina Kulagina and Felicia Parise to manipulate small objects

B. Magnets (what I use on the cigarette pack in the above video)

(1) A magnet is attached to the performer and when brought close to the object, the attraction or repulsion of the magnet has an effect on the prepared item. Magnets are generally attached to the performers thumb via false finger tip, the wrist, or the knee.

(a) Technique used by Uri Geller to manipulate the dial of a compass

C. Manipulating the Surface (what I use on the bottle cap in the above video)

(1) The working surface on which the objects is on is manipulated. This can be achieved by moving or lifting the table, or sliding the table cloth

(a) Expected technique used by Eusapia Palladino

D. Air Current (what I use on the pencil in the above video)

(1) The object(s) is positioned in such a way, or is light enough in weight, to where the human breath or current of air can cause otherwise unexplained movement

(a) Technique used by James Hydrick

E. Other (what I use on the pen in the above video)

1. Some other, naturally occurring scientific event is taking place

(a) Convection

(1) The movement of molecules within liquids, gases and rheids (as in a Psi Wheel demonstration)

(b) Static Electricity

(2) The buildup of electric charge on the surface of objects

The (Legendary) Silent Second

I've been getting a lot of requests from people to post a vid of this, so here it goes. Listen carefully for that "swishing" sound you normally hear when someone deals seconds. I perform a regular second deal first to show the contrast. Enjoy!

Marlo On Erdnase Review Part 2

Picking up right where I left off a year ago reviewing Jon Racherbaumer's 'Marlo on Erdnase'

Marlo’s False Shuffle (page 40)
Simply put, a Zarrow without any interlacing of the cards. A step in the wrong direction in my opinion; the strength of the Zarrow is the clean interlace.

A Cutting Action
This paragraph is just apparently for plugging other material. It says there are better ways to strip out a center block, and gives some references but no direction at all.

Easy Technique for the Zarrow Shuffle
Solid, but it’s easy at a price. This shuffle involves riffling packets into each other when one has a jogged packet on top of it. Why not just hold the break with the thumb? Beats me, I guess they felt that was too difficult. I thought this sentence was funny:

“This small block remains jogged and flush on Section B”

So I guess it’s both. What are we talking about? Oh yeah Erdnase. Well let me just get back to my copy of Expert and follow along with....

Faro Riffle Shuffle

Wait a second, why are we talking about strip outs, push through, zarrows, and faros? Is this supposed to be a sequel to Erdnase or what? I digress....back to the review

Faro Riffle Shuffle
4 pages of Faro goodness. Apparently Marlo didn’t think much of what Erdnase thought, so he started fiddling with table faros.

Ok I have a pretty vicious headache after reading that. Is there anyone out there that needed a book to learn a tabled faro? I always thought it was pretty self explanatory. Granted I know it’s difficult but I don’t think text really helps. There’s some more plugging here, and talk about the stay-stack.

On the Stevens Control
History on the Stevens Control. Starts off by saying Vernon is full of bs.

more badmouthing Vernon...

Ok here’s the juicy stuff. Split the cards, spot the one you want, then....”Perform the actions of the Stevens move to angle the desired card”?! But that’s the hard part! I know how to spot the friggin thing. So now we are talking about a move that isn’t in Erdnase AND isn’t in this book. Guess I’ll be sticking to Erdnase’s technique ‘To Ascertain the Top Cards While Riffling and Reserve Them at Bottom’

Marnase False Cut
Ok at least the heading got my attention, maybe we’re going to get back on track here. Yes! Okay we are talking about Erdnase’s Blind Cut- To retain the complete stock. Wait, wait a second. It’s the same cut as Erdnase except using the right hand to draw out the under portion instead of the left. Is that all you have to do to take half the credit for a move? Ok then, be looking out for my next project- a booklet called the Wessarrow shuffle! And don’t worry, there will be plenty of terrible variations as well.

