August 2006 Newsletter

Editorial

We’ve had some exciting developments since the last newsletter. I was able to demonstrate the Back to Front Twirl Chip trick in the August issue of Poker Pro Magazine, check it out: http://www.21ace.com/August-2006-Poker-Pro-Magazine-Poker-Chip-Tricks.html

Quite a few exclusive interviews have been added to the site recently. My vision is for us to have more interviews related to card tricks, chip tricks, pool tricks and darts by the end of the year.

Our http://www.21ace.com/links/directory link directory has grown quite a bit recently. If you know of any sites that compliment 21ace then please encourage them to link to 21ace and join our directory. It is a win-win situation, the search engines place a higher value on 21ace and the sites that link to it because the Internet is all about linking.

Ashers thoughts:

Do you remember how we’ve discussed sharing the CardStar Lifestyle?

This philosophy teaches you to use magic as a vehicle to experience the best.  I used to do lots of travelling (sharing magic through lecturing) in search of the best. After awhile being in a new city every day turned into a big blur. It was very difficult to keep relationships, make long-term plans, and be there when someone needed you.

Since moving to Oregon, I’ve tried to take myself off the lecture circuit. Don’t get me wrong, lecturing and travelling are still important. But, living out of the suitcase always becomes tiresome…after a while.

The last four months (off and on), I’ve been living out of TWO suitcases.

I had to make separate trips to Las Vegas, Memphis, Toronto, Los Angeles, Detroit, Phoenix, Minneapolis, and Seattle for lectures, shows, workshops, weddings and a funeral.

But the most interesting excursion, the one I want to tell you about, was the month-long lecture tour of the Pacific Rim.

One of the biggest misconceptions of the CardStar Lifestyle is that you have to show-off extravagantly to experience the best. This could not be further from the truth. Whether you are a professional performer or a hobbyist, you should relate to, and make personal connections with as many people as possible. You are not always the focus of the CardStar Lifestyle. It can be beneficial to them as well.       

Sometimes the littlest effort to connect produces a long-lasting effect. For example, while in Sydney, Australia a young man waited patiently to speak with me before a lecture. When we finally spoke, he shared with me that he just bought “Royal Road to Card Magic” but was not sure if he made a good decision. I took the book from his hand, told him it was a great book, flipped open to my favorite trick, and circled the page it was found on.

It only took a minute of time to impact this young man forever.  Moreover, there were several people standing around watching this interaction. Word spread all over the convention, and this story of my “generosity” eventually found print on the internet within days of it happening. We just can’t predict the profound effect that each of us can have on another’s life. A thirty second connection could change the way you do magic forever.

Never forget, if you take care of others, others will take care of you. Here is what I mean…

After lecturing in Australia, New Zealand, Singapore, Hong Kong, and Taiwan, I ended my trip in Macao. I met up with several friends at the Hotel Lisboa. The general manager asked Sean Macfarlan (One of Hong Kong’s greatest magicians, and a good pal of mine) and me to perform for his personal friend (and family) one of the evenings we were in Macao.

Remember how I just mentioned the reciprocal factor of taking care of others? Well…

I tried my very hardest to share the Macao CardStar Lifestyle with the general manager, his friend and family by performing at their formal Chinese dinner. Meanwhile, they were doing their best to share a certain affluent lifestyle with us.

Everything was complimentary for the rest of the trip - two separate luxurious suites in the Hotel Lisboa, all gourmet meals and exotic drinks, and…uh…spending money for my time in Macao.

I could tell you hundreds of stories about meeting people in the Pacific Rim. Each meeting felt as special as the one before. The CardStar Lifestyle is about sharing. It’s about connecting.
Next time ‘we’ (see resource boxes) will teach you how to put the Lifestyle into each and every one of your magic performances. WARNING -- you might have to give up something, in order to achieve the Lifestyle.

Until then…

_______________________________________________________________
Do you believe in coincidences?
Chinese Leader Mao Tse-tung died within a month of Lee Asher’s birth. While the world lost an authoritarian, it gained an author. Lee Asher has appeared in every major magic magazine and even some of the not so major ones too. You can find Lee in one of two ways. Online, Google him – he is top spot. Or you can visit his website at http://www.LeeAsher.com where you can also sign up for his mailing list and receive more articles from him.

