Bobo Study Guide

The (Almost) Complete Bob Study Guide

Michael Jay

The (Almost) Complete Bobo Study Guide A work in Progress By Michael Jay (Magic Bunny) Part I - Mastering the Basics................................................................................3 Step 1: The study of Coin Concealments................................................................3 Step 2: The Quick Fix......................................................................................5 Step 3: Technique..........................................................................................8 Updates and Notes.......................................................................................10 Step 4: Coin Vanishes (Part 1)...........................................................................13 Step 4: Coin Vanishes (Part 2)...........................................................................16 Notes and Review.........................................................................................17 Step 5: Quick Tricks......................................................................................19

Part II - Advanced Coin Magic.............................................................................22 Step 1: Cuffing and Sleeving.............................................................................22 Part 1: Cuffing..........................................................................................22 Part 2: Sleeving.........................................................................................23 Notes and Review.........................................................................................27 Step 2: Flourishes and Gaffes...........................................................................29 Part 1: Coin Classics (Flourishes).....................................................................29 Part 2a: Shell and Folding Half.......................................................................30 Part 2b: Trick Coin Trickery..........................................................................32 Step 3: Coins Across......................................................................................35 Notes and Review.........................................................................................39 Step 4: Coin Classics......................................................................................41

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Michael Jay

Part I - Mastering the Basics

Step 1: The study of Coin Concealments Reference: Chapter 1 Coin concealment is the most important part of coin magic. Obviously, for any magic to take place, there must be actions happening underneath the veneer of ordinary actions. These are the concealments - the ground work that will be used in the more advance work. It must be understood that sometimes these concealments will be necessary to use in conjunction with coins that are unknown to begin with - coins that will appear from nowhere or be added secretly or even swapped. Other times, the concealments will be used in conjunction with a coin that is known (as in complete vanishes or transpositions and such). Step 1 means that we must take a look at the different concealments that are available to us. Even if we don't have a need of use at this time, in the future we may wish to do a certain thing and the knowledge of these concealments will allow us to logically piece together exactly how to bring about the effect that we desire. So, the knowledge that these concealments exist is an important thing. Understand, this doesn't mean that you must learn each and every one of them. Only that you know that they are there for your use, should such a need ever arise. Take the time to read this entire chapter. It comprises 9 concealments/sleights. Whilst you read each and every one of these concealments, have a coin at the ready. When you see one that you like, pay particular attention to it. Pick up your coin and learn the sleight - or at least begin working on it. Play with it. Keeping in mind that "play" is something that we did as children, this "play" brought us to certain realities in our adulthood - play is as much a part of learning as work is and, oftentimes, more affective than work. Picture, in your mind's eye, where you might be able to make use of such a sleight. Try to consider when such a concealment may be necessary to you. Consider the angle issues that come with it, while you are practicing this sleight. Take your time with this chapter. My requirement of you, as the student, is that you learn the finger palm and the classic palm from this chapter of the book. I consider these two concealments to be the most important. For advanced work, others will become important and we shall look at them later, as this thread unfolds and as we work through the book. For now, though, please understand that the two most important and useful of all of these concealments is the classic and finger palms. Of these two, the finger palm is usually picked up quickly. The classic takes much more time, however. That's alright. Don't feel badly about not being able to do a good classic palm in a day or two. Once you've put a couple of months into getting a smooth and natural looking classic, you'll feel all the more proud of yourself in the mastery. This is a good thing. When working on the classic, use a coin that feels good in your hand. This will vary from student to student. I oftentimes hear the suggestion that you use something that is hard to


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Michael Jay

Part I - Mastering the Basics

Step 1: The study of Coin Concealments Reference: Chapter 1 Coin concealment is the most important part of coin magic. Obviously, for any magic to take place, there must be actions happening underneath the veneer of ordinary actions. These are the concealments - the ground work that will be used in the more advance work. It must be understood that sometimes these concealments will be necessary to use in conjunction with coins that are unknown to begin with - coins that will appear from nowhere or be added secretly or even swapped. Other times, the concealments will be used in conjunction with a coin that is known (as in complete vanishes or transpositions and such). Step 1 means that we must take a look at the different concealments that are available to us. Even if we don't have a need of use at this time, in the future we may wish to do a certain thing and the knowledge of these concealments will allow us to logically piece together exactly how to bring about the effect that we desire. So, the knowledge that these concealments exist is an important thing. Understand, this doesn't mean that you must learn each and every one of them. Only that you know that they are there for your use, should such a need ever arise. Take the time to read this entire chapter. It comprises 9 concealments/sleights. Whilst you read each and every one of these concealments, have a coin at the ready. When you see one that you like, pay particular attention to it. Pick up your coin and learn the sleight - or at least begin working on it. Play with it. Keeping in mind that "play" is something that we did as children, this "play" brought us to certain realities in our adulthood - play is as much a part of learning as work is and, oftentimes, more affective than work. Picture, in your mind's eye, where you might be able to make use of such a sleight. Try to consider when such a concealment may be necessary to you. Consider the angle issues that come with it, while you are practicing this sleight. Take your time with this chapter. My requirement of you, as the student, is that you learn the finger palm and the classic palm from this chapter of the book. I consider these two concealments to be the most important. For advanced work, others will become important and we shall look at them later, as this thread unfolds and as we work through the book. For now, though, please understand that the two most important and useful of all of these concealments is the classic and finger palms. Of these two, the finger palm is usually picked up quickly. The classic takes much more time, however. That's alright. Don't feel badly about not being able to do a good classic palm in a day or two. Once you've put a couple of months into getting a smooth and natural looking classic, you'll feel all the more proud of yourself in the mastery. This is a good thing. When working on the classic, use a coin that feels good in your hand. This will vary from student to student. I oftentimes hear the suggestion that you use something that is hard to


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Michael Jay

work with because later easier things will be quickly adapted. I suggest the reverse of this with the classic palm. To my way of thinking, the classic is hard enough with something that is comfortable for you, there simply is no sense in making this a more difficult job than it needs to be. Once you've learned it and are comfortable with it, then you can start challenging yourself to work with harder devices. Both of those sleights out of the way, the next two most useful sleights are the thumb palm and the Downs palm. After you've become very comfortable with the finger palm and you are getting in shape with the classic, start working on the thumb palm. The thumb palm will help to get you in shape for using a convincing Downs palm. Being a pedantic sort of chap, I suggest that you remember that the Downs palm is always capitalized in writing. This is because it was "invented" (or at least given its first treatise) by T. Nelson Downs. Never forget that the history of our art is equally as important as the performance of magic itself. Once you've started working on the thumb palm, you'll realize just how difficult it is to get into position without motion or movement from your thumb as the coin is deposited. That's okay. Just get used to the mechanics of getting the coin where it needs to be. Once you have that down and are capable of doing it slowly and smoothly, begin training your hand to get the coin into position with no movement or motion from the thumb. Most magicians will tell you that putting a coin into thumb palm without motion of the thumb is unnecessary. I'm telling you that proper training of the hand is, in fact, necessary and you must be able to do this with no thumb movement. This comes down to commitment. We magicians really are a lazy lot, aren't we? Do what I tell you and how I tell you to do it and you will evolve into a slick coin magician...Sorry, I don't allow for lazy students. As you begin to master the thumb palm, begin working on your Downs palm. You will note that after mastery of the thumb palm, the Downs only seems to be a natural evolution. The motion is much the same, just a very slight alteration of finger movement and muscle control. Next, train your hand to go from thumb to Downs with as little motion as is necessary to get the coin into position. Put it back with as little motion as possible. Get comfortable with moving it from one to the other, quickly and subtlety. Of important note, this is work that is going to take you weeks to months in the mastery. This will not come overnight, so don't expect it to. Persistence and practice are the key, here. And, again, work at your own pace. Don't feel that you must learn this in a particular time frame. You'll find that your muscles will become cramped if you overwork your hand - avoid this. Once the cramping starts, it is time to stop. Massage your hand. Give yourself a break and come back later in the day, or tomorrow. It's alright, you know. There is a difference between careful commitment and laziness. Now, here comes the hard part...The really hard part: After you've become smooth with these sleights, teach your other hand to do them just as well. You should be competent with all of your sleight in both your left and right hand.


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Michael Jay

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Step 2: The Quick Fix Reference: Chapters 3, 4 and 5 Let's face it, we magicians just want to get our trick home, rip it out of the box, take a cursory glance at the instructions and start doing the trick. Half the time, we don't even give the instructions a cursory glance. Why should doing a coin trick out of Bobo be any different? Certainly you are going to pay attention to learning what needs to be learned, i.e. the classic, finger, thumb and Downs palm (and maybe even the front finger hold and the back finger clip all from Chapter 1), but you should be able to do a trick right here and now. In the pages that compromise chapters 3, 4 and 5, you'll find just what you're looking for. In a moment, you'll begin skimming through these pages, looking for a trick that you like, but for now, open your book to chapter 3 and take a look at the second trick, "Simple Vanish." This really is a simple vanish. You'll note that the text teaches this vanish from classic position and it is in classic palm that you'll retain the coin in this vanish. You must remember, though, that you don't have to do it this way. The coin can be in finger palm position or even front finger hold position and still function precisely the way the book is teaching you to do the vanish. Using whichever of the three positions that you feel most comfortable with (i.e. classic, finger or front finger hold), learn to do this vanish. Once you have the basic mechanics down, get in front of your mirror. Now, here's the deal: actually put the coin from one hand to the other. Do this at least 6 times, actually putting the coin in the other hand. Watch your muscles and finger motions while you transfer that coin from one hand to the other. Now, six times in a row, do the sleight and make it look exactly like it did when you actually transferred the coin. Exactly. If you do this, if you mock the real transfer with your false transfer, you will have a deceptive tool that will become an important tool in your coin work in the future.


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Michael Jay

Do this very slowly at first - as slowly as you possibly can and still make it look real. Never forget, magic should be slow and obvious, not fast and furious. In fast motion, you will find two problems: 1) Speed of movement draws attention. In magic, you're trying to control attention and put that attention where you need/want it. As soon as you move quickly, attention is immediately drawn to the fast action. This is, of course, to be avoided. 2) Speed of movement gives your audience an explanation - "The Hand Is Quicker Than The Eye." We all know this is tripe, but your audience believes it. If you move quickly, they will simply dismiss your magic as the hand being quicker than the eye. This also is to be avoided. So, take 15 or 20 minutes and really teach yourself this vanish. Of course, you'll be putting in more time to polish this vanish and make it absolutely perfect, but in the course of a quarter of an hour, you now have a trick. In and of itself, it's not a big deal, but once you put it into the context of an overall routine, it will be fantastic...And, we will get to routining so don't get ahead of the class. For now, it is enough to have a good coin vanish. If, at this point, you vanish the coin, you are left "dirty." If you are seated, you can easily lap the coin as you feign to hand it to someone. Easily done. Or, if you "throw" the coin to someone, eyes will follow the imaginary coin, giving you a fraction of a second to pocket the coin. Voila! A coin vanish. Again, the sleight that you have above is a false transfer, specifically it is called a fake put. However, I would be remiss here if I did not cover Lady of Mystery's favorite false transfer - The French Drop. The French Drop i s a fake take, specifically.