Slippage
This is a section about the slip-cut, of which Erdnase describes as ‘ To Retain Bottom Stock- Top Losing One Card’. Racherbaumer points out that “although Erdnase indicated that this blind cut retains the bottom stock, it also retains to top stock (except for the top card).” Hey, look at that! We just got some new info about Erdnase material!

Wait, what’s that? Erdnase mentions that in this very section? But Racherbaumer implied that Erdnase didn’t know it!

“if this blind is used when the top stock is to be retained, an extra card is placed there during the shuffle” -Erdnase (waiving a middle finger)

Back on track, this section starts with a history lesson on the move. It goes on to......Oh wait! Typo alert! Someone forgot a space! “spurred by the publication of Cy Endfield’sSlip- Cut Force”. I’ll have to meet this Cy Endfield’sSlip fellow. That’s a name with three whole words in it! Apparently his Cut Force is something to check out.

One-Hand Throw Cut
Doing a one handed slip cut with the top card face up. But the right hand is used to secure a break each time. Good for those moments when you want to appear talented with one hand only some of the time.

One-Hand Bottom Slip Cut
“The one-hand bottom slip cut, shows the difference between the one-hand top slip cut and the one-hand bottom slip cut” So just in case you weren’t following, we’re going to learn about the one-hand bottom slip cut in the one-hand bottom slip cut section. Did I mention one-hand bottom slip cut? This paragraph just talks about the set up for the next move.

Extremely Delicate Ace-Cutting
Sweet move, but there are much better techniques out there to accomplish this task. Looking at the photo I would worry about flashes from half of the angles. Take a look at my notes on the SWE shift to see one that actually accomplishes this task, and relates to Erdnase!

Marlo Slip-cut
In the hands slip cut where you hold the cards in dealing position and peel off the top card with your left thumb. Pretty simple.

The True Cut
Ever wonder how to REALLY cut the cards in your hands? This section is for you.

The Complete False Cut
A tap cut with a sliding action as opposed to a tapping action. If Erdnase was alive, and we knew who he was, and he was sitting here reading this.....he would yawn.

Marlo’s Slip Cut Force
Blah blah blah 19 something....Chigaco...more of the same old stuff.

As an Exchange
How about just “As a change, let’s talk about Erdnase”? Naw, why give the people what they want.

This is actually a pretty cool use for a slip cut as a force. Has absolutely nothing to do with Erdnase, but it’s pretty cool. A little trick involving a prediction, a card reversed, and a slip cut with the deck face up.

See my review of the earlier parts of the book here

Wessmiller system of mnemonics

Here is a way to memorize an entire deck of 52 cards or use as a signaling system to a partner. I have to credit Dai Vernon from the revelation series for giving me the idea to make my own list of words to associate with card values.

The idea is that the word will begin with a letter that corresponds to the cards numeric value. You may notice that I used specific letters that look similar to the number. This helps me make the connection a little quicker. I then take the first letter of the suit of the card and insert it in the small word to indicate the exact card.

AC- ACe
2C- DiCe
3C- MiCe
4C- HaCk
5C- SaCk
6C- CloCk
7C- LuCk
8C- BuCk
9C- GloCk
10C- TiCk
JC- JaCk
QC- QuaCk
KC- KiCk


AD- AdD
2D- DuDe
3D- MuD
4D- HarD
5D- SaD
6D- CaDdy
7D- LaD
8D- BeD
9D- GoD
10D- TaDpole
JD- JaDe
QD- QuanDary
KD- KiD


AH- AcHe
2H- DougH
3H- MoutH
4H- HigH
5H- SigH
6H- CatcH
7H- LigHt
8H- BatH
9H- GHost
10H- TigHt
JH- JoHn
QH- QuencH
KH- KnigHt

AS- AsS
2S- DreSs
3S- MoSs
4S- HairS
5S- SaSsy
6S- CaSe
7S- LaSer
8S- BuS
9S- GaS
10S- ToSs
JS- JeSter
QS- QueenS
KS- KiSs

To use this as a memorization demonstration go through the cards one at a time while dealing them face up on the table (retaining their order). Make a story up using the key words in your mind as you deal. Keep working on this and soon you'll be able to memorize the whole deck in a very short amount of time!

