The complete beginner's guide to anytime, anywhere sleight-of-hand magic. The man who made The Memory Book a #1 national bestseller reveals the secrets. I just re-read this. I had read it once several years ago, and I had forgotten how good it was. I have also read Tarbell, Wilson, Hay, and Jay, and. The magic book: The complete beginner's guide to anytime, anywhere, sleight-of- hand magic [Harry Lorayne] on billpercompzulbe.ml *FREE* shipping on qualifying.
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The Magic Book: The Complete Beginners Guide to Anytime, Anywhere Close- Up Magic [Harry Lorayne] on billpercompzulbe.ml *FREE* shipping on qualifying offers. Harry Lorayne's Official Magic Website ~ download books, e-books, dvds and products here!. Start by marking “The Magic Book: The Complete Beginner's Guide To Harry Lorayne Be the first to ask a question about The Magic Book.
Fun and amazing. One at a Time Aces One of the best non-gimmick ace assembly routines I've read. Self-working card magic par excellence.
Coins: I am not much of a coin man, but the material in this chapter seems really strong to me. Copper and Silver The most logical coin transposition routine I've read.
The Traveling Salesmen A perfect handling of my favorite coin opener when there's a table. Like Mr. Lorayne, I have come across many more "sophisticated" coin assembly routines, but this one seems to make just as much of an impact on laypeople Numbers: Your audience really will believe you are a mathematical genius when you perform this stuff.
The Missing Digit I actually got Royal Road in my early adolescence and learned the fundamental techniques and several of the basic tricks. I was also doing general sleight-of-hand close-up magic and had a steady interest in coin magic.
One day Lou took me in the back where he kept all the damaged books—ever a wondrous experience to be permitted to step behind the counter! From there on, I was truly off and running down the path toward serious artistic card magic. Lorayne was a national celebrity as both a television performer and as a best-selling author—but that had nothing to do with card tricks.
For all the books and journals he would eventually produce about card and close-up magic, he mostly kept that side of his life from the public. There was always one name in the middle where Harry would feign having difficulty with, only to successfully name that person as a climax to the routine.
The combination of super-human memory demonstrations with his New York-accented machine-gun commentary and outsized Energizer-Bunny performing persona rendered Lorayne as an unforgettable character. Meanwhile, in my late teens and early twenties, there were two men on the New York magic scene who powerfully demonstrated to me that it was possible to thoroughly entertain an audience with little more than a pack of cards and a pair of hands: Harry Lorayne and Frank Garcia.
I admired and was inspired by both of them, and I learned from both of them—I learned a lot. I studied their books, I attended their lectures, I asked them questions at the magic shop.
Their influence remains palpable in my work to this very day. By my early twenties I was thoroughly obsessed with card magic. As an amateur performer, I followed—or more accurately, I anticipated—the advice that Eugene Burger would codify in his writings a decade later.
But this was before I, or anyone else, had heard of Eugene, and before he ever set pen to paper to write about about magic. During these formative years, I concentrated on mastering a small repertoire of material, accompanied by original scripts, written down and well-rehearsed, which I would put to use when called upon to perform at social gatherings.
While I was constantly working on new things, that core repertoire, if I performed all of it, amounted to, perhaps, 25 minutes, which included a strong closer and an optional encore piece.
I always had a deck of cards with me in case the opportunity arose. I could vary the set with other material like coin magic, or some other close-up prop I might have put in my pocket, but the card set became the core of my amateur performance repertoire. So recently, when a student of mine happened upon a number of Lorayne publications and expressed an interest in them, I recommended Close-up Card Magic, along with a few other early titles.
And I found myself wondering what it would be like to study that material now, more than half a century after it was originally published—and half a century after I had studied and been shaped by it.
But that was a different time; a time before the literature became properly obsessed with tracking the credit record. And what about all those great tricks I learned, loved and performed, that served me so well for so many years?
What of Stabbed in the Pack, along with the correspondence in The Best of Benzais by Johnny Benzais, which would eventually inspire my own routine, Stabbed in the Sandwich, a feature of my Magic Bar days in the Eighties, and indeed, in my current magic lecture today?