You'll find instruction for the French drop in chapter 3 also. Just as above, get in front of that mirror. Actually take the coin, at least 6 times and watch your muscle and finger movement. When doing the French drop, mock those movements exactly. You are free to ditch the coin (should you decide to simply vanish the coin as a stand alone trick) the same as above. Instead, though, try this: Showing the coin in right hand and put it in the left (simple vanish). Vanish the coin and with your right hand, reach behind your knee and produce the coin. Toss it onto the left hand, show it to the folks on your left, explaining that this is a magic coin (or any good story for the coin that you can muster) and do a French drop. Vanish the coin and with your right hand, take a spectator by the wrist and hold his hand slightly in the air. Now pluck the coin from their elbow (simply push it from finger palm to the tips of your finger whilst making a downward motion at their elbow). Spend the next hour working on your two false transfers. Use your mirror and make the false transfer match the reality exactly. This gives you one good fake put and one good fake take. These will become not only useful tools for you as we continue along, but they will be necessary in the making of coin magic. And, you will use these two sleights for the rest of your life, in one way or another. It is here, after working through these two important sleights, that you are to skim through chapters 3, 4 and 5. Check stuff out. If something catches your eye, give it some time and give it a try. Make notes in your notebook (don't have a notebook? Then stop, right now, go to your


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Michael Jay

local store and purchase a notebook) about the specific tricks (chapter and page number) that you'd like to be able to do if you cannot get to them this instant. But, familiarize yourself with these chapters. Don't read them word for word, skim until something catches your eye and either work on it a bit, or notate it in your book. As an example, in chapter 5 "Quick Tricks," you'll find "Coin P roduction From Two Cards." Right now, take a look at that one. It can be a cool way to introduce a coin for the beginning of a routine. Play with it - give it a try if you like it. There are a plethora of good tricks like that in those pages, so have a look and pick out a couple for yourself. We shall be going back to these chapters for a closer study later, but for now you have a lot on your plate. Also, as we go back and take a closer look at these chapters, your notebooks will be of great use to you, so please do keep those notebooks. As time goes on, you'll find that those notebooks will become important tools for you and you will refer back to them for years to come. Keep those notebooks. Just as with step 1, teach both hands to do these sleights equally well.


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Michael Jay

Step 3: Technique Reference: Chapter 2 As we move into the study of basic techniques in coin magic, your finger palm should be perfected, your classic palm should be on its way (possibly at 50% of where you think it should be to be perfected) and your thumb palm should be strong, if not perfected (possibly at 80%). You should further be working on, or familiarized with, a couple of other concealments from chapter 1 and your natural curiosity should be leading you to at least consider studies outside of Bobo (for example, what, exactly, is a "Spellbound" change?) like Sankey's "Revolutionary Coin Magic." Also, you should have a couple of rudimentary coin tricks that you can do out of chapters 3, 4 and 5 of Bobo. Basically, you should be playing with your coins and seeing what you can do with them. You should further be writing notes in your notebook that deal with which tricks you want to learn and putting patter/story lines to the ones that you do. Never forget that your work should be scripted... At this point you are setting the ground work for taking your coin magic to the level of "magic." Let's make a differentiation between a puzzle and magic right here and now. This differentiation should be leading you to the study of theory in magic. There are many books out there, to be found, on the study of theory. "Absolute Magic" (Brown) is an excellent choice. "Mastering the Art of Magic" (Burger) is another excellent choice, as is "Strong Magic" (Ortiz). All that aside, let's take a look at some basic coin technique: There are 10 headings in chapter 2 that give you basic technique. Of those, there are two that are almost absolute requirements. The first is the Bobo Switch and the second is the Utility Switch. The Bobo switch manifests itself in many routines outside of coin magic. Further, almost every coin worker uses the Bobo switch at one point or another in his/her routines. Study this one, learn this one, make it yours. Furthermore, the Bobo switch allows you to put the switched coin quickly into finger palm, classic palm or thumb palm. This gives you a great many choices in where you shall go in any given routine. Once you have familiarized yourself with the Bobo switch, take a look at the Utility Switch. The utility switch is a form of misdirection. This misdirectional tool is called "prevarication." It i s telling a lie without coming right out and telling a lie. It can be a powerful tool when employed subtly and properly. In the general scheme of things, the utility switch is easy to learn (the Bobo switch will take some work to get perfected, however). Your job is to learn and perfect both the Bobo switch and the utility switch. While you work on those, though, let's take a look at some of the other techniques that you will be able to employ in your coin work.


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Michael Jay

First, let's consider The Coin Flip. This is a subtle proving technique. The general belief is that the human hand is incapable of doing two things at once. In this case, flipping and catching the coin cannot be done if a coin is hidden in the hand. While we, as magicians, know this to be incorrect, the laymen do not. So, by flipping a coin and catching it, you are proving your hand empty of anything but the flipped coin. This can be a powerful tool when employed at the right time. It is worth learning, as a general rule. Next, The Click Pass. Bobo offers 3 methods for this. The click pass can be employed in specific situations. In the general scheme of routining, it becomes a powerful weapon - but it needs a purpose for being. I suggest that you learn the mechanics of it, but unless you have a specific need of use, it can be passed over. As you become more advanced in your coin work and routining, you'll find uses for the click pass. Presently, though, it is enough to understand its mechanics and why it exists. Now, let's take a look at The Change-Over Pass. This is one that I highly recommend that you learn and master. An excellent move for proving both hands empty, this is what we call an "acquitment." As has been recommended earlier in this thread, sleeving is an excellent tool to use and have at your fingertips...But, what if you are wearing a t-shirt or other short sleeved shirt? The change-over pass becomes a powerful tool at this point. Moreover, the change-over pass can be translated into other fields of work in magic. For example, I use the change-over pass in conjunction with a TT. Whether stealing from thumb palm with a coin or stealing from the tip of your thumb with a TT, the method is the same. With the coin, you steal with the middle and ring fingers, with the TT you steal it immediately into finger palm. Still, the methodology remains the same. Sidebar: Learn to use techniques from one genre of magic and translate them into other genre of magic - it will make your work much, much stronger in the long run. By way of example: Using a classic palm, you have a copper hidden. You take and show your silver to the spectators, giving it a story. While you let the spec handle the silver, you move the copper into finger palm. Taking back the coin, you throw it to the other hand (Bobo switch) then show that the silver has changed to copper. Handing the copper to the spec, you prepare to show both hands empty via the change-over pass. A minor miracle when it is proved that, with no sleeves, the only coin that you possess is the copper which was formerly a silver. Throw in a Spellbound change at this point and you'll blow them away! Next up: The Bottom Steal. This is another that requires a need of use, like the click pass. In and of itself, it is nothing special. Again, though, as you advance, you may just find yourself in a position where it will become a useful tool. So, it is important that you know of it and understand it. Look it over and know that it exists. Next: The Shaw-Judah Switch. This is much like the Bobo switch and, again, one that is important to note. And, yet again, this is going to be used in a routine where there is a specific need of it. Look it over, know that it exists. Lastly (and yes, I have skipped a couple), an important part of this chapter is Taking Advantage of a Fumble. Pay particular attention to this treatise. The fact of the matter is, regardless of how much you practice, no matter how perfected your technique, you will ultimately fumble. Be aware of what can be done to turn a fumble into a success. Play with this section and let your imagination run wild. A fumble can actually be a good thing!


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Michael Jay

Okay, one last "lastly:" The One-Hand Switch can be a dangerous weapon when employed properly. I suggest that you learn this one.

Updates and Notes My copy of "Modern Coin Magic" came yesterday and I spent time looking at the differences between it and "The New Modern Coin Magic." I actually paid the extra money to get a hard bound of MCM because "The New Modern Coin Magic" that I have is hard bound...I wanted to see the actual differences. Now, I'm sure that it is posted on here somewhere, but I don't see a need to spend the next 15 minutes trying to find it! So, I'll just tell you the difference outright: "The New Modern Coin Magic" contains 4 extra chapters comprising 158 more pages. Everythin g appears to be exactly the same up to the extra 4 chapters, so I will continue on as I've done and there should be no discrepancies regardless of which book you are using. Also, I just want to take the moment to thank you all for your kind comments above and let you know that I really do appreciate the "thank yous" from you guys. It lets me know that it this is being followed and used, which is important considering the time that I'm putting in. That is to say, I know you guys are getting use out of this work and that is, specifically, what makes this all worth it. Good deal! Let's just do a quick review of what we have to this point (keeping in mind that we are only on step 3 at this point): We have at least 3 good coin concealments (from Chapter 1) We have at least 2 good false transfers (from Chapter 3) We have at least 2 good techniques (from Chapter 2) We have a couple of good tricks (from Chapters 3, 4 and/or 5) It is now that you are going to want to start paying attention to routining. In a moment, I'll put up a treatise on routining - something that will give you a better path to follow for putting together a routine of your own - but, for now, just stop and consider the need for routining. The final chapter of MCM is a conglomeration of routines. They range from easy to hard to nigh on impossible. This is an excellent study guide for putting together routines, but it lacks an explanation of how the student should go about making their own routines. So, take a look at what you've got at this point and see if you can link a couple of your concealments with your techniques in order to put your tricks together in an overall performance. Start trying to think in terms of several effects linked together in order to build a routine. Certainly, at this point, you will only be able to do rudimentary routining. That's okay, though. In fact, that's probably a good thing because at this point you aren't inundated with so much material that it becomes difficult to figure out what to put with what and where.


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Michael Jay

Just as with working through Bobo slowly, as we are doing and learning the basics which will give us a strong foundation for more advanced work, so to with routining. It is better to start off basic and work up to advanced...In other words, you've got to crawl before you can walk and walk before you can run. So, take a moment and consider what you've learned at this point, get out your notebook and try to build a routine from what you have right now. This routine doesn't have to be anything huge or amazing, just a logical set of tricks hooked together to make an overall routine. Here is a very, very basic example: The performer takes out a coin and shows it around, explaining that it is a magic coin. For effect, the coin should be old and possibly worn - a coin that is a good luck piece handed down from father to son over generations. While the amount of luck that it has brought is questionable, it does have some interesting qualities that you've noticed over the years... Perform "Through the Leg" (first trick, chapter 5) and immediately follow it with "Rubbed Through the Leg" (second trick, chapter 5). While the effect itself is much the same for both of these tricks, the method is very different. As a result, it is okay to do "the same trick twice" because the methodology will lose them. In fact, it is rather good to do this two times in a row, because quite often, when doing a trick, the spectators will say, "Do that again!" By doing it twice, you've gotten rid of that desire to see it again (call it a "preemptive strike" if you will) and by changing up the method, they think they've seen it twice but won't be able to figure it out. The performer then displays the coin at the outstretched tips of index and middle fingers while explaining that that isn't even the most impressive of what that coin can do... Thumb palm vanish the coin, use a change-over pass to prove both hand empty then, with a snap of the fingers, the coin comes back. In fact, the performer explains, oftentimes he/she even questions the existence of the coin, even though it is always found in his/her pocket. Using any false transfer, throw the imaginary coin into the air and simultaneously ditch it whilst the spec's eyes follow the upward arc of that imaginary coin. -FinThere you have it - a very simple and direct routine. The coin is introduced, it is proved to have "other-worldly" qualities and ultimately vanishes completely. A beginning, a middle and an end. At this point in your study of Bobo, you should be very comfortable with coin work. Your notebook should have a couple of tricks that you like listed in its pages as well as a routine or two that you are either working on or have worked on to the point that you are showing it to your inner core of friends and family who are generally privy to your beginning work. Moreover, you should be coming to the realization that coin magic requires a bit of body motion and body language to really sell it. With coins, minor nuances and subtlety go a long way in creating a visual effect that is realistic. This is, of course, where your mirror comes in because the study of your hands and the muscles of your hands is extremely important.