Do you really believe in coincidences?
In the year Lee Asher was born, Keith ‘Kip’ Pascal earned his driver’s license. On the ‘day’ Lee Asher was born, Kip Pascal was in London, England ‘sessioning’ with the late Ron MacMillan. After a dozen years as a teacher, Kip now writes Martial Arts books and articles full time. For the last several years, Kip and Lee have co-authored many magic products including the last three Magic Circle articles. Visit Kip Pascal at http://www.coinsnatching.com .

Lee Asher

The Stacking Curve

I’d like to start by acknowledging Jack Carpenter, whose work inspired me to create this and many similar routines.  They have no direct correlation to his material, but his work inspired me to work on gambling routines that were quite easy due to cunning method, very difficult in terms of the effect, and very fair in terms of the presentation.  Traditionally, the gambling material I’ve seen is either not easy, or not difficult in terms of the effect.  Even in those cases where both of these apply, you don’t have fairness in presentation (this is the case for example with Lennart Green).  Mr. Carpenter has managed to create a beautiful meld of all three, and in so doing, inspired me to do the same.

When it comes to gambling material, I generally categorize the material into three categories: routines, demonstrations, and simulations.  Routines are cases where you’re performing magic tricks with a gambling theme.  Something like using a pre-stacked deck and telling the audience that you’re going to cull and stack cards.  This is the easiest, the most impressive, but often the least satisfying.  Gambling demonstrations are cases where you use genuine gambling techniques, but not as they might be employed in a game.  For example, you might do a second deal demonstration, a stacking demonstration, an ace cutting demonstration etc.  But you won’t piece it all together like you would if you were genuinely cheating.  For example, after stacking the cards you don’t have to beat the cut, that’s handled separately and perhaps not in the most realistic manner, just as the second deal probably wasn’t handled in the most realistic manner.  Gambling simulations are cases where you essentially genuinely cheat as a demonstration to the audience.  You sit down and basically play mock poker with them, going through all the regular hoops of needing to cull, stack, beat the cut, perform false deals etc. and do so in an undetectable and fluid manner.  This is by far the most impressive for those who know what they’re talking about and definitely the “smartest” performance, but it’s also by far the most difficult because it’s real.  It also tends to yield the least impressive results because it’s so much harder than, in particular, the first option.

This next effect, and the one I’ll describe next month, fall somewhere between the first two categories of routine and demonstration.  They are also a category of performance I’ve only recently begun exploring and I term “instructional performance”.  They employ a lot of audience involvement (though not in terms of direct control) to heighten the reaction by increasing the understanding.

“If you understood how hard this is you’d be kneeling before me instead of standing there.” – Darwin Ortiz, I heard it through a third party.

Effect:
The performer teaches the audience how to riffle stack a single card, stacking one ace multiple times, and then in a final surprise, demonstrates how he’s stacked all the aces, apparently in a single shuffle.

The key to the effect is that, by getting the audience to try and follow along with a deck the audience member comes to understand how hard riffle stacking is, which makes for a great reaction at the end.

Method:
Give a deck to an audience member and show four aces on the top of the deck (both yours and theirs).  Have them follow along as you explain that if you wanted to stack the ace as the fourth card on the top of the deck (you can use more if you’re proficient at riffle stacking, I’d probably go with every 6th card or something, but it’s up to you), that they would need to riffle off the cards holding back exactly three cards and placing them on the face above the card in question. Give a demonstration using an extremely fast riffle shuffle (1 second or less), stacking the ace for the appropriate position (say the fourth).  (Make sure you don’t disrupt the four aces). Deal off demonstrating the ace stacked as the fourth card from the top.

Have them attempt to do the same. They’ll naturally find this difficult. If they somehow do it well, have them ensure the four aces were not disturbed, if they did great, you could increase the difficulty at this point or just continue.

Show how you left the aces undisturbed on the top and point out the importance of this if they were to stack multiple cards. Have them pass the deck to the next spectator (resetting it with the three aces on top) and pick up the three cards you had dealt off. You now have two options. You are going to stack the bottom of the aces.  The easiest method is simply to jog the top two cards to the side and replace the three indifferent cards above the lower most ace then square the other three aces on top.  (This is a secret move). Alternatively, you could palm or steal some cards off and stack the bottom ace that way via a replacement, in which case you’d place the three indifferent cards in the centre of the deck. (It isn’t a bad idea to do this initially and instruct the audience member to do the same).

