STICKS & STONES NUMBER 3

A leaflet for the left hand

BLUE ISSUE

This issue isn't True Blue. You'll find nothing dangerously Dionysian
here. However, you may find out the true color of your nose,
stockings, or whatever.

A trend may be starting. As the so-called sexual revolution
continues its spin, fewer people remain shocked or offended by Blue
material. The crude and lewd have become staple items. Porn is
everywhere and we've all seen the movies, books, magazines, and
live shows. The full moon in lover's lane has Enovid written across
it. Teenagers yawn at stuff that jailed Ralph Ginzburg. Lenny Bruce
and Harry Reems are folk heroes. Porn's lingo is media
meter...tongues wag... heads move to & fro... the incessant tsk-tsk
of society is syncopated to the shake-shake of you-know-what! And
the beat goes on...

Magicdom is not immune. Chaos magazine (Canada) was ahead of
its time. Young Judy Carter--magic lady with her celery stalk--is in
our time. Frances Marshall, one of magicdom's true sweethearts,
has published Bar Room Balloons and admits it's "slightly X-rated."
Not true. Urinating water dogs aren't Blue. Kids won't be offended.
They will laugh instead. Just imagine... a few years ago Magic Inc.
received some indignant letters concerning "Boy Meets Girl"--a
marketed packet trick which used sex symbol cards.

The new book titled The Shiels Effect by Niacail O'Siaghail is
actually X-rated on its cover. Its contents, however, aren't really
Blue. Besides pubic hair has gone public. Who cares if it's in
context? One needs an eyeful to say a mouthful. One needs to know
before he can "no"...

Vulgarisms have started to sneak into our prose. Magic In The
Morris Manor and Bob Little's Blue Ribbon Lecture use the term
"asshole". Gospel magicians may recoil, but all this is mild stuff.
Perhaps the magic marketplace is ready for raunchier stuff? Maybe
not. Think about it. Magic has always been an upright art, a good
clean hobby. LePaul called it "an idealistic fantasy" and it's always
been free from smut. Poking a silk into a tube shouldn't be
suggestive. Making a rope rigid shouldn't be inadvertent symbolism.
The finger-chopper shouldn't have Freudian overtones...

Magic has always had a seductive quality. Women are intrigued.
Men say, "I'd hate to play cards with you!" Women say (or think),
"What other tricks do you know?" Tyros can read Sex and the Single
Magician or heed Bob Little's advice: "Try a little flirting and see the
effect... caress objects..." The back room and bar room move into
the drawing room.

David A. Wright submits a card item to Pabular (June-1975, Vol. 1-
No. 10) called "Elmsley Out-Sexed". He took Elmsley's Four-Card
Trick and created a different approach: cuteness coupled with
sexual innuendo "aimed at attractive young ladies in the audience
for obvious reasons." Perhaps it's time to revamp all the classics,
adding bawdy patter and saucier plots?

The following routine was developed after studying Wright's dubious
effect. My purposes were satirical; however, when I performed this
version for magicians, they wanted copies for their files. Some
wanted to buy the effect, assuming it was a dealer item. One
magician uses it regularly in his close-up work. (He works at a
famous Chicago night spot.)

Wright Wronged

REQUISITES

(1) Four red-backed blank cards; (2) One blue-backed blank card;
(3) A sheet of adhesive letters such as Letraset.

On the back of a red-backed blank print C-L-I-M-A-X. On its face
print SEX. On the face of the blue-backer print QUEER. Set these
cards in the following order from face to back: blank-SEX card-
QUEER card-blank-blank.

WORKING

1) Place the cards face-down in your left hand. Execute an Elmsley
Count. Thumb off the uppermost two cards into your right hand,
flash their blank faces, and duck them underneath the cards in your
left hand. Patter: "Have you ever had your mind read? Well, these

are mind-reading cards... That's why they're red. (Groan) When I
say that most people give me a blank look... which is why these
cards are blank..."

2) Flip the cards face-up and Elmsley Count them to show all
blanks. Patter: "I want you to make your mind blank as well...
(Most laymen will say, "This should be easy...)... Think of any
number between five and seven!"