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Michael Jay

In a moment, we will enter the realm of coin vanishes. As you go through your book and look these "tricks" over, you need to keep in mind that many of these aren't just vanishes, but ways of transferring a coin from one hand to the other in a convincing manner. You will not always want to vanish a coin when you apparently transfer it - just keep this in mind. Also, some of these vanishes are going to require that you go back and learn a different concealment or technique in order to make them work. As long as your main concealments and techniques are strong, then it is suggested that you take the time to learn new ones. This will give your repertoire a greater variety and allow you more scope when putting routines together. You are slowly building your toolbox


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Michael Jay

Step 4: Coin Vanishes Chapter 3 & 4 Part 1: Chapter 3 The Standard Vanish ( fake put) is an excellent vanish for placing the coin into classic palm position. The problem is that it is very difficult to make it look natural. The Simple Vanish ( fake put) allows you to start in classic palm, finger p alm or front finger hold, so is diverse in where it allows you to go immediately following the vanish. Over the Top ( fake put) is very deceptive, yet very knacky. The Tunnel Vanish ( fake put) is not only deceptive, but will allow you to pull off a vanish under the closest of scrutiny. The downside to this is that it is a relatively unnatural way of placing/transferring a coin from one hand to the other - with careful scripting/routining this can be overcome. The Thumb Palm Vanish ( fake take) allows you to start the coin in thumb palm and, when executed properly, looks like a very fair way of taking a coin from one hand to the other, albeit rather an odd way of transferring the coin. It, of course, preps for a good acquitment. The Drop Vanish ( fake put) should be given careful consideration by the student, as it can be used in more ways than just as a vanish/false transfer, so it is a utility move. It is given a fairly long treatise in Bobo and the fact of the matter is, this is one that was worked through by Milt Kort (you will notice that h is name appears in Bobo almost 2 dozen times - Kort was a great coin man of his day). This utility move works as a vanish, a switch and a pass, depending on your application. The Bobo Coin Vanish ( fake take) takes advantage of age old effect, "Retention of Vision." This was something that serious coin men of their day knew very well and the power behind it. Properly used, your spectators will swear that you placed the coin in the hand that you claim that you did. The Slide Vanish ( fake put) is very deceptive when used properly and further is a natural way to transfer a coin. The Illusive Coin Pass ( fake take or fake put, depending on presentation) is one to pay close attention to. This is used quite a bit by David Roth - almost over used. A Coin Vanish ( fake put) requires a lot of work to get smooth and deceptive, but looks very natural when executed properly. The Pinch Vanish ( fake put) is knacky but dangerously deceptive. Gone (steal) is worth study as it teaches handling and misdirection as well as audience control. The New Era Coin Go ( fake put) is knacky, but given time and work could easily be a reputation maker.


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Michael Jay

The Flyaway Coin ( fake put) is another that could easily become a reputation maker, but it will test you acting and misdirecting skills. Not technically hard to do, but difficult to use as a convincer. In the right hands, this is another that could easily become a reputation maker. Behind the Back (trick) is another knacky one, but could be used to good effect. The French Drop ( fake take) is just simply one that should be known by every magician. The Reverse French Drop ( fake take) is a good way to go if you need the coin immediately put into classic palm. The Elusive Silver Dollar ( fake take) is powerful, but highly technical. It will require a strong commitment to practice. The Wrist Watch Vanish ( fake put) requires, of course, that you are wearing a wrist watch. It's a good "ditch" to know, though, as it sets the coin into easy position for a steal to get it back. The Pulse Trick ( fake put) requires the use of a strong back palm. Given the commitment to practice, it can be an excellent trick in the hands of a competent performer. The Cranium Vanish (trick) is an overlooked gem. It has certain performance requirements which hinder its use in general, but when your audience is below shoulder level, this is a fiendishly powerful trick. Vanish with the Aid of a Handkerchief (trick) does two things: 1) It introduces the use of another prop that can come in handy in coin magic (a hank) and 2) it gives the student his first look at the subtlety that we now call "The Ramsay Subtlety." The Ramsay subtlety is "Fig. 3" on page 44 (hard back) and a terrifically powerful convincer move when used sparingly and properly. The "Heads and Tails" Vanish (trick) introduces the student to a multiple coin vanish. Whilst the trick itself is limited in scope, it is worth a look for the mechanics alone and could be used in the making of a routine, where it may just prove to be a useful vanish. Vanish for Several Coins ( fake put/trick) offers two ways of using the click pass (technique). The first is used by Doc Eason regularly. The second I've never seen done by anyone (while I don't doubt that it could be done, technically it is really rather odd). A Trio of Vanishes (routine using fake puts) is a series of vanishes, ending with the coin fully vanished. This routine introduces sleeving and also uses the Ramsay subtlety. This should be looked over closely by the student, even if not learned, because it teaches subtlety in conjunction with an overall routine and shows that you can do the same trick several times in a row if you switch up the method. Well worth your time in study.

This gives you 25 sleights/tricks with which to choose from. I strongly suggest that you don't attempt to learn all 25 (although, if that's what you wish to do, then certainly more power to you!) but rather take a look at each of them and consider their strengths and weaknesses. Also, try to consider what each of these will bring to the table, giving proper consideration to routining the material.


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Michael Jay

My personal suggestion is that you choose 5 of these tricks, write them down in your notebook and begin working on them. You should already have 2 of them mastered at this point anyway, so that will cut down on some of your work load. Furthermore, do your best to teach both hands to do these sleights that you've chosen. Remember, when you do a false transfer, the coin is left behind, in the original hand. By being capable with these sleights with both hands, you will be able to keep the coin in either the left or the right hand which will open up a wider scope of what you can do in the context of a routine. Failing that, then at least teach your off hand one or two of the sleights. In this way, you will still be given some latitude in which hand the coin is left behind. For example, if you need the coin in the left hand, then teach your hands to do a French drop starting in the left hand and if you need a coin in the right, then teach yourself the simple vanish starting in your right hand. This will cut down on your workload but also allow you to set up a continuity in your routines. One last thing (and I would be remiss not to mention it here) is to give due consideration to "Vanish with the Aid of a Handkerchief." Do you remember the "word from our sponsor?" The magic mouse? By introducing a handkerchief into your routine, you allow yourself to segue into a silk or handkerchief routine. Now, the magic mouse isn't everyone's cup of tea, but what is important here is that you understand that it is more powerful to move from one routine to another by giving it a logical segue. By bringing an additional prop into your coin magic, you give yourself further avenues to explore.


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Michael Jay

Step 4: Coin Vanishes Chapter 3 & 4 Part 2: Chapter 4 The Bobo Complete Coin Vanish is a very deceptive way of ditching a coin. In fact, this particular method will appear later on in the book via the use of a handkerchief. This is an excellent method to know and study. Complete Thumb Palm Vanish uses the same ditching method as the Bobo complete vanish above - again, this is an important method to understand. The problem with both of these vanishes is, of course, that you need a shirt or jacket with an outer breast pocket. Knee-zy Vanish is a study of repetition and misdirection. While you may not use this vanish as presented in the book, the ditching method under misdirection is an important technique to study. Sucker Vanish is worth some time to study. Again, you might not wish to actually use this particular effect, but what it teaches is very important in coin magic. It plays to the spectator's suspicions as well as using some very subtle psychology in leading them along. Take the time to give this trick due consideration. Pocket Vanish is certainly worth your time as this is one that can be translated into other areas of work. As an example, I use this vanish in conjunction with my color changing knife routine, as the knife can be slid out of the fold in a very similar fashion to how it is presented with the coin in the book. Any time that you can translate one method into another area of your work is a good thing. With a Handkerchief #1 again uses the breast pocket to ditch the coin. Are you seeing a theme? With a Handkerchief #2 is a look at another way of ditching a coin, based upon the clothes that you wear. I've pointed out in another thread that coin magic is dependent not only on your skill with subtlety but also the clothes that you wear. Learn to take advantage of everything at your fingertips. That really is your job as a magician. (Here, again, we have introduced a handkerchief into the mix, allowing us to go in another direction with routining. While you can make an entire study out of handkerchief magic alone, I suggest that you pick up a copy of "Self-Working Handkerchief Magic" [Fulves], which will give you a greater scope in your routining.)

With a Handkerchief #3 has Kort's name on it. This alone means that it is worth your time to study it, even if you do not add it to your repertoire. Again, I feel the need to point out that Milt Kort was a master of magic, even though you will rarely see his name and you're probably being introduced to Kort via Bobo. Milt Kort, while relatively unknown to the younger magicians, was one of the great masters of his day and you would do well to pay attention to anything that bears the name Kort. In a Spectator's Pocket offers three methods for putting a coin into your spectator's pocket. Here we see that coin magic is not only effected by your clothing, but by your spectator's


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Michael Jay

clothing as well. Again, it is imperative that you learn to use every aspect of your environment when doing coin magic. Furthermore, this is something that cannot be practiced, as per se. You actually need a spectator when trying to pull off something like this. Can you do it? Challenge yourself and see.

Bluff Vanish is just the height of having big, brass ba...Okay, look, coin magic requires subtlety of handling and this is about as subtle as it gets. Study this one, learn this one and if you do it with an inkling of panache, they will worship at your feet! Sucker Bluff Vanish is an extension of the bluff vanish, but I urge you to consider the ramifications of any "sucker" effect. It takes a certain personality to pull off such a thing and not set your audience against you or open you up to a "challenge" feel to your magic. Careful consideration is due this effect, should you decide to learn and use it. The Coin Fold is an excellent device that has some workable applications. Coupled with the use of flash paper and a one-hand switch (technique) this can be a dangerous weapon in the hands of a competent coin worker. The Envelope Vanish has its own set of applications. I'll leave this one to your own, fertile imaginations, though (since I've never had cause to use it myself...). I suggest that you learn three of these full vanishes. If you are doing a one coin routine, there is simply no better way of finishing it off than having the coin fully vanish at the end. Of course, there is always "the giant coin" finisher, but this still requires that the coin itself is ditched in one way or another. Either way, this is an important study of coin magic. Take your time and work through chapters 3 and 4 at this point. Using the notes above, you should be better able to make informed choices in which you'd like to master and which can be given a pass. I have gone back and edited my posts thus far to read, "Part I - Mastering the Basics." This post will encompass Step 5 of the basics and, since we will be looking at Chapter 5 of Bobo, it is the perfect segue to "Part II - Advanced Coin Work" because some of the tricks in Chapter 5 are moving into advanced coin work. Before we go over this last step of Part I, let's take a look at where we are now...