If you come up with any better words to use, I'd be very interested to hear it. Please post your ideas in the comments section.

Tribute to Erdnase 2009

Every year or so, I like to film myself doing some Erdnase material just to track my progress. Here's my latest take on it, and the 4th installment of "Tribute to Erdnase"

Cold deck switch during a lecture

How do you incorporate a move that requires such heavy misdirection (such as a cold deck switch) during a lecture with a camera zoomed in on your hands? Here's an idea I came up with back in 2004/2005 that I've used in every lecture since.

I would call up 3-6 spectators for a hand of poker. I'd hand the deck to the person to my left to shuffle and deal. As he/she shuffled I would explain the importance of the cutting the deck (by this point I has already demonstrated several cheating moves so this was fairly easy). I'd instruct the dealer to pass the cut to the player on his left (instead of his right, the correct way) for the cut and 'catch' myself in the mistake. I'd then bring the question up to the audience- "Does anyone know where you pass the deck for the cut?"

Even though someone always blurted out the answer I would ask someone in the back of the room. While attention was on this spectator in the back answering the question I'd switch decks. This style of misdirection is a Tommy Wonder idea called redirection as misdirection. If a spectator is burning your hands (or even a room full of spectators and a camera) address a different spectator and almost always this serves as good enough misdirection to do whatever dirty work you want to do. Works like a charm.
be well,
JW

One Hand Transformations

You will love this video

Marlo on Erdnase Review Part 1

I’m skipping the history lesson and getting right down to the nitty gritty.

Lessinout cull
I would argue that this is not an improvement of the Erdnase system of cull shuffling at all. The beauty of the Erdnase cull is that the entire deck appears to be shuffled.

The Lessinout cull is weak because of continually running single cards from the top of the deck. Anyone with half a brain could figure out that the majority of the cards are never shuffled.

Erdnase easily could have described the Lessinout cull. He explains how to bring a card that’s on top to the bottom by undercutting to the top card and throwing the other 51 cards on top, but provides a more complicated alternative with an injog because the point of a cull shuffle is to actually appear to shuffle the cards.

Erdnase explains the sequence should be made....

“in a manner so natural and regular that not a movement is made that indicates anything more than the purpose of thoroughly shuffling the deck.”

The lessinout cull fails in this aspect.

The Lessinout cull may be good for magic, but at the card table it is a lazy and obvious alternative for the Erdnase culls.

Lessinout Stack
Marlo apparently didn’t like using injogs or outjogs to stack. The alternative presented in the Lessinout Stack is a crimp. The crimp is really only used in the last sequence of the shuffle where (finally) some cards are actually shuffled in groups to the top. The book quotes Marlo as saying “You will find that the final fair shuffle will throw off students of Erdnase”. By that I think he means this last sequence is the only part of the lessinout stack that isn’t ridiculously apparent to an infant.

Besides, Erdnase thinks preparing cards by crimping them is a makeshift technique that should be dispensed with by anyone who knows any better methods anyway.

Streamlined Lessinout Stack
This is a neat little routine for demonstrating overhand stacking using a secret crimp. While this is good for magic, is has little to do with Erdnase and is a bit redundant. We have the same issues we do with the other Lessinout shuffles.

Marnese Overhand Stack
Unless there is something I am missing, this is identical to the technique Erdnase describes in the first method he gives for stock shuffling on page 68.

Marlos Methods of Injogging (1st-4th methods)
1st method
Okay here is the first thing out of this book that is of use to an Erdnase student. Basically this is a way to conceal the breaks that are sometimes visible when a performer stacks or culls via an Erdnase method. This is a good substitute for those that do not want to put the time necessary to perform the Erdnase techniques to his specifications; by having breaks “from an eighth to a quarter of an inch wide”.