3) Explain that one of the blank cards will print his thought; that he
should concentrate. Here you deal the cards face-up onto the table,
holding the last two as one. The face of this double-card will have
SEX printed on it. Grasp this double-card with your right hand,
holding it from above and by the ends. Drop it onto the tabled
blanks. Pick up all the cards and place them face-up in your left
hand. Allow the appearance of the SEX card to sink in as you say,
"Ah yes...you are concentrating on SIX...er...I mean...SEX! At least
I'm close..."

4) Transfer the bottom blank card to the top (face) as you add:
"Keep concentrating on SEX...which I'll place somewhere--if you
pardon the expression—into the spread. Now some like SEX face-
up. Others like it face-down. In this case we'll keep it face-up."

5) Give the cards another Elmsley Count. The SEX card will show up
during the count. Say, "But if you try too hard, SEX becomes
elusive. The harder you try, the harder it becomes..." Give the
cards another Elmsley Count and they'll appear to be blank. The
SEX card has apparently disappeared.

6) Say, "Now here's the QUEER part..." Execute another Elmsley
Count and the QUEER card will appear. Place the last card (a blank)
on the bottom, leaving the QUEER card on top (face). Look at the
audience and say, "What's the matter? Hasn't anyone heard of a
SEX CHANGE?"

7) Smile and say, "Now here's anyone's favorite part!" Here execute
a four-card turnover, using the Buckle or Push-off techniques, thus
disclosing the apparent back of the QUEER card which has C-L-I-M-
A-X printed on it. Finish the patter line with: "...the climax!"

8) Repeat the four-card turnover and deal the QUEER card face-up
onto the table. At this point you can place the remaining cards in
your pocket. If you wish to "prove" anything, then hold the cards
face-up in your left hand. Your right thumb and fingers hold the
right longitudinal side of the packet. Your left thumb peels off the
face card. Next your right thumb does a 2-card push-off as your left
thumb easily peels off both cards as one. Your right hand places the
remaining card under the rest. Turn the cards face-down and repeat
the above actions. You have apparently shown both sides of all

three cards (?). The whole action should be done quickly and
casually.

For the kicker, say: "If you didn't like the SEX part or the QUEER
part or the ever-popular CLIMAX, will you settle for a BLUE JOB?"
Here you turn over the tabled QUEER card to disclose its BLUE back.

As you quickly scoop up the cards, three things are happening:

(1) The older fellows are chuckling and nudging each other.

(2) The attractive, young girls are coldly silent, assuming that
you're a simple-minded ass.

(3) The young studs, remaining aloof, will be thinking that you're
too old to be doing this kind of thing.

If there's a lampshade nearby, place it on your head. Blow up your
Whoopee Cushion and sit on it yourself. If this doesn't save the day,
explain why semen is white and urine is yellow. (Answer:
So______can tell whether they're coming or going!
- Jon Racherbaumer, August 20, 1975

Closet Cupid

Can you imagine Gay Libbers protesting the title "The Straight
Gambler"? One might expect anything these days, including the
following modification of a routine credited to Paul Rosini. An
Eastern publisher recently republished this quickie; however, the
obvious use of Tilt somehow eluded those involved in the "repeat".
This version, by the way, was submitted by a well-known cardman
who'll remain nameless.

EFFECT - The King leaves the Queen, finding someone more to his
taste!

WORKING

1) Get customers around the bar to pay attention by shouting: "I
have something queer to show you guys... You may get a bang out
of it!"

2) Thumb through the deck, cutting the JH to the top. Openly cull
the King and Queen of Hearts and drop them face-up on the bar.

3) Place the QH face-up on top of the deck, then flip it face-down.
Place the KH face-down on top of all. Push over the uppermost two
cards and secretly advance the 3rd card (JH) as well. Flip over the
KH as you jokingly remark: "Notice that the King is on top of the
Queen."