Notes and Review To date, you should know the following:           

Classic Palm Finger Palm Thumb Palm Downs Palm The Back Finger Clip* The Back Palm* The Bobo Switch Utility Switch One Hand Switch* Change-Over pass The Coin Flip*


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       

Michael Jay

Simple Vanish The French Drop Thumb Palm Vanish* The Bobo Coin Vanish* Vanish with the Aid of a Handkerchief* Complete Thumb Palm Vanish* The Bobo Complete Coin Vanish* Bluff Vanish*

* These are subjective, but if you don't know an y given one of these, then you should have another to fill it's slot. That is 19 sleights that you h ave either mastered or to which you are giving daily work /practice. Now, consider that for just a moment. That is 19 sleights or tricks. Nineteen different things that you can do and routine them together in various combinations. A full routine will probably require 5 to 8 of those sleights or tricks (quite possibly less). How many different combinations of 8 or less can you put together from 19? Don't waste your time trying to figure it out. The simple answer is: A sh*t load. It is very rare for anyone to stick to one manual when learning magic, whether coin, card, silk or rope or any other facet of magic. So, in a moment, I'm going to give you a list of DVDs and books that you may just be interested in and that will help you along as you study Bobo. What is important to keep in mind here is that there is very little on the market that doesn't have some roots in Bobo. For example, "The Messiah Vanish" (Sankey) which is marketed by Ellusionist (I think) under the name "The Devil Coin Vanish" is nothing more than "Smart Coin Trick" (Chapman, Chapter 5 of Bobo, originally published in "The Bat"). Also, Daryl has an effect marketed called, "Cross of India" which is nothing more than a version of "The Inseparable Pair" from Bobo. As mentioned earlier, David Roth's retention vanish of choice is, specifically, "The Illusive Coin Pass" (Crawford, originally published in "Greater Magic"). Please understand, I'm not suggesting that there is nothing new on the market, only that Bobo is about as complete a book/manual of coin magic as anyone can place their hands on. With some creativity and some work, you might just be the next guy to release a "new" coin trick that you worked out because of your time and effort spent in Bobo. What I'm saying is that your commitment to working through Bobo is an important step in your overall health as a coin magician, so don't stop here even if you do pick up some of the supplemental material that I'm about to suggest:          

Expert Coin Magic Made Easy - DVD - Roth Revolutionary Coin Magic - DVD - Sankey Palms of Steel - DVD - Kam Coin Magic 2000 - DVD - Dill Up In Smoke - DVD - Cummins The Magic of Michael Ammar - book - Ammar The Magic Book - book - Lorayne Apocalypse - 4 volume book set - Lorayne Expert Coin Magic - book - Roth Coin Magic - book - Kaufman

Now, without further ado, let's get back to Bobo.


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Michael Jay

Step 5: Quick Tricks Reference: Chapter 5 In this chapter of Bobo, there are over two dozen tricks to choose from which range from very easy to very difficult. I suggest that you take your time with this chapter, read through it (32 pages) and choose at least 5 of them that you like. These 5 chosen tricks should be different than any that you may have chosen previously, in step 2 (Quick Fix) that we’ve already covered. However, as you are going over these tricks, slowly and carefully, separating the wheat from the chaff, consider them in a routining bent, as well as what they can give you in the line of quick, one offs. I know that I push routining on you pretty strongly, but there is still a time and a place for one off tricks. So, give thought to both routining and one offs.

Through the Leg, (a) and (b): Two methods, closely related. Give due consideration to following either one of these with the other, but certainly give consideration as to how they may be routined with other tricks. Also, don’t be afraid to inject some of your own creativity with how and when to routine any give “quick trick” with other sleight of hand to your own end. Rubbed Through the Leg: This effect, whether you use it or not, is very important in your study of coin magic. It has an explanation of “focus of attention” and how to use it to your advantage. By studying this application, you’ll find that there are other ways to translate it into your own, creative routines (or even one off, quick tricks of your own machination). This is not only a very important principle in coin magic, but also when working with any small objects in a close up situation. Give this trick due consideration and study as it will help you overall in your work as a magician. Through the Pocket (a), (b) and (c): This is a trio of penetrations which can be used in one offs or routined with other penetration sequences. Keep in mind that penetrations are penetrations, whether through the cloth of your pant leg or through your hand, leg or any other body part, or even the table that you may be sitting at. This is an important study, as the book is now pointing out how you can use different effects from different parts of the book in order to routine material. Dai Vernon said, “Read between the lines.” If ever that was important, it is important here. Through the Hand (a), (b) and (c): Again, we have a trio of penetrations, this time through the hand. Studying these three penetrations, you’ll get ideas of how to get a coin to penetrate from the back of the hand to the palm and vice versa. This is well worth your time in study, even if you never use any of these tricks. Also, if you pay honest attention to these tricks, you’ll find that they are gently nudging you to start using body language and body motion to sell your coin magic. This is extremely important. Through a Handkerchief (a) and (b): Here we see an additional prop introduced into our magic with coins. Silks and handkerchiefs will not only allow you additional routining options, but also gives you good cover when doing magic. This cover can be a powerful thing in the right hands. Furthermore, the study of these two tricks also teaches you how to move that coin around, from one concealment to another comfortably and naturally. This is an important study on your road to coin magic. I strongly suggest that you pay particular attention to this pair of tricks.


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Michael Jay

Double Penetration: This begins the basis of several marketed effects wherein coins penetrate handkerchiefs. It is well worth your time to study this particular effect, especially when you consider that this trick is covered quite often in lectures by some of our general heroes of the day - Michael Ammar and David Roth, amongst others. Pants Leg Miracle: This is an excellent study in coin transformations and will help to lay the foundation of transformation down the road. Half Dollar to Quarter: Another Milt Kort offering. Need I say more? The Charmed Coin: A good study in repetition as misdirection as well as a nice effect, particularly for kids entertainers. The Coin of Metamorphosis: Not only is this an important study in what the human hand is capable of when trained properly, the misdirection of this particular trick is of great import as well as seeing again where body movement comes into play for coin magic. I strongly suggest mastery of this effect, even if you never show it to a single spectator - this trick is that important. Further, the treatise of this trick gives suggested patter and is an excellent study in how to match movement and action to words. Overall, probably in the top three tricks that should be carefully studied in this chapter. Coin to Key: Another transformation, this time from one item (a coin) to an fully unrelated item (a key). Give this trick your careful consideration, as it is used to good effect by many magicians as an excellent one off. Done properly and with only a modicum of panache, it is a jaw dropper. Change for a Half: Much the same as “Coin to Key” but the transformation tends to make more sense, logically (well, as logically as magic can be, I guess!). Considering this trick and the former trick, “Coin to Key,” what else can you transform a coin into using this method? Use your imagination - it is your most powerful tool. Much from Little: While this is a difficult trick to pull off because of angles and set up, the fact is that this method is a very important theoretical idea in the realm of coin magic. Learn it, whether you use it or not. Study it and give due consideration as to where and when such a method could come in handy. It is an underused idea in the magic industry these days…You might just make your reputation off of this silly, little trick. The Topsy Turvy Coins: I have yet to find a real use for this. But, the fact remains that it is an offering in Bobo and certainly worth a look. I’ve always said that there are no bad tricks, only bad magicians. Can you find a use for this? The Impromptu Mint: This is a good exercise for you hand if you wish to work with back palming. It could also be a killer in the right hands. Smart Coin Trick: This is a full vanish of a coin and a killer when executed properly. So good is this trick that it has been given a treatise by Jay Sankey as well as sold professionally as a stand alone piece. The real trick to this effect is getting the coin back once you’ve vanished it and Sankey covers that in a different way than the Bobo way. Still, take a good, long look at this one! Impromptu Version: Another look at how to get that coin back from “Smart Coin Trick.”


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Michael Jay

The Switchover: Again, a look at how to move a coin around, unseen, under the cover of a completely separate prop - the pocket hank. The Appearing Half: Again, using a pocket hank in conjunction with coins. You are probably starting to notice a trend here. A pocket hank, or a silk, not only gives good cover to some stunning coin magic, but also allows you choices in routining. If you like silk or handkerchief routines, you can easily combine them with your coin magic. Certainly worth your due consideration. Coin Production from Two Cards: This is an excellent trick and now gives you the choice of routining card magic with coins. The Touch of Midas: Here we see the name Cardini coming out in Bobo. This alone should tell you that what you have here is an advanced coin effect. If you are hardcore in your desire to be a coin magician, you’ll want to pay close attention to this trick. It can also be used in conjunction with an opening for a close up version of “Miser’s Dream.” One to Four & One to Six: These two final tricks in this chapter will honestly test your willingness to practice. This is terrifically advanced coin magic, but given the proper time and practice, they are really strong magic. Worth study, even if you’re not of a mind to put such work into your coin presentations. Again, as with certain tricks above, it will really teach you what the human hand is capable of, given the proper time and training. Next up, we get into “Part II - Advanced Coin Work.”


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Michael Jay

Part II - Advanced Coin Magic

Step 1: Cuffing and Sleeving Part 1: Cuffing Reference: Chapter 6 This chapter of the book, which is a whopping 3 pages long, comes to us from an era when men wore their trousers with cuffs. The argument can be made that, since we no longer have cuffs on our pant legs, this is a superfluous chapter in Bobo and should simply be overlooked. I must respectfully disagree with such an assessment, however. First, it is only 3 pages long. Certainly it cannot hurt you to take five minutes of your time and give it a look. Second, it just may come in handy at some point in your career. How (you may ask)? Well, I'll tell you how. See, in magic, we are after a character of whom we shall become while we are in front of an audience. Of course, your character should be an extension of yourself, but we all see ourselves differently. If you decide at some point that you'd like to have a characterization of a '50s style confidence man, then you'll be at liberty to have trousers with cuffs. At this point, you'll be giving yourself an extra tool to use in your performance. That can only be a good thing. Third, it's only 3 pages long, so read it. With cuffing, we have the full ditch of a coin (or any small, flat object, for that matter). Oftentimes, magicians don't like to be left dirty and the pant cuff is an excellent place to use when cleaning up. It simply isn't suspect. Also, cuffing is dependent on proper blocking, misdirection and body language. The same can be said of a topit and topit methods. So, the pant cuff is very similar to the topit on many levels. It is worth your time to give this very short chapter a look, so please do read it.


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Michael Jay

Step 1: Cuffing and Sleeving Part 2: Sleeving Reference: Chapter 7 "Apparently place a coin in your left hand, actually retaining it in the right. You can open the left hand and show it empty but you cannot display the other hand unless you do a change over. Wouldn't it be cleaner to be completely rid of the coin, yet be able to produce it at will? Sleeving is the answer." -J.B. BoboMany years ago, I saw a local lecture featuring Bob King. Mr. King borrowed a quarter and immediately proceeded to put a cigarette through that borrowed quarter. Of course, most anyone familiar with magic knows how this trick works (cig thru coin), but the problem was that Bob took the borrowed coin and openly and fairly put that cigarette through it. He had my attention. In fact, he had everyone's attention, because there was no switch that any of us were aware of. It was pretty amazing stuff. Bobo divides the chapter on sleeving into two sections. The first section deals with sleeving techniques, the second deals with tricks that use sleeving. I'm not going to spend much time herein with the second section, but rather put my time into going over the techniques and their value. Starting at the very beginning, there is a five paragraph introduction to sleeving, just before getting into methods. Pay particular attention to this introduction as it makes the methods to come easier to deal with. You need to understand fully how your equipment must function in order to facilitate the proper use of sleeving and that is precisely what this introduction will get you. Now, I understand that, generally speaking, a lot of newer magicians will not have a use for sleeving, preferring to go with the "street performer's" dress of the day (trainers, jeans and tshirt). However, if you live in a temperate zone, you'll find that in early spring, late autumn and the winter time, you will, in fact, be wearing a jacket. Depending on your jacket, sleeving may just become a useful tool for you during 6 out of 12 months of the year. That's 50% of the time. So, you may just want to give your due consideration to what is an extremely effective tool in the coin man's repertoire. If, like me, you wear a jacket in your formal work, then sleeving becomes an invaluable tool to have at your fingertips. However, we must pay careful attention when Bobo tells us, "Sleeving is no panacea...Don't overdo it. Include only one or two such effects in an entire routine." That is an important piece of advice that, if followed, will take your coin magic from strong to miracle status. Trust me on this: Sleeving is an exceptional tool when used properly and at the right time.

