magic and theory from the contributors to Ben Harris’

NEW DIRECTIONS MAGAZINE (1985-87)Jerry Andrus

Ian Baxter

Sixten Beme

Mike Gallo

Ron Hadley

Steve Dusheck

David Harkey

Harry Lorayne

Ed Marlo

Daniel McCarthy

Bill Nagler

Jon Racherbaumer

Jay Sankey

Richard Sanders

Craige McComb Snader, Jr.

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PHOTOGRAPHIC CREDITS

page 16: Jerry Andrus and the author. (Photograph from the author’s collection)

pages 27 and 32: Sixten Beme. (Photographs courtesy Christer Nilsson)

page 34: Steve Dusheck. (Photograph courtesy Steve Dusheck)

page 61: David Harkey and the author. Celebrating the creation of “Journey Through Time”(Photograph from the author’s collection)

page 67: Harry Lorayne. (Photograph courtesy Harry Lorayne)

pages 73 and 75: Ed Marlo. (Photographs by Jon Racherbaumer. Used with permission)

page 102: Jon Racherbaumer. (Photograph by Mona Morrison, Used with permission)

page 109: Jay Sankey and the author. (Photograph from the author’s collection)

Ed Marlo and Ben Harris. Chicago, 1986(from the author’s collection)

magic and theory from the contributors to Ben Harris’

NEW DIRECTIONS MAGAZINE (1985-87)

Copyright © 1985 and 1987 by Ben Harris

Digital Edition Copyright © 2010 by Ben Harris

All rights reserved.No part of this publication may be reproduced,

stored in a retrieval system, or transmitted,in any form or by any means, electronic, mechanical, photocopying, recording, the internet, or otherwise,

without the prior permission of the author in writing.

Published by Media T Marketing Pty LtdPO Box 86, Northgate, 4013

Queensland, Australiawww.wowbound.com

This digital edition edited by

Steve Shufton

INTRODUCTION:

New Directions magazine was published between 1985 and 1987 with a total of six

issues over two volumes. As the title suggested, the lofty purpose of the magazine

was to seek “new directions.” And this was, hopefully, reflected in both the

performance material AND the inclusion of stimulating essays.

Much of the “guest” material for the first couple of issues was personally gathered

during lecture tours over the 1985/86 period—while the balance resulted from

written contributions—both solicited and unsolicited. Several effects “came in”

as responses to essays and challenges previously posited in the magazine.

They say, “variety is the spice of life”, and you’ll certainly find that here. We’ve got

magic with cards, coins, matchboxes, dice, and more. Flourishes, quickies, and

full performance pieces abound. Interestingly, we have a WIDE representation of

performers. Some were well established at the time (Marlo, Racherbaumer,

Lorayne, Andrus) while others were just emerging (Sankey, Sanders, Harkey,

Gallo). These were exciting times—it was a buzz to be “breaking” material from the

hot new performers of the day.

Dig in and enjoy the ride!

Ben Harris

2010

INDEX

INDEX

JERRY ANDRUS

page 17

IAN BAXTER

page 22

SIXTEN BEME

page 28

STEVE DUSHECK

page 35

Bizarre ShuffleA very strange shuffling procedure that is both mystifying and very funny.

In Jerry’s hands this was liquid and smooth.

CrackerJack StackA multi-phase dice-stacking routine with a mentalism twist, and a striking vanish of FIVE dice!

Clean GuillotineA method for chopping off the tip of the finger that will fool anyone, magicians included.

QuandryIs it a silver coin or a copper coin? Neither, it’s pure gold! A real worker’s routine that Steve has

been using for decades!

9

MIKE GALLO

page 41

RON HADLEY

page 50

page 54

page 56

page 58

DAVID HARKEY

page 62

Original, No Gaff, Reverse MatrixMike Gallo’s now famous version of the Reverse Matrix. Inspired by Gertner’s classic, Mike

eliminated any extras. Seriously, JUST 4 coins, and four cards are used. This is a lesson in direct,

visual, and powerful coin work.

Flipping TriumphRon cleverly applies a Looy Simonoff move to the “Triumph Plot” resulting in a stunningly tight

and baffling routine. Neat and sweet.

Matchbox LoadA beautiful approach to secretly loading a coin (or a folded card) into a matchbox. This is straight

from Ron’s pro performances in Sydney’s coolest nightclubs circa 1986.