2nd, 3rd, and 4th methods
These are more ways of concealing/eliminating the breaks by angling the jogged cards to control their position.

The downfall of these techniques are that the angled cards (especially when using a deck with borders) are easily visible. If you can’t perform the shuffles/culls up to Erdnase standards, it is still better to have a large break in the back of the deck then to have a card visibly angled.

Overhand Cull Shorts
Great idea for culling using short cards, but has no relevance at all to Erdnase. This is an idea that’s really worth toying with if you don’t mind making/using altered cards.

The 3 1/2 Second Stack
This is a technique for stacking the four aces for five hands. This trick falls under a category I would call ‘cheating at cheating’. Think of using a deck full of duplicates to demonstrate a flawless pass. It just doesn’t make much sense to me. if you are going to demonstrate something difficult- just put the time in to perfect your chops. I’m not a big fan of these type of shortcuts. This trick requires a crimp and a sneaky get ready. No relevance at all to Erdnase and is only impressive when a magician is timing you with a stop watch.

The 4 1/2 Second Stack
Erdnase never talks about the milk shuffle. He talks about alternating taking tops and bottom during the overhand shuffle, but never at the same time. The 4 1/2 Second Stack is exactly that.

Riffle Shuffling
Under this heading the author describes in many words he doesn’t have the space required to explain Riffle Shuffling (?)

Strip-out shuffle
Here is what Erdnase says about strip outs and push throughs:

“The blind process of riffling the two packets truly together, and squaring up in a slightly diagonal position, then withdrawing the packets, throwing the original top one on top again; or pushing the two packets completely through in the diagonal position, leaving the order of the whole deck the same, is quite possible, but very difficult to perform perfectly.”

Not very proficient for an explanation eh? Hopefully Marlo on Erdnase does a better job explaining. Racherbaumer writes:

After undercutting and interlacing....“execute all the steps leading up to the strip out position. Then strip out...”

Wait, what the hell? Erdnase gives us more specific technique then Racherbaumer does. A huge waste of space here.

Then a one step up-the-ladder cut is explained with three photos. I’d say page filler here.

Roman Shuffle
“This technique permits you to apparently perform a conventional in-the-hands Riffle Shuffle and a straight cut without disturbing the entire order of the deck”

Racherbaumer continues....

“Table the deck for a riffle shuffle..”

Anyone else notice some inconsistency? Just because I use my hands doesn’t mean it’s in the hands. I’d prefer not using the table at all for a false in-the-hands riffle shuffle. 8 photos of page filling action for this move.

Kid Royal Concept
Under this heading Racherbaumer justifies the page fillers by reminding us that Erdnase spoke “briefly” about strip outs.

Block Strip Out With Triple Cut
A way to conceal a strip out by simulating a running cut. A better alternative is to cut the top half of a tabled deck to the left, interlace, push the bottom packet through the top packet, then pick up the deck and strip out as Erdnase describes in the second method for Ordinary Methods Of Stocking, Locating And Securing. Follow up with a false running cut by taking a packet from the bottom of the cards remaining in the right hand and dropping them on top of the tabled (stripped out) packet. Then drop the remaining cards in the right hand on top of the tabled cards.

This is better because (1) I made a reference to Erdnase (gasp) (2) There is no breaks and (3) there is no repositioning of the hands while you’re dirty with the packets jogged.

To Keep the Bottom Stock
Wow I’m glad I was sitting down while reading; this is an atrocious idea. On the other hand if you’re looking for a bottom stock retention that really appears to blind shuffle the entire deck, this is for you. The concept is to interlace the entire deck then just strip out the bottom cards you want to retain.

Why the hell wouldn’t you use the Erdnase method and not interlace the bottom cards at all? It’s far less difficult and according to Erdnase “it is absolutely impossible for any eye to follow “ when performed correctly.

Variation of the Zarrow Shuffle
Remember what Erdnase said about the Zarrow shuffle? Er, wait. Neither do I. Why are we reading variations of a move that’s not even discussed in Erdnase?