Repeat the procedure and this time ensure you don’t disrupt your stack of the bottom ace. Have the spectator follow along attempting to stack the cards. (When you explain the process to the spectator you should tell them that it is important to learn to hold back the cards by feel without looking at the deck. This isn’t particularly true, but it adds to the impossibility. Likewise, you shouldn’t look at your own hands as you execute the shuffle, though it isn’t necessary for you to hold back the cards by feel.) Again, you’ll deal off the top four cards showing the top card is an ace. Have them check to see that they haven’t disrupted the aces on the top of the deck (don’t do so yourself because of course the aces aren’t gathered together). Have them insert their cards in the centre of the deck, while tilting the deck up, jogging the top card over with your thumb and placing the three indifferent cards between them, then the ace back on top.  Do this while they pass their deck to the next spectator. (You’ve now effectively stacked the bottom two aces).

Repeat the process a third time; exactly as with the second but this time don’t jog the top card, simply place the indifferent card on top. (Also, ensure you don’t disrupt your stack).  Now that you have all three aces below the top one stacked, you are ready to go. A few quick notes though first:

Mentally, the perception of the audience is that you still have the four aces on the top of the deck. You inserted this into their mind with the first action and reiterated it by having them check to make sure the aces were always on the top of their deck. Since this appears more like a lesson and demonstration than a routine, they have no reason to suspect anything foul. You have been getting them to replace the indifferent cards into the centre of their deck to create the illusion that you are doing the same in your own. Your actions are of course carried out on the offbeat as the next spectator takes the deck and thus go unnoticed. Finally, because they don’t know what is coming next they aren’t looking for anything.

You’ll now tell the audience something like “when you’re get really good you’ll learn to do it like this” and repeat the procedure, stacking the top card for the fourth card and ensuring you don’t disrupt the stack of the others. This should occur just as quickly as the earlier shuffles and with just a much apparent lack of care. Now, you’ll pass the deck to the spectator and let them deal the cards off, showing that you’ve stacked all four aces in a single and fast shuffle.

You may employ other methods if you wish to stack the cards in advance. Another approach I sometimes take is to stack the aces for every 8th card at the end. Let them deal off the cards as though the aces are positioned as every fourth card, but when they turn the cards over show that two of the cards are indifferent. You can then add “oh, I forgot to mention, I stacked them as every eighth card”. This isn’t actually as difficult as it might sound. You simply add an additional three cards to the top of the deck secretly and then perform a faro (tabled faro in this case is obviously preferable) and that stacks the aces so each falls as every 8th card and becomes a very impressive display.

For those who are interested, you could use duplicate cards (aces) on the top of the deck at the end (simply maintain them on the bottom throughout the routine and transfer them when the time comes) to show all the four aces apparently on the top prior to the last shuffle. This works because you won’t show any of the indifferent cards. Of course, if you’re using the 8-hand method they’ll see one of the additional aces so that’s a problem. You solve this problem by using only two duplicate aces and an indifferent card, flashing the backs, but then Emsley counting them so you conceal the indifferent card. The indifferent card must obviously be the second from the top and the non-duplicate ace must be the fourth from the top.

Drey

Interview with Erin Enzweiler from USPCC

1. What is your role at USPCC?
Marketing - seeing the product from idea to final production

2. How many decks of cards does USPCC produce each day?
With everything up and running, we can print about 2 million decks a week. However, you have to remember that it takes a lot more time to cut and package the cards, so we're not printing 24 hours a day.

3. Roughly how many different kinds of decks does the USPCC offer?
A variety of brands including: Bicycle, Hoyle, Bee, KEM, Aviator, Maverick, Tally-Ho, Squeezers, Steamboat, Torpedo, Mohawk, Streamline, and more (many of which are offered in Poker Size, Jumbo Faces, Bridge and Pinochle). We also have a variety of Licenses including: Disney (Mickey, Tinkerbell, Pooh, and Power Rangers), Nickelodeon (Spongebob, Dora, and Blues Clues), Scooby, Spiderman, Coca-Cola, Jack Daniels, Elvis, Budweiser, Nascar, World Poker Tour, Playboy and more.