4) With the KH face-up on top, your right hand re-squares the deck
from above and by the ends. While doing this get the uppermost
three cards into Tilt position. (Note: Lower the talon; don't raise the
3-card packet.)

5) Your right fingers remove the face-up KH as you say, "The King
grew tired of the same position... so he sought rear entry into...his
castle..." Here you apparently insert the KH, still face-up, into the
center of the deck. In reality it goes below the top two cards
because of Tilt.

6) Push the KH flush from the back end, but get a break below it.
Flip the top card (QH) face-up, saying: "This flipped the Queen...
who decided to investigate..."

7) As you seem to turn the QH back face-down, execute a Triple
Turnover. Then do a Double Lift and insert both cards (as one) into
the front end of the deck; however, prior to this insertion your left
hand turns palm downwards (or flips the deck) so it's face-up.
Patter: "The Queen goes through the front door of the castle to
catch the King when he sneaks out!"

8) After the card(s) are pushed flush, turn the deck face-down and
say, "Once the Queen entered the castle, what she saw made her
leave quickly... in a twinkling...jiffy...whatever... and she ended on
the roof..." Here you turn the top card face-up to disclose the QH on
top.

9) Look at your audience (Hopefully high) and say, "Perhaps you're
wondering what made her leave in such a hurry?!" Spread the cards
between your hands to disclose the KH face-up in the center.
Patter: "You see...the Queen found the King flat on his back...face-
to-face with some Jack..." Here your right hand lifts its cards to
reveal the JH above the KH. Finish by adding, "... proving that the
King was really a Queen!"

Marginalia: As mentioned earlier, this version is a variation of a Paul
Rosini story--a variation of a Vernon variation, based on an Ellis
Stanyon idea. The use of Tilt, of course, eliminates the unnatural
cutting action after the Queen is already placed in the center of the
deck. Daley often noted who performed a given effect, but seldom
who originated the same effect...

Ding-a-ling Dong

Back in August of 1972 Genii magazine ran the following ad:

The Magic Ding Dong - This is an "X"-rated magic trick for ADULTS
only. You must be over 21 in order to purchase this item. If you are
easily offended then this is NOT for you! We are living in an era

when television and movies are more mature than ever in matters
regarding sex, SO, why not magic? At the right time and in the right
places the MAGIC DING DONG can and has caused a sensation.
Packaged in a plain brown wrapper it comes complete with four 2-
inch sponge balls. If you wish we will mark the parcel private and
personal. Made of virgin poly foam and warranted never to harden.
Not for the prudish!

Albert Goshman was the salesman.

The wild magic magazine from Canada and the Drinking Ring
(Chaos) did a satirical piece on the Goshman prop in its September-
1972 issue (#28).

The following entries are my own additions to the variant models
offered by the Shoddy Magic Company. Those familiar with the
utility prop or have purchased this prick will find the following list
comprehensible (or is the word "reprehensible"?).
VARIANT MODELS OF THE DING DONG
1) The Macho model --A very authentic replica that looks like steel,
glows in the dark, and features the classic mechanics of the Bang
Gun. (State your preferred one word message for the flag.)

2) The Renee Richards model -- Great for very mixed company!
Completely reversible for surprise finish. Available with or without
fur.

3) The Won Hung Wang model --A thousand patter possibilities,
appropriate for stage or stadiums. Chinese red with authentic-
looking ideograms reflecting the wisdom of Marilyn Chambers in
cute graffiti.

4) The Moby Dick model -- Replaces the outmoded Pea Can. Stream
of water hits the face instead of the hand.

5) The Cannibal model -- Lots of yocks with this one! Realistic
hickies and bite marks. Made of lasting, purple latex.

6) The Black Beauty model -- Perfect for ethnic bits and the right
audience. Coils for a snug load and reaches full size in less than
sixty seconds!

7) The "It's My Bird!" model -- This version changes into a scarlet
tanager for a socko finish! Great for dove workers.

8) The Tijuana Donkey model -- Terrific for smokers and stag
groups. Comes with boffo, saucy patter and inflatable woman.