“Weave the comers only slightly into each other” made me chuckle

I really don’t see much to talk about here so I’m moving right along.

2nd,Variation
The 2nd variation is exactly what Herb Zarrow says not to do on his DVD “On the Zarrow Shuffle”

3rd Variation
This is almost identical to Erdnase’ third method of Blind Shuffles, Retaining Entire Order. The only difference I see is using the right forefinger instead of the thumb for spreading the top cards to conceal the unweave. Perhaps this shuffle is performed on the table distancing the technique a bit more from Erdnase, but Racherbaumer doesn’t specify.

What’s confusing about this technique to me is how it is presented as something new and innovative since Erdnase.

4th Variation
Another variation of Erdnase’ third method. Although it’s very simple, I like the idea. Definitely something I will work on.

See my review of the earlier parts of the book here

Reshoot- Erdnase Bottom Retention

To Ascertain the Top Cards While Riffling...

Erdnase says to slightly injog to assist in glimpsing the top card at the end of a riffle shuffle. He provides the following illustration:

Okay, so just jog the card over to the right and take a peek during the end of the shuffle, right?

Wrong.

Jogging the card to the right does not assist in ANY way the glimpsing of the top card at the end of the riffle. Instead, it looks retarded.

Erdnase instructs to “slightly injog the top card... as explained in treatment of "Blind Riffles," under caption, "No. 1 to Retain Top Stock."

So what does he say in the Blind Riffles section? Let’s take look at page 33:

“Raise the thumb corners, and at the same moment injog the top card of the left-hand packet by drawing it in a little over the left thumb, with the first finger of the left hand”

So the top card should be injogged to a position on top of the left thumb. In this context, the thumb is used like a ramp angling the card further upwards, so the index can be glanced. Observe the following crappy picture from my cell phone:

Putting that photo up here from my phone just cost me $.35. How’s that for dedication to my readers?

Need more verification? How about the image Erdnase uses himself to demonstrate the jogged position for the top card during "No. 1 to Retain Top Stock"

That’s not a tumor Marshall D. Smith is drawing, that’s a card above the left thumb.

My Uncles Card Trick (aka 21 card trick)

These must be the instructions everyone follows when they interrupt your performance to show the 21 card trick

My Uncles Card Trick

Patter: awkward Silence.


Step 1: Shuffle the cards aggressively. The more you bend the cards, the better the trick will work.

Step 2: Immediately forget what you’re supposed to do. Repeat step 1.

Step 3: Deal the cards in three rows of seven. If possible, deal into a puddle of liquid on the table- this makes the trick seem more impossible.

Step 4: Instruct them to pick a card. After they blurt it out, instruct them to pick another and not say it. Give these instructions as confusing as possible (this is what magicians mean by “misdirection”)

Step 5: Place remainder of deck in puddle on table.

Step 7: Forget what to do again.

Step 8: Ask which row their card is in and pick up the cards in that certain order. Make the pick up slow, deliberate, and obvious.

Step 9: Deal the cards out again. Take your time- there’s no reason to rush, it’s your time to shine.

Step 10: Repeat step 8

Step 11: Remember that you forgot step 6, but continue anyway.

Step 12: Repeat steps 3 and 8 again. If you find a weird card (one with two faces, two backs, or anything else fishy) bring everyones attention to it.

Step 13: Blurt out their card when the spectators don’t expect it. No need for drama or suspense, it’s best if you use the element of surprise here.

Step 14: Immediately after conclusion, expose the entire effect- even if they pretend like they aren’t interested. Hand the deck back to the magician even though no one realizes the trick is over.

Notes on the Open Shift...

Tips:
A reason the open shift is so difficult is the fact that erdnase only instructs you to control the top packet with the nail of the right index finger and left thumb. The problem with this is the balance required does not allow optimum control. This is why the shift is rushed by many performers making it look like they have a “spasm” (to steal a word Marlo used about the SWE shift).

