A question for those of you who do memorized deck work.

Do you always know which effect you are going to perform when you have a card named?
If not, why not share some examples of how you might "jazz" with a memorized deck?

I always crimp the 20th card in my stack and the thought occured to me that if a card five cards either side of my crimp was named, a smooth pinky/thumb count combined with a LePaul instant reverse would give me a very direct and ungaffed invisible deck effect.

Regards,
Stephen

Check out Aronson's "Try the Impossible" for the "Invisible Card". It's a cool trick that has essentially the same effect as what you elude to.

I also like Darwin Ortiz's version of the Smiling Mule in "Scams & Fantasies." It is an instant sandwich of a named card that might give you some ideas on "getting to the named card."

Also, there is something in the Workers series (#5) on jazzing with a memorized deck. Close has some good ideas on this but Ortiz's Smiling Mule is an improvement; it is done face down.

Check out Steve Ehler's "Millenium Collection" for a great memorized deck trick. (Three spectators select cards, they are instantly named by magi. Totally moveless. I like this version better than the version Ehler had in a Wimhurst booklet.)

It's in Volume 5 of the Workers Series. Very interesting!

When you find a memorized deck in my hand, you can almost guarantee you're going to see me perform David Harkey's "OutSmart" from "AH-HA!". Talk about a clean, puzzling and moveless revelation!

Steve Ehler's trick sounds similar to "Almost Real Mind Reading" from "Theater of the Mind" by Barrie Richardson, which has lots of great memorization routines contained within!

Hi Stephen,
If you get Smoke and Mirrors, check out my article in the June issue. It's a combination of ideas and thoughts from Scott Cram, David Harkey, Darwin Ortiz, Bill Nagler, Mike Close, Patrick Page and myself on the idea of jazzin with a memorized deck. And, there will be another idea explored in my July Column.
If you don't get Smoke and Mirrors, but want to read any of my 11 articles on memorized deck magic, just send me an email to:
deloomis@mindspring.com and I'll email them to you. But you really should subscribe to Smoke and Mirrors... it's free. Just send an email to my pal Angelo Stagnero at: SmokeAndMirrors@topica.com He'll put you on the list to receive the Ezine each month.
Dennis Loomis
http://www.loomismagic.com

Be careful - this is a guy who has NEVER had an original thought of his own in his life. Except perhaps for his routine for the "Electric Headache Cure" machine (Photo available)...

Best, PSC

Interesting question. I almost NEVER jazz with any magic I perform professionally (whether it's with a memorized deck, a regular deck, coins, etc.) unless I make a mistake and need an out, which thankfully rarely happens, or unless the effect is somewhat new to my repertoire and still in the early development stages.

Hi guys,

Great to hear so much idea and pointers for memorizing deck..For me personally, I do also use memorize deck. The memorized deck that I used is the 6 hour memorizing deck by Martin Joyal.

It took me one week the most and I got it all covered ( haha not the unbrella). And it is so amazing that people drop their jaws whenever i did the memorized deck effect...

I think that it is a very good effect for those card workers who really wants something that is powerful..

Paul Chosse wrote: "Be careful - this is a guy who has NEVER had an original thought of his own in his life. Except perhaps for his routine for the "Electric Headache Cure" machine (Photo available)... "

My goodness, Paul. What brought this on? While I respect you greatly, I feel constrained to mention that Bill Nagler is a Medical Doctor, a published author, and has appeared as a guest on the Larry King Show, The Montelle Williams Show, and on Oprah.
Dennis Loomis
http://www.loomismagic.com

I was in San Francisco throughout the '70's running the House of Magic for "Buma" Burger when I first learned of Bill, who frequented the shop. All of a sudden he "left" the area. The next I heard of Bill was the aforementioned short-lived venture with the "headache machine"...

Best, PSC

P.S. Who "constrained" you?

Guess I constrained myself, my friend. I still don't see the reason you jumped on Bill out of the blue.
He lived in Sacramento for a time in the 70's because he was studying medicine at USCS. (I may be wrong about the particular school.) He returned to Michigan (where he was from originally) to begin a medical practice. He still practices in the Detroit Area and has been very successful financially. He is passionately interested in magic and approaches it very analytically.
It has not been his ambition to create a lot of tricks, but at least one of his creations was good enought to be released by Collector's Workshop.
While he's never been a professional, he has performed in the close-up gallery at the Magic Castle.
I'm still not sure why you're jumping on him in this public forum. Of course, I'm aware that there was a legal battle between Bill and one of our other mutual friends in the Detroit area. But I don't see how that affects your comments.
Dennis Loomis
http://www.loomismagic.com

Thanks to all for the replies.
Dennis, thanks for the advice. I'll subscribe to Smoke and Mirrors and read your article.

Scott, if you read this, I wonder if you could provide me with a brief description of the effect for 'Outsmart'.
I have heard much of Harkey's stuff but sadly own none of his books.

A typical presentation of OutSmart goes something like this:

"What's the name of your very favorite playing card?"

"Ten of Spades."

"Really? Mine, too! Isn't that weird how our very favorite card is the same?"

{spectator is unimpressed}

"I'll show you how impressive it is. I'll spell 'OUR VERY FAVORITE CARD' using one card for each letter...O-U-R-V-E-R-Y-F-A-V-O-R-I-T-E-C-A-R-D...and which card is there? The Ten of Spades, our very favorite card!"

Harkey's original version didn't require any memorization. I think the addition of the memorization that I employ makes it seem much more impossible to the audience (in my version, there's no physical gimmick with which to be caught).