Two Quick RoutinesTwo approaches allowing you to put Ron’s powerful loading technique to use.

Spread-action PalmRon applies some “Marlo-esque” thought to Harry Lorayne’s take on Le Paul’s Spread Pass.

Heat VisionIn 1987 David was a new kid on the block and I was thrilled to be able to publish his

revolutionary material in both New Directions, (and later, in Simplicities). Here is his amazing

“Heat Vision” Routine!

10

HARRY LORAYNE

page 68

ED MARLO

page 91

DANIEL McCARTHY

Simple Lie DetectorA special treat here! I was to contribute to Harry’s magazine and books over the years, and to

have him return the favor—with a contribution to my little magazine—was a thrill indeed. This is

a simple, but effective, “Lie Detector” routine. Presented, of course, in Harry’s own words.

Olram’s HallucinationThe origin of the 'effect' per se, can be found in The Jinx No 1, October 1934 and

it was an Eddie Clever concept. In the method to be described here Ed eliminates the Second Deal

and the Palm. A modified gimmick is used, and the deck is encased by elastic bands. Also, the

three selected cards are produced from different pockets.

Five NON-GAFFED handlings then follow.

The Upward KickEd takes on Ben’s notoriously tricky “SuperFlip” flourish and makes it a whole lot easier. Not to

stop there, Ed then teaches 3 effects with the move!

Flexible Bottom LiftA flexible multiple lift technique that works off the BOTTOM of the deck.

Spectator Cuts The AcesBased on Marlo’s “A Problem Posed” (36th method, New Tops, March 1962) this lovely handling

convincingly allows four GENUINE cuts.

page 76

page 86

page 95

11

Dr. BILL NAGLER

JON RACHERBAUMER

page 103

JAY SANKEY

JAY SANKEY/BEN HARRIS

page 114

JAY SANKEY

page 122

Ultimate AcesBill describes an easy and effective “Ace Cutting” routine with a surprise finish. The method is

also clever—it uses a Devano Deck.

Shaded Cards To PocketsA novel look at this plot taking cues from Duffie and Marlo. Two cards repeatedly fly to two

different pockets.

Back Spin SpecialThis created a massive amount of interest when originally published in 1986. A coin is “back-

spun” across the table and it magically cuts the deck—locating a previous selection.

De-CreaseThis startling “Torn & Restored Card” handling grew out of a week-long session at a magic

convention in Nashville. Highly visual, crease free, and with a great “sound”.

Geller CardThe precursor to Ben’s gaffed card version (1988). This non-gimmicked card bending “moment” is

completely hands free, and requires careful “timing” more than any great skill.

page 100

page 110

12

JAY SANKEY/RICHARD SANDERS

page 124

ESSAYS

Finn Jon

page 131

Jay Sankey

page 132

page 135

Craige McComb Snader., Jr

page 139

One For Fifty OneAn entire deck and a single card magically TRANSPOSE right in front of your eyes!

Mind-boggling, and a sign of what was to come from the young Sankey/Sanders team.

Magic/Photography/Chess

A Look At The Willing Suspension of Disbelief

The Value of Material Fiction

Miracle Workers Unite

13

HARRY LORAYNE

HARRY LORAYNE

Simple Lie Detector

In Harry's own words:

I guess I'm taking a chance calling this a 'simple' lie detector. To each his own, of

course. To me, this is simple. I'm not a great fan of 'lie detector' effects in the first

place. My all-time favorite is a concept called 'Voice Print' out of Best Of Friends

Volume 1. However, aside from this, there are times when a simple Lie Detector

Routine would 'fit'. I wanted something that wouldn't require too much thinking—I

wanted to be able to do it drunk or sober. I came up with the following, which I 'can'

present drunk or sober. Whether or not 'you' can is something you'll have to decide.

It does require a couple of 'non-perfect' Faro Shuffles, some false shuffling, and a

force or two.

The necessary set-up is a simple one. During a preceding effect, get any 4-of-a-kind

to the top of the deck. Forteaching purposes, we'll assume that the four Sixes are on

top—the, say, 6C on top of all.

When ready to perform, shuffle the deck keeping the four sixes under control. Then,

force one of the sixes. The easiest way, of course, is to force the top one, the 6C. The

Riffle Force works fine here. Overhand Shuffle. running off and injogging the first

card. Shuffle off. Form a break at the injog and do the Riffle Force. Cut the deck at

the point of removal so that the remaining three sixes are back on top.