When Erdnase says “the shift can be made like a flash” I theorize that he is talking about the sole motion of reversing the packets. Not the set up. I say this because when describing other shifts in the book, erdnase uses the term ‘shift’ solely when he is transposing the packets.

The open shift spasm can be solved by adding one simple step. Once you are in the position illustrated in figure 70, and finished clearing the packets of each other, you reposition the right hand by sliding it to the left and gripping the top packet (which will be shifted to bottom) by the thumb and middle finger of your right hand. The left fingers assist in holding the bottom packet during the sliding motion. At this point you can release your left hand completely and maintain control of the entire deck by only the right hand; gripping the bottom packet with the right middle, ring, and pinky fingers.

The position of the right hand in this grip also greatly reduces the risk of flashing the bottom packet as the top is pushed with the right index finger. This makes the shift slightly less angley and allows greater versatility.

Covers
-Movement from right to extreme left
This is the most common cover for the shift. a break is secured and the deck is carried to the extreme left of the performer, so that the back of the top card is in the direct vision of the player sitting opposite the dealer. The shift is then performed before dealing to the first player.

The problem with performing the shift this way is the momentary pause before he deal. Even if it’s executed in a ‘flash’ the pause is unexplained and draws attention.

-Tapping the table
A break is secured and the body is turned slightly to the left. The current top packet is slid toward the left palm by the right index finger, and regripped in the middle of the short sides by the middle finger and thumb of right hand (see the “tips” section at the beginning of this entry) . The left fingers extend, and the top packet is tapped against the table. In repositioning the deck the packets are shifted in a squaring motion.

An alternate method of using the table tap to cover the move would be to complete the cut with the left hand, securing a break, and performing the shift with the face of the deck facing the performer.


-Using table edge
The cut is completed by the right hand (fingers and thumb on opposite short sides) and the entire deck is slid along the table so the long edges are parallel to the table edge. As the bottom pack remains tabled, the right index finger begins to push the top packet into the awaiting left hand. The right middle finger and thumb then slide the tabled packet onto the packet in the left hand as it is raised for the deal, completing the shift.


Getting the break
-Offsetting the bottom packet when completing the cut.
Deck is tabled in front of you, with the short edges running parallel to the table edge. The cut is made by the right hand placing the top half to the left . As the cut is completed the packets are offset by placing the original bottom packet a half inch further to the left, creating a step which is concealed by the back of the right hand. the right index finger is placed on the step while the deck is picked up in preparation for the shift.

-Left Handed
The cut is completed by the left hand with the palm facing the table. The thumb is on one long end and the fingers on the other. When placing the packets together, the fleshy pad of the left ring finger is placed between the packets. The deck is then slid to the table edge and the right hand approaches palm up from underneath; grasping the top packet with the middle finger and thumb on the short edges. The left ring finger is then extracted, transferring the break into a step for the right index finger to execute the shift.

-Traditional Erdnase method
“When the cut is made, pick up the packet that was under, by the sides, near end, between second and third fingers and thumb of right hand, and lay it on top of packet cut-off, so that the then under packet forms a jog or protrudes about quarter of an inch toward the right wrist. Pick up the two packets the instant the one is placed on the other, by a sliding movement, with the fingers in the same position, and place the deck across the left palm with the left thumb on top to hold it in position. Then release sides of deck with right hand and seize ends to square up. In doing so the right thumb comes against the inner end and in contact with the jog or projecting under packet. Press this down a little with the thumb and square ends of deck, forming break at thumb end. Now shift the left hand slightly so as to hold the break with the tip of the left little finger at the side, close to the end”


Alternate uses
-Color change
Erdnase suggests using the Open shift as a transformation on page 136. He suggests performing the shift with the deck turned face upwards.

When Erdnase says ‘turned face upwards” does he mean the cards are face up in the hand with the performer facing his left- or is the performer facing his right with the hands rotated clockwise to display the faces?