3. Is the company aware of all the different uses their decks are used for, and so design them with the different uses in mind?
We know that people play many different games with our cards, which is why we offer different variations: mini decks for kids, jumbo index for those needing larger numbers, pinochle, bridge and euchre decks, braille cards and LoVision cards for the visually  impaired.

4. Why is it that some decks are widely available in some places, but are rare in other areas?
For instance, Aladdin 1001’s are widely available in countries like Singapore and U.K., but why not the United States? Some decks are very popular in certain regions of the US and countries around the world. For example, Squeezers is mainly found in the South while Hoyle is more popular in the West than in the East. Different areas grew up with certain playing cards and have passed them on to their kids who in turn go out looking for the same brand.

5. Can you tell us a little bit about the designing process of the card backs (who designs them, how does this person/people come up with their designs, are the designs subject to approval, etc.)?
We use style guides for all of our licensed decks. Once we create the tuck case (what the cards are held in) and the cards, they must be sent to the licensor (ex: Disney) for approval. Once we receive the ok, we move forward with production.

6. I have read that you are using Adobe products for designing the cards you make. Is that true?
No.

7. Tell us a little about the actual construction of the cards.
We produce our entire Bicycle card range right here in Cincinnati. From rolls of paper to finished decks, everything is done right here. We make the paper, print the cards, cut them into strips & then into individual cards, place them in the tuck case, add a closure seal and cello wrap and then box them up to be sent out to the retailers.

8. Why is it that some deck designs are discontinued?
Just like with any other company, we see trends come and go with playing cards. We frequently have new licenses based on what movies/properties are popular at the time.

9. Many of our members love your Tally-Ho Viper cards, Bicycle Ghost cards and Bicycle Black Tiger cards sold at Ellusionist.com. How long has the USPCC been working with Ellusionist and what kinds of cards can we expect in the future?
Ellusionist.com works through our custom division, so I don't have the info.

10. Aside from making decks of cards, what else does the USPCC offer?
USPC has a wide selection of products. Not only do we sell cards and poker chips, but also books, dice, dominoes, poker sets, poker table tops, and other new items in the works.

11. How exactly is an air cushioned finish created?
It's an embossing technique.

12. Are you going to expand the portfolio of traditional card brands (Bicycle, Bee, Aviators, Tally-Ho) soon?
Actually, we are doing some research and looking at expanding our core brand line.

13. Have USPCC got any new products coming out that you can tell us about?
See our catalogue on the website. www.usplayingcard.com .

14. From a sales point of view, which card is most popular, Tally’s, Bee’s or Bicycles?
Bicycle is by far the most popular and widely known playing card.

15. We've seen KEM cards being sold with USPCC products. Did USPCC purchase KEM? When did that happen?
Yes, USPC did purchase KEM.

16. Do some casinos still order paper cards or do they prefer plastic cards?
Many casinos do still order paper cards. Bee cards are very popular in casinos across the US.

17. On the http://www.usplayingcard.com/aboutuspc.html page it says the following,  "The United States Playing Card Company is the leader in the production and distribution of premier brands of playing cards, including BEE®, BICYCLE®, AVIATOR® and HOYLE® playing cards." Why doesn't this mention Tally-Ho cards?
Tally Ho is a regional brand and unknown in most of the country.

18. The http://www.usplayingcard.com/uspcconsumer.html#museumclosure page says that the Norwood museum has been closed. Is there another way for tourists in the Cincinnati are to learn more about the history of the USPCC?
Unfortunately, all artefacts from the museum have been locked away. The museum has turned into an outlet shop for consumers to come and purchase decks that they might not find in the local grocery/drug/mass store.

19. Lastly, is there anything you/USPCC would like to say to the 21ace community?
Keep playing with Bicycle...America's Favourite Playing Card!

Members Welcome

Without members a forum would be pretty boring. Without new members a forum would not improve thus adding to its boringness. So this is just the little piece of the newsletter that allows us, the members of 21ace, to extend a heart felt welcome to all those that have joined the 21ace community this month.

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CREDITS

The people that contributed to the making of this newsletter include:

Eric and Shadow – Technical Support.

Fattyonadiet – Editor.

Lee Asher, Drey – Authors.

Also; a big thanks goes to the good people at USPCC for allowing us to interview him.