Delayed Action Sleeving This is the basic maneuver. Study it, because it is the basis that the rest of the techniques will spring from. Become comfortable doing this if you are going to use sleeving at all. You may never actually use this method, but you must be familiar with it if you're going to advance in sleeving techniques. Further, understand that this method can be used for any small object. Did you want to ditch that TT? Well, here's a way of doing it and yet still being able to get that little item back when


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Michael Jay

you're ready. Again, I cannot stress strongly enough how valuable it is to borrow techniques from one genre of magic and apply them to other genre.

Improved Method Here we see that you can make a minor change to a technique, but call it something completely different. This is the foundation of the advanced magic that we see on the market today - what we are all prepared to pay huge sums of money to learn from these "cutting edge" magicians by buying up their manuscripts and DVDs. If you learn nothing else from taking "Delayed Action Sleeving" and upgrading to the "Improved Method," then learn that the "new and improved" techniques of today are nothing more than a slight variation of something that is already there. So, pay attention to our first method offered and look at what the "improved" method brings to the table. -On a side note: "delayed action" means that you sleeve after the sleight is finished, "instantaneous" means that the sleeving operation happens at the point of the sleight-

The "Pumpkin Seed" Vanish Here we have a difference in not only technique, but where the coin ends up overall. In the above two methods, the vanished coin starts and finishes in the hand that sleeved it. The "pumpkin seed" method, however, puts it in the opposite sleeve. Give your careful consideration in routining any given piece of coin chicanery as to where you want the coin to be accessible from as this will decide whether you go with delayed action sleeving or "instantaneous" sleeving. This will come down to your application in any given trick that you do. You see, you must understand that "advanced" coin magic is not only about sleights, but is about thought and process. In other words, you and I can do the very same simple trick, but because I am "advanced" in my handling of that very same trick, mine will appear miraculous while yours will appear clever in the eyes of the laymen. "Advanced" does not simply mean "greater skill," but rather greater thought to routining and more consideration given to the tools that are there for anyone's use, should they simply take the time to study, learn and use those tools. Routining is a tool. Sleights are tools. Sleeving, characterization and presentation are tools. Learn to use them in harmony with each other and you will elevate your trick to miracle status.

Reverse "Pumpkin Seed" Vanish At first glance, this may appear to be something that immediately "gives the game away." Obviously, if you do a one handed vanish and the coin is gone, it must have gone somewhere (give your specs credit for intelligence). In this circumstance, you'll leave your audience with no choice other than to believe that it went up your sleeve. But, try this on for size: You have a coin classic palmed. You ask to borrow a coin from your spec (a similar coin to the one you have classic palmed). You take that coin from your spec with the same hand that has the classic palmed coin and you hold it in such a way (as you take the coin) as to do the reverse pumpkin seed vanish. Do the vanish as you flip your hand over and show the coin, sitting on your palm (actually showing the previously classic palmed coin, the other having been sleeved).


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Michael Jay

It will appear, to all the world, as if you took the coin and simply turned your hand over, dropping that coin onto your palm in the so doing. This is precisely the method that Bob King (discussed above) used when he blew a room full of magicians away. The illusion is amazing. You take the coin and flip your hand over, dropping it onto your palm as you do. In reality, you simply reverse pumpkin seed vanish the borrowed coin as you flip your hand over, revealing the classic palmed coin. This is a one handed coin switch that is so convincing that it will go unnoticed by anyone, laymen and magician alike. It is subtle, and in that subtlety, masterful...And yet it is within the grasp of a basic coin manipulator. Again I say that advanced coin magic is a matter of thought and process, not in a desire to spend every waking moment practicing near impossible sleight of hand. Be creative. Study every tool that is at your fingertips - you don't even have to learn how to use these tools, but consider, in your mind's eye, just how deceptive any given tool can be when used in combination with other tools. This is where you go from "basic" to "advanced."

The Catapult (and variation) Another method that in and of itself must lead the spectators to wonder where the coin has gone. Again, these methods should be used in conjunction with a routine, rather than as something that stands on their own. Creativity, folks. Be creative. Study these tools and consider what use they are to you in routines or tricks that you already do.

Judah Method This method, designed by Stuart Judah, is very interesting. It is a study in coin handling, if nothing else. Please understand that Judah was a coin master of his day, so pay attention to this vanish/sleeving technique. I cannot comment too much on this method, as I do not use it, nor do I find a use for it, in my own repertoire. So, I leave it to you to see if it is a workable idea in your own routines. But, again, it is important to note simply because it is Mr. Judah's pet way of sleeving a coin. And, it is also important to note the name of Stuart Judah, who was producing miracles before most of us were born.

A Unique Sleeving Move Of worthy note, here, is the fact that this method is a variation of a variation. Because of this fact, it allows Ross Bertram to claim it as his own. Again, historical variations that have been claimed, which allow a magician (Bertram, in this case) to have his name associated with the effect/technique. Of most important note here is that Bertram did not publish a manuscript and sell it to all the magicians of that day - it is simply included in a larger treatise on coin magic. My apologies - I guess I get a little tired of seeing variations of variations get sold (now-a-days) as if they, and they alone, were of any monetary value to the magicians today who are more than happy to line up and pay for the "clever" ideas of guys who (mostly) don't even know where the hell the original sleights came from or, oftentimes, that they even existed. Now I'm just on my soap box, I guess...

The Throw Study this method for the idea that lies behind it. This can be used in conjunction with a formal "Miser's Dream" presentation or any presentation where you want to continue to produce and vanish the same coin, over and over, whilst appearing to produce more than just the one that you are actually producing.


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Michael Jay

This is a theoretical technique that is used in many different genre of magic, including the cups and balls. While the method is different (obviously), the technique and theory behind using the same item over and over for producing an object with the idea that you are producing many items remains (much) the same. Well worth your time to give it due consideration.

Kort Method What do you know? Here, again, we see the name Milt Kort pop back up. I guess that having personally known Kort tends to color my perceptions...But the fact remains, Kort is the most fecund name to appear in Bobo. This particular method is akin to a "retention of vision" vanish. Getting the timing down properly is the most difficult part of this technique. If, however, you can time this properly and routine it well, it really is a miraculous vanish.

Kirk Stiles Method Very similar to Kort's method, the variation is worthy of its own treatise in Bobo. Take a look at both Kort's and Stiles's method, here. One may work for you while the other may not. But, again, I say it is a matter of having as many tools at your fingertips as possible in the overall building and health of your routine. Use what works, don't worry about what doesn't. And, yet again, if you look throughout the history books, you won't see where Kort or Stiles were selling their silly, little techniques as if they were the newest miracle on the block. Gads how I long for the old days...

A Method of Sleeving One of Several Coins Kort again. I won't waste my time explaining how important it is to study Kort's material and sleights. I'm sure you understand by now the depth of this man's contributions to our art. Dr. E.M. Robert's Method To my way of thinking, this is, quite probably, THE most important method that you can learn. This allows you to drop the hand (and retrieve the sleeved coin), but still be able to come up empty handed when needs be. The problem that has always existed with sleeving is that you have to keep your forearm parallel with the ground in order to keep the coin in place. This is, obviously, not always possible and could lead to uncomfortable or u nnatural positions. Dr. Robert's method eliminates this problem. This is probably why the treatise on this method garners almost 4 full pages of information relating to the method. I strongly suggest that anyone who is going to give proper time to sleeving pay very careful attention to this method. It is very, very important.

Loading (4 methods) An important treatise in relation to routining. Look this over, consider its applications, use what you can. Switching Again, the use of a handkerchief comes up in the text. Have you given consideration to using a handkerchief in your coin magic and, even moreover, into your routining? I strongly suggest it.


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The Sleeve Pocket A terrific tool to have on your side if you are going to do any formal coin magic at all. Take a look at this treatise - it really is good stuff! If you are serious at being light years ahead of the other coin magicians (again, this if for a formal coin man, not just the guys who have a passing interest in coin magic), then this is the gizmo for you. The applications of such a tool simply boggle the mind of any creative magician who considers what a sleeve pocket could allow them to achieve in any given routine. Again, though, this is for the hardcore coin man. And, on this note, I shall end it with the simple directive to take a look at the tricks section of chapter of Bobo. You don't necessarily have to learn any of these tricks, even if you are interested in getting into the sleeving end of coin magic. What these tricks offer you, assuming that you shall not be learning them properly, is creative thoughts and ideas of where sleeving can take your coin magic. Creativity will take you farther in magic that you could possibly imagine. Gaffes and gizmos used outside of the norm can move you from a garden variety magician into a savior of the magic industry these days. Recently, on these boards, a "Glorpy" was suggested in use with a formal "Dancing Hank" routine. Of worthy note is that Banachek took the Glorpy and used it for a completely different application. Because of his creative thinking, it offered his routine an "other worldly" taste. He elevated a magic trick into the realm of spirituality... You can do the same - just take your thinking outside of the mundane magic world and elevate yourself onto a higher plane. Remember, a useless, little trick in the hands of a master becomes a great miracle and a great miracle in the hands of a trickster becomes a useless, little trick. It's fully up to you.

Notes and Review Let's take a look at where you are, right now (or where you should be). You should have your main sleights down, sleights like the classic palm, the finger palm and the thumb palm. You should have several quick, one off tricks that you can do with panache and a few routines, even if they are rudimentary routines. You should be mixing and matching different sleights, experimenting with your coins to see what effects that you can make using those sleights, effects that are different than what you are learning straight out of Bobo. You should further be considering alternative methods for tricks that you like, but are unable to do because of your hand structure (what we've been talking about earlier, like, for me, back palming is impossible so I must explore alternative methods for tricks that require a back palm). This is fully possible with a little bit of creativity and some honest practice/work (and a knowledge of the tools that you have at your fingertips). You should presently have a tool chest of sleights and techniques that allow you to express yourself creatively with coin magic. Using utility passes, sleeving, vanishes, productions and switches all in harmony to produce magical occurrences that are inexplicable to your audience.


