Slydini Legacy 1/98-3/98

Official I.C.O.M Past Lesson Archive

Slydini Legacy 1/98-3/98

January 1998

“The Hindu Delay”
Bill Wisch
Slydini used to make mountains into molehills when necessary. By that I mean he would take an obvious negative and turn it into a positive. Hopefully, I’ll mention many, many of these in the coming segments of The Slydini Legacy, but this gem is perfect for this month to start off the new year.

Check out our text, The Amateur Magician’s Handbook, and notice the “Hindu Shuffle”, section 5-C of the Hand Magic With Cards segment. Also check out the I.C.O.M Sleight Library.

The Hindu Shuffle is a fantastic technique and many variations are available. The one I’m mentioning here is using it as a force.

Slydini had several forces (one in particular which has never been in print and which I will put into the library very soon) but the one he used more than any other was the simple Hindu Shuffle force.

He did it like anyone else except for one MAJOR difference. He delayed the viewing of the card.
The bottom card will be the force card. He kept removing small packets off the top, as normal. When the person said STOP, he would put the remaining stock on top of the LH cards in an end-jogged position, about 1 inch or a slight bit more.

Then he would ask the person if they would like to take a few more cards or stop where they were now.
That little delay would add just enough misdirection to mask the fact that the cards were coming off the top and the card that was shown was on the bottom.

I realize that many magicians will say that this is not necessary since the sleight is effective enough in it’s simplicity alone. I agree with that totally.

However, anyone who uses or has used this force can attest to the fact that occasionally someone will notice the discrepancy…not very often, but it happens. Well, with the Slydini delay it NEVER happens!
I use the force myself for one specific effect that must be convincing and, believe me, this is the shuffle that’s perfect in that case.

To recap, normally after taking small groups of cards off the top, and the person says STOP, you normally come right up and show the bottom card and ask that it be remembered. With the Slydini delay, the group of cards are end-jogged about one inch and you ask them if they’re satisfied or want more. If they do, you continue and just repeat the endjog as before. Only after they say it’s OK… at that point you show the bottom card and ask them to remember it. Then continue on with the effect from that point.

Try this and delight in it as quite a number of students I’ve shown this to over the years have. It’s a perfect example of “working smarter…not harder”.

February/March 1998

by Bill Wisch
 Slydini had many things about him that people found fascinating. Much of his charisma was from the way he did things when he performed. Ordinary actions like casually moving an object from place to place or just looking at the audience, even though appearing innocent, were carried out in a specific, well-organized and pre-planned fashion. How Slydini used his hands to achieve this effect is what I will touch on briefly in this installment of The Legacy.

Slydini had  a very distinct manner about him. He was always unhurried and impeccable…the only time he was quick or pronounced is when it had to do with the specific effect. For example, when he performed the “cards from the mouth” (with the entire deck streaming forth from his mouth) he gave out a loud shriek and literally “freaked out” facially. The stunning surprise of it all was in direct contrast to his normal presentation and made that much more of an impression on the startled audience.

When it came to his hands, Slydini was very fussy and deliberate. He always said his hands were his “instrument” like a violin or trumpet. To him his hands were the whole ballgame. He used to say, “watch my hands” many times during a performance and had a number of interesting techniques he would use to “frame the effect better”, he would say.

Here are a few things about Slydini’s hands that you may find interesting:

1)He always kept his hands absolutely clean and attractive. He also had his nails manicured and used a light coat of clear polish. It wasn’t overdone or feminine, however. His hands looked great!

2)He always said that movement of the hands should be done as much INDEPENDENTLY as possible to keep confusion at a minimum. I have to transcribe my tape to get his exact words but I remember him saying that movement of both hands at the same time always led to a more chaotic appearance to the audience. When you watch him perform his cigarette routines…the misdirection lesson…any manipulation sequences (see the Slydini books or the tapes from the Dick Cavett shows in the 70’s),
you’ll notice that he in fact DOES move each hand independently and it really does look better! I was taught this way and many other students could probably attest to that reaction as well.

3)If I was asked to describe Slydini’s handling of props it would be…”like a mouse walking on cotton”.
By that I mean his picking up, placing, manipulating and general handling was done with gentleness and deliberate attention given to exactness. It was definitely POETIC to see him perform. Like magical poetry with a surgeon’s skill and deftness. This manner was a major part of his charisma, I believe. It fit his whole persona and style. The image he had was one of simplicity and stayed away from outlandish and loud, boisterous movements and presentations.

4)The last observation I want to mention is so simple but so effective. Slydini always CHALLENGED the audience to “look at my hands”. He did this with a casual flair but with a challenge to catch him. This is, in my opinion, what made Slydini so great. He challenged the audience.
Then he proceeded to “fool” the audience badly regardless of how closely they watched. Think about that. I will be going in greater detail when I cover CHALLENGE in my TIP OF THE WAND series on SHOWMANSHIP but I just wanted to include mention of it here because of it’s significance. It’s NOT a personal challenge or one of superiority…it’s just a message to the audience that they can watch all they want and never catch you. Believe me…IT WORKS! I’ve used this aspect for years and must say that it was one of, if not the MOST valuable pieces of instruction I ever learned from Slydini.

Notice: This material “IS NOT PUBLIC DOMAIN” and is intended for the personal and performance use of International Conservatory Of Magic members only.
This entire page is under copywrite 1998 by the International Conservatory of Magic and its respective contributors. No part of this page or its contents may be re-produced without the expressed written permission of I.C.O.M. All marketing and publication rights are reserved. Violation of this is considered intellectual property and information theft and carries penalties under federal law.

Author: Bobby J. Gallo


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