This is only a partial list of the various models available. Remember,
too, that the original version is still available and according to a

strange friend of mine can be effectively used at kiddie birthday
parties. Simply explain to the moppets that it's a "one-eared
rabbit"!

In closing, remember the words of Mae West:

"I believe in peace! I've never heard a man in the morning say, 'I've
just had a great war!'"

- JWR (with apologies to Gene Shelley)

Movie Transpo

January 21, 1972

This effect is similar to "Signo-Transpo" from The Unexpected Card
Book (1974) except no gaffs are necessary. It was recorded on a
film shot by Jon Racherbaumer on January 21, 1972.

EFFECT - A red card is chosen from twenty-six red cards and is
openly added to twenty-six black cards. This noted red card
magically returns to the red packet in a reversed condition.

WORKING

1) As you separate the red and black cards, secretly get a black
card reversed and 2nd from the top of the red packet. (This might
be confusing. The position of the reversed black card is 2nd from
the bottom when the cards are held face-up. You'll be primarily
handling the cards face-up at the beginning, thus this reminder will
clarify the handling.) The red-black culling is done openly. Getting
into the secret situation can be done in many ways. Look up Marlo's
effect called "Environment" in The Linking Ring. This will give you a
clue. Otherwise you're on your own.

2) Pick up the red packet and spread the cards face-up. Be careful
not to expose the reversed black card 2nd from the bottom.
Security: Hold the last three cards as one.

3) Hold the squared packet face-up in your right hand, holding the
cards from above and by the ends. Your right thumb gets a break
on the lowermost two cards, maintaining the break at the back end.

4) Your right forefinger Swing Cuts about ten cards into your left
hand, which holds them in a face-up dealing position. Say, "I want
you to stop me when you see a card you like!" Your left thumb
begins peeling cards one-at-a-time until the spectator indicates his
preference.

5) Once a card is chosen, momentarily leave it on the face (top) of
your left-hand portion. Your left thumb pushes the selection to the
right into a side-jogged position. Using the right side of its packet,
your right hand flips the selection face-down. Do NOT execute a
Drop Sleight at this point.

6) Still holding its packet, your right hand makes a forward gesture
as you say, "You like the _____?" Here move the right-hand packet
backwards to more or less "tap" the face-down selection on your
left-hand packet. When both packets conjoin in alignment, your
right thumb releases the two cards below its break. The whole drop-
sleight action takes place instantly. Your follow-up patter line is:
"...the one right here..."

7) The right-hand packet immediately moves away. The face-down
card on top of the left-hand packet is now a black one. The
spectator assumes it's his red selection. Your left thumb deals the
assumed selection face-down onto the table.

8) Place your right-hand cards below the left-hand cards. Ribbon
spread the "reds" face-up, taking care not to expose the face-down
card (selection) now 2nd from the top (face). Patter: "You could
have chosen any of these..."

9) Ribbon spread the black cards face-up. Insert the assumed
selection face-down into the center of the spread.

10) Scoop up the cards and square-up. Say, "Believe it or not, I'm
going to make your red selection disappear. Respread the cards to
show the face-down card still reversed in the center. As you close
the spread you're going to "right" the reversed card. It should look
like a clumsy move. Just more or less do it quickly but openly. Don't
expose its black face.

11) Once the "fake" move is made, turn the cards face-down and
ribbon spread them. All the cards, of course, will appear face-down.
Patter; "See...the red selection has vanished!"

12) The audience will assume you're "putting them on"; that their
selection was awkwardly turned over like the rest of the cards. Look
at your audience and say, "You don't believe me, do you?" Here you
flip over the face-down black cards, using the flip-over flourish, and
reveal ALL BLACK CARDS!

Pick up the spread of red cards, square, and CUT. Ribbon spread
them face-down to reveal the face-up selection in the center.

- Edward Marlo, January 21, 1972

STICKS & STONES is the personal responsibility of JON
RACHERBAUMER. Don't blame anyone else. Direct your comments,
contributions, slings, arrows, and miscellaneous bits to:

P.O. Box 1142, Metairie, Louisiana 70004