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One way to do this is start with a simple vanish that you like and expand on where you can go from there. For example, using the thumb palm vanish, you do a change over, snap your fingers and the coin reappears in the hand from which it vanished. From here, do a pumpkin seed vanish and you can openly and cleanly show the hands empty, explain that it reappears in your pocket and take out a duplicate coin. As you show the duplicate, retrieve the original and you can split the coin into two coins (I prefer Sankey's "Slick Splits" for this application - it can be found on "Revolutionary Coin Magic"). You are now at liberty to move into a two coin routine or even steal a third (have a pen in your pocket with the third coin held in its clip - by introducing the pen, you can quickly have a third, unknown coin in play). Where can you take it from there? The third coin doesn't even have to be a duplicate - you can introduce an off coin, like a copper if you've been using silvers and now you are prepared to accomplish physical changes and transpositions... Creativity and familiarity with your tools will bring you to this level. And, at that point, you are no longer in the realm of basic coin magic, but are now advanced! Write your thoughts and ideas down in your notebook. If you come to a spot that you cannot get past, then give it time and think about it or even sleep on it. Come back to your notebook and write down some possible solutions to your problem. Work those through, find which works the best. Use it. Keep your routines and all changes written in your notebook... Whatever you do, though, keep a damn notebook! If I had one piece of advice that I could go back in time and be able to change what I did, I would have kept notebooks on my work. As time goes by, those notebooks will become invaluable to you. Trust me - do it. And, without further ado…


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Step 2: Flourishes and Gaffes Part 1: Coin Classics (Flourishes) Reference: Chapter 9 Starting on page 201, you will find three flourishes that can be performed by a coin worker. Unlike cards, where there are a half ton of flourishes, coins simply don't offer a great deal when it comes to flourishing (at least, outside of what any normal person can do). So, we coin workers must make do with what we have. In a way, it is a blessing as well as a curse, because we don't have to put years into learning a massive amount of flourishes, giving our time over to our sleights and presentation, instead. In effect, we can learn our flourishes in a fraction of the time that it takes a card worker to learn their flourishes. The first offering here is the coin roll. I suggest that you learn to do this. It isn't terribly hard to do, but it takes practice to do it with speed and efficiency. Further, as Doc Eason states, it is visually compelling to watch - it just looks cool! And, when I'm performing it to the spectator, I use a line from Greg Wilson, "We call this move 'the really lonely guy.'" That always gets a laugh. On "Palms of Steel," (Kam) you'll find a very nice production of coins that can be done under the guise of the coin roll. Worth your time to look into that and as an added bonus, you'll also find some excellent work on spellbound change. Between those two parts of the DVD, it pays for itself. In Bobo, you'll see that the instruction suggests that you roll the coin with your fingers at full extension. Personally, I find it easier to do in a fisted presentation and I further find it to be more aesthetically attractive. Try it both ways and see which you prefer. Do it that way. The Downs Coin Star is an interesting display, but I've never used it myself nor have I seen it done by anyone. Bobo gives you instruction for doing it using gaffed coins, if you please. If you like it, learn it. If you don't like it, give it a pass. Finally, we have the Roll Down Flourish. I've never put the time into this one myself, but it is very pleasing to the eye to watch someone do this. If you like it learn it, if you don't like it, don't learn it. Pretty simple stuff!


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Step 2: Flourishes and Gaffes Part 2a: Shell and Folding Half Reference: Chapter 12 The Shell You're going to find that the shell is used frequently by many of today's magicians. Here is a gaffed coin that has been used for somewhere around a century, if not longer. Obviously, with anything that venerable yet that popular amongst the magic community, it only behooves you to study up on this gaffe and give it your due consideration. The problem that we will have, at this point, is that everything in Bobo is explained in USA coins. So, to my UK and other "foreign" Brothers and Sisters, I say: Be creative here. Also, it is of worthy note that there are two points of view when using foreign currency... 1) Foreign currency is automatically suspect. 2) Foreign currency is not suspect if your presentation is strong and your script explains the usage thereof. Count me in the latter camp. When I do my Gadabout Coins presentation, I use British Half Crowns. I find them visually compelling and my script specifically states that they were given to me by my grandfather who was stationed in England during WWI. So, they have a reason for being and I have yet to be in front of any spectator who has claimed I'm using "trick" coins. So, if you are worried about using foreign currency, not to fear. You'll find plenty of UK sites that stock these coins for your currency and as a last resort, you can have Gibson make you the gaffes that you need (for a price, of course). Anyway, moving right along...

Mystery with a Half Shell gives you a strong handling for this gaffed coin. It is an important step, because it explains how to handle the gaffe sans noise. This noise that can accompany using any gaffed coin is to be overcome. You'll find that your gaffed coins simply do not sound normal when scraping against a real coin - a discrepancy that is to be avoided at all cost. How to Make Money is "Scotch and Soda." Again, further proof that much of today's coin magic comes directly from Bobo. The difference here being that "Scotch and Soda" is immediately examinable at the conclusion of the trick whereas this one is not. Then again, if you have an inkling of creativity, you can use the sleights that you've already learned to this point to make this trick examinable at the end, also. Three Questions is a different handling of the "Scotch and Soda" effect. Worth a look just to get your creative juices flowing. Coin Through a Glass offers you a miracle if you spend the time to get this one down. Given time and consideration, this can be expanded upon to do more than just a two coin presentation. Perfected Coin Through Handkerchief is billed as a "magician fooler." In fact, it is!


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.25 and .50 Transposition is a bit too confrontational for my purposes, but could be used to good effect in the right person's hands. It could also be used in a mentalist approach where the spectator always picks the right (or wrong) hand. The Peregrinating Halves is a coins across presentation. In today's market, there are a huge amount of coins across tricks to buy...Howeve r, with a copy of Bobo, you'll already have an excellent method (and we shall look at further coins across presentations in Bobo in upcoming lessons on this thread). The lesson to be learned is that you don't need to buy up every new, slightly altered, trick on the market to show powerful coin magic. You've already got everything that you need in Bobo. Coins Through the Table authored by Milt Kort. No more needs be said. The Protean Coin again authored by Milt Kort. I must note here that a silver/copper is introduced in combination with the shell. We shall talk more about silver/coppers shortly in this post. The Sympathetic Coins is again authored by Kort. Again, the use of a silver/copper in combination with a shell. Moreover, t his will fool the hell out of 99.99% of all magicians out there. The Modern Miser uses a hook coin. Again, we shall talk about this gaffe shortly. Presently, though, this is a worthy trick to note in that it also uses a combination of two separate gaffes in the working. The Folding Half Here we see the use of another gaffe that is over 100 years old, yet still out there, being used quite often and is the gaffe of choice when trying to make a reputation. This is a versatile prop that most magicians think is only good for coin in bottle effects. Bobo teaches us differently.

The Half Dollar in the Bottle (and Second Method) starts us off. This is the classic effect and probably known to every magician in existence. Nevertheless, have a look at these two presentations, which will give you excellent handling tips if you are of a mind to do this trick. The Magic Mint shows us what can be done if we start to think outside of the box. Billed as a magician fooler, it will be just that in the hands of the right performer, simply because, up to now, magicians don't associate anything other than coin to bottle effect with a folding coin. Give this trick your due consideration, if for no other reason that to get your creative juices flowing. Biting a Piece from a Coin made a name for David Blaine. And there it is, in Bobo of all places! Had you been reading your Bobo all those years ago, that might be you on the television...And that is one to bethink upon. Coin Through Card could be very useful when handing out your business cards or, with some creativity, adding to "Coin From Cards" already found in Bobo. How far can you push these things?


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Step 2: Flourishes and Gaffes Part 2b: Trick Coin Trickery Reference: Chapter 11 This chapter of Bobo is going to introduce you to more gaffed coins which are also venerable within the magic community. Obviously, the book being published in 1952 lets us know that anything within its pages is at least a half century old. Two of these gaffes have already been brought up in the text above, the rest can be found in different sets, still available in US currency and some available in foreign currency. Whether or not you can find these sets in your own currency shouldn't even be an issue, unless, of course, you subscribe to the theory that any foreign currency is automatically suspect. The choice on whether to use foreign currency if you cannot find these sets in your own currency rests soundly on your own shoulders. In other words, you make your own limitations.

Squeeze Play introduces you to a "nickel and penny" set, which is the same as a "dime and penny" set. For these smaller sets, you don't need a "bang ring." Any small glass will allow you to bounce the set around and separate them out. Reset is what becomes the main issue when deciding on whether or not you wish to learn such tricks. Jimmy Valentine Picks a Lock again uses the "nickel and penny" set. Money Paper again uses the "nickel and penny" set. I like to call these three preceding tricks the "Stewart James Trilogy" because each introduces other props into the trick and, of course, all three are authored by Stewart James (an exceptional coin worker of his day). You can put Mr. James on the same level as Roth or Dill of our day. This trilogy makes use of the "nickel and penny" set and certainly gives you something to consider in whether or not you wish to introduce extensive props into your presentations, outside of just using coins. This, again, allows you to take your presentations and routines in other directions, which is an important side road to have at your fingertips when working through your own presentations and routines.

Almost a Transposition is a very interesting offering here. Again Stewart James is the author, but this is based on a previous trick which we've covered that uses sleeving instead of gaffes. It further introduces us to the "dime and penny" set, which is used in combination with the "nickel and penny" set. What I find to be so very interesting is that the first offering, under "sleeving," was a collaboration between Kort and James whe reas this particular trick is strictly James. So, you can do this as a sleeving technique (which is instantly re-settable) or you can do this as a gaffed presentation, depending on your application. The Homing Coins introduces us to the ".21 cent" trick and further uses a handkerchief. The possibilities that are presented using coins and kerchiefs simply boggles my mind! The Circus Trick further employes both the ".21 cent" trick and a handkerchief. Boggle and ! The .16 Cent Vanish is the ".21 cent" trick again, this time as a stand alone piece. This is a rather two dimensional use of the gimmick, but I can attest that the reactions that it gets are amazing.


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.85 Cents Through the Table gives us the use of a handkerchief again and a different take on coins through the table. An excellent piece of chicanery to use at the right time for the right crowd. As with all gaffed locking coin sets, this is not a re-settable piece, but it is a strong piece. Next up on the menu in Bobo is the use of copper/silver coins. Lightly touched on above, this particular gaffe is another that is used frequently by magicians today. Don't overlook the power of this gaffe.

Copper and Silver Transpositions; Numbers One, Two, Three and Four gives us four handlings and presentations for the copper/silver coin. Read these four offerings in Bobo and you'll find that many of today's tricks can be seen in the historical handling that Bobo offers to you. Each of these is a miracle in and of itself, if handled properly. Presto Chango continues on with the uses of this very versatile gaffe. The Inferior Coin is a Kort effect. Better give this one its due! Thieves and Sheep offers a different look at a venerable effect. We have not gotten to the earlier version of "Thieves and Sheep" offered in Bobo, but we will get there soon. Presently, if you wish to learn this version, I strongly suggest that you go back and take a look at Bobo's handling of the trick (which is a collaboration of Kort and James, yet again) to get a feel for the trick to begin with. In and Out brings that handkerchief back into play. Also, of worthy note, this is a Hen Fetch effect. An obscure name, by today's standards, but an important man of his day. Up Their Sleeve is authored by Hen Fetch, so worthy of note historically, if for no other reason. It also makes use of a "hold out" which is of important note to a coin worker. Buddha's Coin is powerful if you're using (or use) "Buddha" papers. If you don't know what those are, then give this one a pass. The Stack of Quarters introduces us to "pence and cap" effects. The pence and cap effects can be found at many magic shops, if you're of a mind to get into these types of effects. The "second method" offered in the pages of Bobo is of worthy note, as this presentational style, using a folded bill instead of a cap, is used by John Carney (an exceptionally gifted magician and sleight of hand master). "Pence and cap" effects are historically important to any coin worker, so study this offering in Bobo, if for no other reason than to understand where you came from.

The Hook Coin is mostly a treatise on the hook coin itself. See above for further ideas on what can be accomplished with this gaffe. The Magnet allows you to see the beginnings of "The Raven," because that is exactly what Bobo describes. The last few gimmicks included in Bobo are worthy of your study and your time, if for no other reason than to know about their existence. In 1952, when the book was published, Bobo did not contain a comprehensive guide of all gaffed coins in existence and in the 55 years past, more have hit the market. Still, it is important to note that these gaffes exist and that there are more and more every year for your use. Don't be taken in, though. Most of the gaffes produced today, outside of the classics listed in


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Bobo, have very little use, other than as one off tricks. Stick with what Bobo suggests and consider these new gaffes for what they are: Enigmas that may, or may not, be around 10 years from now. Make intelligent decisions and guard your hard fought for lucre. If you like what you read in Bobo, then consider getting the gaffes necessary to do the tricks. But, also consider the versatility of these props. For e xample, a copper/silver can be used in a plethora of tricks, as well as can the shell...So, consider spending your money on things that will bring you as many tricks from that one gaffe as possible, rather than spending hard earned money on a gaffe that will give you just one trick and one trick only.