Your spectator is holding, and/or looking at, the 6C. Say something to the effect that

you want to be sure the cards are thoroughly mixed. And—do two Faro Shuffles.

These must be 'out' shuffles and only the top three cards must interlace the first

time—and only the top five cards the second time. I use (I believe it's a Marlo idea) l

68

Straddle Shuffles. Cut a small packet of cards from the top and Faro it into the larger

portion. Interlace only about an inch or so. Strip out the interlaced cards Diagram

1—and drop this elongated portion on top. Flush and square. Do it again.

You're in required position. If you want to check: There's a six-spot on top, three X

cards, a six-spot, three X cards, and a six-spot.

Do one quick Overhand Jog Shuffle, keeping at least the top nine cards in place.

'Kick' (swing) Cut the top half into your left hand and ask your spectator to place his

card onto the left hand portion. Place the right hand portion onto his card, keeping

a momentary break between portions. Double Cut to the break. The selected card

(6C) is on top followed by the 'set-up.'

Say, "The number thirteen is a mystic number. It will help me distinguish a lie from

the truth. I'll need thirteen cards —'any' thirteen cards.”

Do one Overhand Shuffle, injogging the first card you run. Square, obtaining a

break beneath the injogged card. Start to cut small packets from the top onto the

table, asking your spectator to say 'Stop.' Time it so that when he does stop you,

you're cutting at the break.

Count off, onto the table, one at a time thirteen cards; their order is reversed. The

condition of the thirteen cards, at this moment, from top down—is:

xxx6xxx6xxx6xxx6.6C. Holding the packet face-down in dealing position do the

usual patter for a Lie Detector effect. "I'll ask you a few questions... you can lie or tell

the truth... don't change the tone of your voice... etc."

Ask, "Is your card odd or even?" Spell the answer, from the top of the thirteen card

packet, one card at a time. If you spell 'o-d-d,' turn the 'next' card face-up and table it

above (north of) the spelled cards. It will be a six spot. If you spell 'e-v-e-n,' turn up

69

1

2

70

the card that 'falls' on the 'n.' Table this card north. Same handling. No big memory

problem; you know that the six-spot is 4th from the top - work accordingly, with no

hesitation.

I make a remark about the suit of the six-spot—I do not mention that it's the same

value as his selection. I'll touch on those remarks in Afterthoughts. Right now, to

keep it simple, "This is a (say) Heart; that tells me that you're lying (or telling the

truth). Your card is not (or is) odd (or even)."

Next question: "Is your card a low value or a high value? You can lie or tell the truth."

Do exactly as you did for 'odd' or 'even.' The next six-spot is, again, fourth from the

top. After that, there are five cards remaining in your hands. Last question: "Is your

card black or red. Lie or tell the truth."

For 'Red,' no change is necessary. Spell 'r-e-d,' deal the 'next' card face up with the

first two sixes - make your remark showing that you know whether he or she lied or

told the truth, then - "And, all that tells me that your card, the Six of Clubs, is right

here!" Turn over the card remaining in your hand.

Let's get back to the final position so that I can explain what I do if the answer is

'Black.' You're holding five cards: XXX6.6C., and your spectator says "Black."

Immediately say, "This works no matter how the cards are mixed - even now." One

Hand Fan the five cards with your right hand. Hold the outer ends of the cards with

your left hand as your right hand takes the bottom two cards and interlaces them

into the other three. Diagram 2.

Square. "I can even spell your answer with every 'other' card, like this..." Deal the top

card onto the face-down already spelled cards, as you say, 'B.' Duck the next card to

the bottom of the still held packet. Deal/Spell the next card — 'L.' Duck the next card.

Deal/Spell 'A.' Duck. Deal/Spell 'C.' There's one card left the non-selected six-spot.

71

Say 'K,' and deal it face-up near the other two sixes. Make your remark about a lie or

the truth. End as for 'red;' turn up the top card of the tabled packet—the SIX OF

CLUBS. I do not mention the other three sixes; that speaks for itself. I just look

tongue-in-cheek surprised!

AFTERTHOUGHTS

What I must impress upon you is that all shuffling, the forces, etc, must be done

casually and at a fairly brisk pace. The whole point is that this is happening from a

thoroughly shuffled deck. At the point where you need the thirteen cards, you can

simply false shuffle or false cut, then count off the top thirteen. I prefer to force the

location, as explained. Be careful with the Deal/Duck spelling of 'Black.' There's a

tendency to 'spell' as you 'duck' a card, particularly with the last couple of letters.