It’s interesting to think about. When Erdnase wants the deck face up for a transformation he states it pretty clearly using terms like “with the back of deck to the palm” (Transformation, first method pg. 154) or even “with the deck face up” (SWE Shift pg. 139).

In fact, Erdnase never refers to a face up deck as being turned upward (s) anywhere in the text. I believe Erdnase meant for the performer to be turned to his right rotating his hands to display the face of the bottom card.

Personally I think when the performer is turned to his left with the cards face up, there are far better ways to do a transformation anyway.

Marlo on Erdnase

I sure do like the trivia quiz on page 240 in 'Marlo on Erdnase'. I wonder where they got some of those questions? See Wessmiller Trivia Quiz from August 15th 2007 I also posted this same quiz on the Genii forum. What do you think?
be well,
JW

Thinking outside the Erdnase box....

Maybe we’re all wrong with the way we think the Open Shift is to be used as a transformation. Erdnase never says to hold the deck back to palm to start with. He says “with the face of the deck turned upward...” Could he possibly just mean with the face turned upwards toward the company?

With the SWE as a transformation he openly says “with the deck face up”
And in other parts of the book he uses the phrase “back to palm” when he wants the deck face up.

The point of this post is to make you look at Erdnase with fresh eyes. Get your own opinion of what Erdnase is saying- don’t take other peoples word for it.

When I first started studying Erdnase I didn't have anyone to talk about it with. I always pronounced it Erdnasey. Haha- who knows?

Notes on the SWE shift

I just stumbled across these notes because someone asked a question about the SWE on another website. Maybe this can help some of you out there that have trouble with the move.


Covers for the move:
-Tapping the table (Wesley James)
With the body slightly turned to the left the short edge of the deck is tapped against the table while performing the shift

-Blowing on the deck (Chris Kenner)
While bringing the deck up to the mouth to blow on it, perform the shift.

-Rotating the deck
Have the long side of the deck almost contacting table- top card facing audience. In rotating the deck (so the back of the top card faces toward yourself) perform the shift.

-Change the style of cut (Magic Cafe member Pavloter)
With the deck tabled, cut off top half and place in left hand in SWE position. Pick up original bottom half from table and perform shift while apparently placing the packets together to complete cut in the hands

-Perform at the table edge (Magic Cafe member Papermechanic)
With the deck tabled, cut top half away from performer and place on table. Complete the cut on the table holding a break. Slide deck to table edge and perform shift pinning the bottom packet (which will be shifted to top) to the table with the right second and third finger. Left hand pulls back top packet and completes shift.

Getting the break for the SWE
-Diagonal placement
With deck tabled, cut top half away from performer. Grab original bottom packet with right hand and place diagonally (almost so the two packets form a very tight “X”) creating the ‘step’ to utilize when cards are picked up from table.

-Pull back method a la Steve Freeman
With deck tabled, cut top half away from performer. Grab original bottom packet with right hand and place further forward on original top packet, leaving a step below the right thumb. In sliding deck back toward performer apply pressure down with right thumb while pulling original bottom packet back with right fingers to form break at back.

-From deal (the way Erdnase would probably do it)
Hold break with pinky while dealing. Bend left wrist so index finger points toward performer. bring right hand over deck, palm down (fingers contacting left thumb) allowing right thumb to pick up pinky break. Release left hand and turn counter clockwise inserting pinky as in Fig 72 ready for shift.

Tips
-Control the right thumb- do not let it kick out when performing shift. Keep it as far down as possible.
-Focus on top packet. Pull it back as fast as possible. It may help to perform the shift in front of a wall or hard object to prevent you from kicking the bottom packet forward. (I’m told this is how Chris Kenner practices)
-Make sure the deck stays as square as possible. Do not allow the left fingers to get in-between the packets when the bottom is being shifted to top.

Alternate Uses for SWE
-False Cut
-Dead Cutting to any card
-Elevator effects
-Transformation