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Step 3: Coins Across Reference: Chapter 8 If you have managed to make it this far, following this study guide and working through Bobo in earnest, then you have my sincerest congratulations. If you have mastered the classic palm, the thumb palm and the finger palm (in conjunction with various other techniques and sleights of which we have previously discussed) and you are showing your coin work to whoever your audience is (be it family and friends or that couple sitting at their table waiting for dinner), then you may now call yourself a coin man. Even if you are not 100% perfect, even if you blow it from time to time and "tip the gaffe," even if you aren't exactly as far along as you wish to be, you still have successfully completed some of the most difficult parts of being a coin man. With the exception of sleeving and gaffes, we've really only worked on the rudimentary components of coin magic. Now, however, we are going to step up to the plate and start putting our tools to the test. In Chapter 8, Coins Across, you are going to see where many of the routines of today have come from. If you were to sit down and pick apart almost any coin routine of today, you will see where the routines and tricks presented to us in this chapter have given influence to them. For example, "Winged Silver" (page 149) is a "three fly" with four coins. Better yet, the very next effect ("The Flying Eagles") is even closer to a three fly, only using six coins instead of three (wherein the three in one hand transpose to join the three in the other hand), but, of course, the methodology is different (picking up coins rather than cleanly having three go from one hand to the other). Regardless of these differences, though, the influence is there - much like the influence of music genre to music genre (for example, the music of the classic masters like Bach and Beethoven influencing such groups as The Beatles and others). And, much like musicians of today would do well to study the technique and "outdated" music of the past, so too you should be studying these important, historical effects. Where do you think Elusionist and others look when they're trying to find something "new" to sell to you? Now, before I begin looking at specific effects on offer in this chapter of Bobo, and without trying to sound like an advertisement, I would like to consider for one moment that you may just be having problems, still, with some of the basic coin sleights, like the classic palm. I recommend to anyone having difficulties with these basic sleights "Basic Coin Magic" by Ian Kendall (review at http://www.talkmagic.co.uk/sutra21652.php#21652 ), which is, pound for pound, one of the best teaching tools on the market today (and especially good for you "visual learners"). Mr. Kendall's teaching style is terrific - you just can't lose with this VCD and, truth be told, even if you are competent with the sleights, you'll still learn some valuable insight from Ian. I highly recommend this VCD to anyone and everyone who is into coins, in any way, shape or form.

Copper and Silver Transposition (four methods) 1. Here we start off with a Kort effect. In fact, this particular effect tips a method of loading an empty hand that was a favorite of Milt Kort. I would strongly suggest that, even if you don't perform this effect, you study this loading move which, as Bobo himself points out, "Master this move and you will have a clever subterfuge which can be used effectively with other small


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articles as well." This is reminiscent of the L'Homme Masque loading move, but a bit more versatile. I feel the need to point out here that Milt Kort was such an important man in magic that Stephen Minch wrote an entire book on Kort alone - he really is one of the unsung heroes of our trade. 2. Next up, we have a Stewart Judah effect (another important coin man of his day). In fact, as it states right off the top, this is identical to Kort's offering with the exception of the final (loading) move. I believe that it is important to not only look at this subterfuge, but to really understand how and why it works. It is a bold move, to say the least...But, bold moves such as this are quite often convincers when it comes to coin magic, which must be subtle (and this IS subtle in its hardihood - rather a paradox, really). 3. This is the first of two offerings given to us by Arthur Punnar in Bobo. This particular method of transposing the copper and silver could be quite striking in the right hands (not mine, as I cannot back palm to save my ass). But, as Bobo points out, "In performance, the action of the hands coming together, turning, opening and separating coalesces into one graceful and natural gesture." This is the real wisdom that you should be taking away from the lesson taught in this particular effect - grace and economy of motion. 4. Almost three full pages go into explaining this Ross Bertram effect. Well, I say effect, but this is much more of a routine in full, really. Study this, even if you don't plan on using the moves/sleights. However, you will find that if you have studied sleeving and are competent with both hands at sleeving, you will have a short routine that will throw any spectators for a loop. This short routine could easily be a reputation maker in the right hands and it doesn't have to end, necessarily, as it is presented to you in the pages of Bobo. Having a coin up each sleeve, for what would be considered "the end" by most, well...Think, man, think. Where could you go from here?

Guess Which Hand is a six phase routine that could actually be put to use in a mentalist's repertoire (although probably preferable as a truncated version in such a case). Oftentimes, I see a question arise as to Derren Brown's "Guess Which Hand" presentation and this could easily be adapted to such a style...In fact, someone should ask Derren if he's ever read Bobo, because (as we all know that he was a magician to begin with) his presentation could easily be just such an adaptation. I also think that it is important to read the very last statement regarding this routine, which declares, "Showmanship and window-dressing amount to 99 percent of the effect." If you learn nothing else from reading this whole routine, learn showmanship and windowdressing.

Quarter and Half Dollar Transposition is a highly advanced routine and not for the weak of heart or the "lazy magician." If I'm correct (and I might not be), it is here that we are introduced to a coin clip for the first time in Bobo, a hold out as it were, to hold onto one coin until we have a need to grab it. I have used (and sometimes still use) coin clips and I've never felt the need to get them from a pro shop when a paper clip and safety pin do the trick quite nicely. A problem with this trick will become quickly apparent, which is the downfall of books like Bobo, and that is the need to borrow coins which are no longer ordinarily carried by the spectators. This precludes the entire "other side of the pond" thing, where the specs simply don't carry any American coins, also. So, if you intend on really studying this routine, the best


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that I can tell you is to adapt and overcome. Given some thought and some work, though, this could easily be a reputation maker for you...But, again, you'll have to work for it. However, even if you decide not to use this routine, I strongly suggest that you take some time, read through it, and see exactly what can be accomplished by applying different sleights at different times and how the use of prevarication can be very deceptive in the overall course of a routine. This is an excellent study in coin magic and how to use sleights in conjunction with each other in order to build a truly magical and deceptive routine.

The Curious Nickel is arrestingly good magic in the right performer's hands. Here we see the introduction of a lucky rabbit's f oot (wasn't so damn lucky for the rabbit, now was it?) or "some similar token" to help with the magic. This is simply another type of magic wand - a reason to go into a pocket. With coin magic in particular, this reason to enter a pocket is very, very important. This allows for either ditching or retrieving - or both simultaneously, in fact. Honestly, this is an easy piece of magic to pull off, if you've studied your sleeving. If sleeving isn't for you, then study this just for the idea of having a reason to enter your pockets. That really is the most important lesson to take away from this trick in particular.

Two Pennies on the Leg is one of the pet effects of (TM member) magicofthemind (click here). It is simple and it is deceptive and it can be done anytime, anywhere. This is just what the doctor ordered for all you guys who want a trick that is always on you, because even if you don't have the coins yourself, you can borrow them easily enough. There are two specific statements in this trick explanation that are of ultimate importance: "It is impossible for the spectators to concentrate on both actions at once," and, "You must remember not to perform the trick too fast or too slow, but in a smooth, even tempo." If you learn nothing else from this trick, learn those two very important theories. They will serve you well in your own coin work.

The Inseparable Pair is a rather odd method, but one that is employed in "Cross of India" (Daryl) and is also favored by Jay Sankey, although Sankey's method is just slightly different. This particular trick is given two full pages of treatment and has a variation which can be used as a penetration. Bobo states, "The effect is a good one." I fully agree. This is worth your time to study, even in the event that you don't use the trick itself.

Coins in the Teeth I cannot speak on too much here - I am opposed to most anything that requires that you put something in your mouth. However, it is an excellent use of a click pass and you may wish to give this a look just to see how a click pass can be used to strong effect. The Drop Pass is an offering from Jimmy Buffaloe. As with many of the names that crop up in Bobo, Buffaloe is an obscure name to everyone except hardened coin men who've put in a lot of time studying this genre of magic. However, as the text states, "A clever new sleight is responsible for the trickery in this two coin puzzler," I would suggest that you give this a look and consider what can be achieved using the sleight that is explained. Bobo suggests that you immediately follow this effect with another Buffaloe effect:

The Hippity Hop Half requires a back palm in the method. Assuming that you have a good/strong back palm, these two Buffaloe tricks taken together make for an excellent, albeit short, routine. However, done together as a routine it is quick and packs a punch.


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Rapid Transit will require an ability to sleeve properly. In the final notes of this trick, you'll find that it is suggested that you don't even need two coins and can substitute a magnet or rabbit's foot for one of the coins. In fact, if you're performing "Curious Nickel" you can follow it with "Rapid Transit" for a fairly powerful, smallish, routine. Winged Silver is an excellent study in coin work, as it brings repetition into play and, as most of you know, repetition is only one form of misdirection in your arsenal of misdirectional techniques. It is used to good advantage in this coins across routine and study of this particular effect will pay off for you in more ways than one. The sleights used in "Winged Silver" are fairly easy to master (except, maybe, the classic palm but you should have a good grasp on that one already) and the utility switch is used to strong prevarication misdirection. Also, you'll find that the ending statement, "Finally toss the four back into the left hand and place all five into the pocket," allows for an interesting visual effect - you can flash all five coins, but your spectators will only see four (even if you openly show all five). You simply flash the coins just before pocketing them and almost every spectator will swear that they saw only four coins. This effect includes an "improved version" at the end, using a Chinese coin or other "off" coin. I suggest that you give this your due consideration, as the inclusion of this odd coin adds a dimension to this trick that has surprising effects on your spectators. Somehow that extra, odd coin throws off the theorists - psychology in action.

The Flying Eagles is very much outdated, by our standards today. Most performers will tell you that much of the motion in this trick is superfluous and there is no need for six coins to cover for three coins flying to the other hand. However, if you take a look at the variation of this trick (using 8 coins), you'll find that this can be very devious and quite magical if presented properly. I personally find the variation to be quite a satisfying effect and it is not that difficult to master. Pay particular attention to the statement, "Even though the mystery makes use of only one sleight it is best to vary your methods." This is an important lesson to learn...As the saying goes, "Never show the same trick to the same audience twice in a row," this particular effect flies in the face of that advice, so the student is strongly advised to use different methods during the four transpositions. A good lesson to learn.

Three and Three again utilizes 6 coins in the transposition of three. Again we see the value of a click pass in creating certain beliefs in the mind of our spectators. Also, this effect includes a method similar to "The Inseperable Pair" which is very similar to the Han Ping Chien maneuver. Worthy of your time to study this effect. Chinese Money Mystery again utilizes the Han Ping Chien effect, even though it is not technically Han Ping Chien. This also serves to teach the student what can be accomplished via optical illusion. Frank Drobina's Coin Routine is a 5 phase routine that uses very simple sleight of hand. The challenge here is to take these phases and practice them to the point of being able to do this in your sleep. Given time and effort, though, this is an excellent effect and worth your time to give it a look. Whether or not you decide to learn this routine, I would suggest that you give it time in your studies, as it teaches strong routining in conjunction with proper misdirection - an excellent learning tool.


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Michael Jay

Four Coins to a Glass is very much like a truncated version of "The Miser's Dream." This effect could be used in a close up, walk around situation where you'd like to perform a miser's dream type of presentation, but haven't the time for such things. I would consider this to be a high difficulty effect as far as sleights and angles go, but to have this in your arsenal would be a reputation maker for you. Give it your due consideration. There is also a second version that follows this routine and it also rates high on the difficulty scale. However, between the two versions, you'll find that it offers a very natural use of the thumb palm (a rarity) and gives a method that can easily be a utility move that you can apply to your own routines in the future. Take time with studying this particular routine and its second version.