Spell only as you 'deal' onto the tabled packet.

72

JAY SANKEY &

RICHARD SANDERS

JAY SANKEY

Back-Spin Special

The following completely impromptu item is pretty odd, and although it definitely

requires developing a certain knack, the basic principle (once understood) is both

startling and easy. (Note from Ben: believe me, this can be done. I have watched Jay

perform this many times!)

Effect:

This routine has two different presentations, one for laymen and one for other

magicians. For laymen it appears as if you have a card selected and returned back

into the approximate center of the pack. The pack is tabled about two feet from the

edge of the table and an American Fifty Cent Piece is then introduced. After being

examined, the coin is stood up on its edge and held upright by the downward

pressure of the left forefinger, the coin resting about two or three inches from the

table edge. The magician mentions that though he cannot find the selected card, the

coin can. In fact, he goes on, it can actually run to the deck, cut to the selected card,

and then run back into the awaiting hand of the performer.

The mob, being sane, is also skeptical. Nonetheless, a moment later the coin ' leaps '

and rolls forward to the pack, knocks a small packet of cards forward and off the top

of the pack, and then runs back to the edge of the table and into the magician's

awaiting hand. The cut to card is now turned over and it is the selection!

For an audience of magicians I present it as a demonstration in the ultimate

principle of lapping, namely an object lapping itself. In keeping with this

presentation, I again have a card selected, returned to the pack, and the pack is

tabled. Then I offer to show them how the coin will not only find the card, but that it

110

will also try to make itself magically vanish by lapping itself (the coin having

recently browsed through a Slydini book). Then, when the coin spins back from the

pack having knocked off a packet of cards, I let it roll directly into my lap instead of

catching it in my hand at the table edge.

Method:

This is very, very simple, but not only will it not work on a c!oseup pad, but it will not

even work too well on a table cloth. This is one trick which works best on a hard

surface such as a bar or dinner table.

To practice, take a coin and hold its edge down onto the table, perpendicular to the

table edge. Pinch it between your right thumb and middle finger. Diagram 1. Now

come down from above with your left index finger and lightly press down on the

coin from above. Momentarily remove your right fingers,leaving the coin standing

up on edge being supported just by the left fingertip. Now rest the fleshy tip of your

right index finger directly along the upper edge of the coin, just back of the left index

fingertip. Diagram 2.

If you press straight down on the coin, very hard, with your right fingertip and then

let it squirt out from beneath your left finger, the coin should at least travel six

inches forward and then fall over. You will notice that though the coin squirts

forward due to the pressure it is under, it is actuallv back-spinning while it moves

forward.

With practice you should be able to get the coin to squirt two or even three feet. The

key is to keep the tip of the right finger perfectly aligned or straight with the edge of

the coin. You must also apply pressure straight down and not sideways. To have the

coin roll straight back towards you all that is necessary is for it to hit the flat side of

111

1

2

3

112

an object in its path, such as a pack of cards. Thus, if you put a pack about a couple of

inches from the coin (increasing your distance as you get better) and then squirt the

coin directly towards it as explained above, it will fly forwards, hit the pack, and

then roll quickly back to you. Diagram 3. This will take practice, so don't give up.

To perform:

Have a card selected and looked at. Use a sort of “Bluff Pass” for its return: Lift off 5-

10 cards with your right hand, and extend your LEFT hand to the spectator for the

return of his card atop this group. While the selection is being returned to the top of

the left hand packet, the right hand briefly buckles its packet (concave) and then

smartly tosses it back onto the left hand cards, apparently losing the replaced

selection somewhere in the pack. (Casually executed, it will be assumed the card has

been returned to the middle of the deck).

Place the pack on the table about twelve inches from the edge and introduce the

coin. Explain what you will do and pause as if you are surprised that the audience is

skeptical. Then, hold the coin just forward of the table edge and execute the 'squirt'

as described. The coin will shoot out, hit the deck, knock off the cards above the

selection and then return to your hand or lap, which ever is appropriate. Don't rush.

Let the startling visuals sink in before turning over and revealing the selection.

Notes: You can, with practice shoot the coin about two feet and perform the effect. A

U.S. Fifty Cent piece is good due to its weight and the traction that its milled edge

gives. However, other coins will work beautifully.

113

ED MARLO

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