The Traveling Centavos is another routine and, again, could easily be a reputation maker in the right hands. The study of this routine, though, encompasses some important thoughts and observations about coin magic that I believe you would be remiss to overlook. For example, the text states, "Playing around with the 20 Centavo Pieces and the dice cup, the following routine was born." What do you get out of that statement? Remember when I told you that you should be playing with your coins? This is what I'm getting at...The card guys always have a deck in their hands. Newer magicians, whilst playing with their deck, oftentimes think they've come up with new moves, just from playing with the deck. You should be doing this with your coins. Also, I tell you to read between the lines. One good example is the statement, "Show the hands empty without calling attention to the fact." This is a subtle thing to do, but very, very important in coin magic. Look over this routine and read between the lines. Pay attention to techniques that crop up in this routine, techniques that are not specifically given treatise to in the main text of Bobo, but are there for you to use and discover if you just take the time to consider how these things can be used in forging routines of your own - routines that are complex and devious. Look at figures 3, 4 and 5. Read the adjoining text. This is gold, man, pure gold.

Miracle Coins to Pocket is the ultimate example of "adapt and overcome." Glenn Harrison took first place at the SAM convention of 1949 using this device that he invented to overcome a problem that he had. This is worth your time if for no other reason than it shows you what can be accomplished using a bit of creativity and thinking "outside of the box." Sure, it's funky, but it is effective!

Notes and Review If you have reached this point, then you have gotten over the hump and are on the downside of Bobo - that is to say, you are now over half way through with the book. Give yourself a pat on the back and buy yourself a set of 5 old, soft coins. If you want to be truly compulsive/obsessive, then make sure the dates match and that the wear on the coins is very close to the same (so that the differences between coin to coin cannot be immediately observed by the spectator). While this is not necessary, it is oftentimes desirable to the more obsessed coin guys.


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Michael Jay

Let's take a look at where you are at this point and further consider some of the effects from the previous lesson (coins across): • • • • • • • • • • • • • • • • • • •

Classic Palm Finger Palm Thumb Palm Downs Palm The Back Finger Clip* The Back Palm* The Bobo Switch Utility Switch One Hand Switch* Change-Over pass The Coin Flip* Simple Vanish The French Drop Thumb Palm Vanish* The Bobo Coin Vanish* Vanish with the Aid of a Handkerchief* Complete Thumb Palm Vanish* The Bobo Complete Coin Vanish* Bluff Vanish*

* These are subjective, but if you don't know any given one of these, then you should have another to fill its slot. That is 19 sleights that you h ave either mastered or to which you are giving daily work/practice. You should further have chosen at least 5 of the quick tricks (Chapter 5) and I also suggest learning at least three from the preceding lesson (Chapter 8) which range from easy to very difficult. All of this together gives you 27 tricks/techniques that you can use to put together scores, if not hundreds, of routines (add in gaffes and sleeving and the imagination fails in considering the endless possibilities). Of course, you don't want that many, because then you will never be good at a few - only mediocre with a lot. What this does give you, though, is the ability to make a routine and then hone it over the course of many performances. As you show your routine to different spectators, you will find weak spots. You now have a huge tool box with which to consider changing the weak spots with other devices to improve your routine and make it stronger. Learn to critique your work with extreme prejudice. Finding these weak spots is a matter of practice and a willingness to "kill your children." And, as the late Eugene Poinc was always fond of saying, "Sometimes you have to kill your children." Don't be afraid to do that - this is what you must do to ensure that your magic is the most powerful that it can be. Before I get started on this lesson, though, there are two specific points that I'd like to bring up: (1) Just in case you don't know, the Ramsay Subtlety is, specifically, pictured on page 47 it is figure 3 and (2) you'll find that many sleights found in Bobo are not given their own treatise but rather are embedded into certain tricks in the explanation (for example, the technique that is given in "The Drop Pass" in Chapter 8), so I strongly suggest that you do take the time to read it all because you don’t know what you might be missing.


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Michael Jay

Step 4: Coin Classics Reference: Chapter 9 On offer here are more tricks and routines for which you will again see the influence on today's coin magic by all the guys that you consider to be the greats - guys like Sankey (his use of Han Ping Chien is legendary and this chapter covers Han Ping Chien) and David Roth, who some have been led to believe came up with the idea of "retention of vision" vanishes (and, by now, you should be fully aware that retention of vision was already an "old standby" when Bobo was first published over half of a century ago). To paraphrase the old saying, "On the shoulders of giants." And that really is where we stand.

Coin Through a Ring, the original method, gives you a look at something else that can be done with that folding coin. Of course, there is a second method wherein you don't need a gaffed coin. Both are effective. Silver or Copper Extraction covers three methods and all are worth a look. The first, the Stewart Judah method, covers the technique required in the set up for extracting the coin of their choice and ultimately how to pull out the coin that they choose. The second, the Orville Meyer method may be a bit easier for you, but mostly it is the same with only minor changes in handling, really. The last method requires a back palm. Of worthy note, Bobo mentions the use of an equivoque in the final notes of this trick, which is certainly worth consideration in saving you some technical moves and work.

Copper Penetration (as stated in Bobo) makes a good follow up to the p revious trick. I would recommend that you do, in fact, use this if you do the silver/copper extraction. The Expansion of Texture - Expanded! is interesting in its venerableness (yes, that's actually a word!). Another show of being able to extract either copper or silver, it takes place in the hand of the spectator (and, as we all know, magic is more effective when performed in the spectator's hands). Please note that it was a pet effect of both Robert-Houdin and L'Homme Masque - certainly worth your time to give it a look and possibly learn it. In fact, with a bit of imagination, this could be routined with a copper/silver coin for extra effect. I'll leave it to your fertile imaginations as to where one could go with the three preceding effects and how they may possibly be routined together and possibly expanded upon with other sleights/gaffes.

The Gadabout Coins has been a favorite of mine for many years. If you decide to learn this one, however, I would beg of you to take out the coin through hand phase of this...It simply screams out that a fourth coin is used. The Three Coin Trick gives us three methods, the first by Milt Kort (his name sure pops up a lot in Bobo, eh?). In Kort's method, you will need to learn how to load a coin onto your spectator's person (see Chapter 4 - "In a Spectator's Pocket" - for techniques). In the second method, a hook coin is used and rather than the coin finally ending up in a pocket, you produce it from their back (where you've hung it). The third method is really outrageous, requiring you to load three coins onto your spectator's person.


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Michael Jay

Personally, I like the final note: "Still other variations are possible by combining the moves in different combinations." Gold...Pure gold.

The Bent Penny is powerful in that the magic happens right in the spectator's hand. A great deal of psychology can be gleaned from the study of this particular trick. I believe that the two most important statements are, "No one suspects that you would be so bold as to try to conceal a coin in your right hand while showing it so freely as you illustrate how you want her to hold hers," and "She doesn't know it is bent because it is impossible to tell the difference while holding it tightly." More gold.

Silver Extraction can be found in many guises on the market today. There it is, yours, and you don't need to purchase the other guy's effect - you already have it in your copy of Bobo. The Ghost of a Coin is another over-marketed effect. Also you rs in Bobo. I would suggest that you give both of the preceding tricks their due, since there is much to learn in the treatise alone (even if you don't use these tricks). Please note passages like, "A good switch in coin magic can be compared to a good top change in card magic. It isn't the move that is so important, it's the misdirection which hides the move." Please take a look at the very final sentence in The Ghost of a Coin.

Second Method is, of course, the second method for the preceding trick. If you are good at back palming, have a look. Coins Through Table introduces you to the Han Ping Chien move, used to great advantage by Jay Sankey. I would suggest that you learn this procedure/technique because it really is widely used in some arrestingly good magic. In fact, this particular trick can ea sily become a reputation maker for you. The most important thing to take away from reading through this trick, though, is the natural application of prevarication that it uses to subtly influence the mind of the spectators. As you form routines of your own, try to use the subtle prevarication that this trick will teach you. With coin magic, quite often, it relies on your audience making certain assumption that are simply not true. This is terrifically good technique.

Second, Third and Fourth Versions are further worthy of your time and effort to study. Oftentimes, one method will simply not sit right with you, so having the extra offerings for performing (basically) the same trick are an important thing. Also, take the time to consider the fact that there ARE other ways of achieving the exact same effect, but via a different method or technique. Learn to apply this thinking to your own magic. For example, you might like a specific trick in Bobo, but hate the method. So, take a page out of Bobo and learn to adapt and overcome.

The Magical Filtration of Four Half Dollars is arrestingly strong magic, simply put. Taking the time to learn this trick and practicing it to the point of perfection will give you one of the strongest of magic tricks in the coin industry. It is masterfully routined and made to pack one hell of a punch. This routine alone could be easily sold for the price that you paid for the entirety of Bobo's book itself. Read and study this routine.


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Michael Jay

This particular routine is so much more than just simply a routine. It is a study in proper misdirection and timing. There is so much wisdom and some important lessons to learn in coin magic within the treatise on this particular routine that you would be foolish to skip reading this in its entirety. Also, don't skip reading the variation that follows.

The Sympathetic Coins is one of the most magical routines with coins that you'll ever do, if you take the time to study and learn this routine. Again, a study in misdirection and timing, please take the time to read through this just to extract the wisdom that is written between the lines. Second and Third Versions, The Al Saal Stratagem are important addendums to The Sympathetic Coins. Same as the advice that I gave you earlier, always take a moment to look over the extra versions, because they may just strike you better than the first. Fourth Version - The Changing Change is the brain child of Stewart James. This is particularly important to study, as it was one magician's way of dealing with other magicians. You see, having the same denomination of coins joining together is fairly obvious in method to other magicians. However, having all seperate denominations of coins really destroys the theorist's ideas. Particularly worthy of your time and effort if you are involved in a magic club and want to "wow" the boys or if you have an upcoming audition to be accepted into a magic club. Use this, learn it and do it right, you will pass without question.

Downs Eureka Pass and "Eureka" Routine are terribly difficult. If you really want to challenge yourself to have an extremely high caliber sleight/routine, this is the way to go. Be prepared to spend many, many hours in working on this. But, if you do, then I agree with Bobo's statement, "The effect is truly magical."

Rattle Box Routine requires, of course, that you actually have a rattle box. If you do, then this is a good trick and it really is on the "simple list." However, don't dismiss this because of its simplicity. It is strong magic.

Thieves and Sheep is the collaboration of Kort and Stewart James. Need I say more? This really is an effective and powerful little trick to do at the right time. Good stuff, man, just good stuff! Just Pretend can be put into the category of reasonably easy. It contains no extremely hard sleights (unless you consider the Downs palm to be hard). Don't overlook this one, though. In the hands of a showman, this is powerful magic. Read the last paragraph of this trick's explanation - it isn't a lie. The Free and Unlimited Coinage of Silver will put your audience control and ability to direct attention to the test - to an extreme test. But, given time and work, particularly if you are a restaurant magician, will give you a reputation of being one hell of a great magician. Give it a look. Coins and Cards is just plain cool. Even if you never do this trick or have any desire to learn it, still read the entire explanation. Particularly, read between the lines of this one. There is a massive amount of wisdom to be gleaned from it.


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Bobo Study Guide

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