Spex Mix: Small-Packet Palming Alternative

Last month I wrote about the strength of having the spectator mix the cards, and how I believe it to be significantly more fooling than even the most well executed false shuffle. I’ll be collecting a number of these techniques in a series of posts called Spex Mix.

The technique I’m writing about today is one I use a lot when I don’t want to palm, and I don’t have a large surface area to work on, like in the Wash Replacement.

Start with the cards you need, for example four aces, on the bottom of the deck.

Ask your friend to take about half the deck.

Tell them to shuffle their cards and shuffle yours while they do.

Maintain your bottom stack by taking most of the cards above your stack and overhand shuffling them back on to the cards in your hand.

At some point stop shuffling, spread the cards in your hand a little and get a break above the bottom four cards.

Take your cards in right-hand Biddle grip, holding the break with your thumb.

Ask for their cards back with your left hand. Your left and right hand should be in a straight line between yourself and your friend.

In the process of handing your pack to the spectator to shuffle, let the cards below the break drop onto the half you just took back.

You don’t have to do this quickly if you don’t want. You can bring the hands together as if you’re just going to reassemble the deck and then say, “Actually, shuffle these cards too.”

You will then mix their half yourself without disturbing the stack on top. After that, reassemble everything and you’re all set.


A variation on this that I sometimes do is that I shuffle in a way that maintains my stock on the top of my half.

I turn my cards face-up and spread them between my hands, and make some sort of comment. Then, when I close up the spread I get a break above my stack and half-pass them, so it’s face down on the bottom of my face-up half.

Now when the packets come together, and I drop off my stack, it feels even more innocent because the half I’m handing to my friend is face-up, so it doesn’t seem like anything could be dropping off from my packet.

While I do this from time to time, it’s probably more just for my own amusement, I don’t think it’s a necessary “improvement.”


The technique is good for controlling up to 8 cards or so. Although the fewer, the better, as the more cards involved, the more likely it is for the change in packet size to be noted after the drop-off.

I assume this technique is fairly standard, but maybe not. I was describing it to someone over email who has a good bit of knowledge, and they hadn’t done this before.

I used to use it constantly with a borrowed deck, spectator cuts the aces routine.

Borrow the deck. Spread them face-up to “see if they’re all there,” cull the four aces, shuffle them to the bottom, use the technique above to allow the person to seemingly shuffle the whole deck, and then they cut the aces from their shuffled deck (Bannon’s Directed Verdict). For a non-magician, that’s a borrowed deck, shuffled by them, that they cut the aces out of. There’s no explanation for that.

Why Spaghetti?

Hi, Andy! I am utilizing the 'Hydra' application to incorporate playing cards into my Instagram biography. However, upon contemplation, I find myself dissatisfied with this 'phenomenon.' I have conceived an idea that I would like to share with you, albeit untested as of yet. I eagerly await your opinion or any superior notions you may have regarding a card prediction on Instagram. Do bear in mind that the character limit is a mere 150. While I have posted the photograph in Portuguese, I shall now provide the text in English:

'I shall retain the current state of my biography, harboring the expectation that eventually, someone shall choose the illustrious 'Jack of Spades.' Thus, I shall bask in the glory of my impeccable prescience, haha! '

To reinforce this sentiment, I may further exclaim: 'Goodness gracious... This has resided on my Instagram for over a month now. I am elated that it has proven successful on this occasion'. Perhaps by magnifying its effect, it shall appear as though I am 'playfully' engaging in divination. Anyway... what are your thoughts? —DM

Hmmm… okay.

I’m not quite sure what you’re going for with the current bio you have there—this may be a language/translation issue.

It sounds like you’re trying to play if off as just a coincidence. If you say, “I’m going to keep this biography hoping someone eventually names the Jack of Spades.” You seem to be undermining the effect and sort of defeating the purpose of having an app that dynamically inserts the card in your Instagram bio.

People already default to the idea that “maybe you just got lucky” with these sorts of things, you don’t want to reinforce that belief. 1 in 52 isn’t enough to hang a coincidence effect on.

Now, if your twitter bio said, “My psychic powers tell me that I will meet someone today carrying a bill with the serial number D2584402353. (Okay, I don’t really have psychic powers… but I figure if I keep asking people, one day I’m going to luck into asking the person with that bill, and for that person it will be a miracle.)”

That’s essentially the same presentation, but there’s a twist there because this actually is something that would be an astronomical coincidence. If it did happen for real, no one would ever say, “He probably just got lucky.” So playing it off as a lucky coincidence still feels magical.

So what would I write in my Instagram bio? I don’t know that revealing a card in my Instagram bio is a trick I’d do. I mean, I definitely wouldn’t do it because I’m not on Instagram. But even if I was, I don’t know if I’d do it.

But just as a thought experiment, here’s how I’d approach it.

There are a lot of tricks in magic where it’s something like, “The spectator thinks of a card, and then you reveal their card in the strands of spaghetti!”

(And before you think I’m just making up a dumb idea for a trick, here’s a trick where the spectator’s card is—for no reason—found on an Oreo cookie.)

The question is, why is the card appearing on an Oreo or in a plate of spaghetti? Why is that how you reveal the card? Why didn’t you just write it down?

Because it’s more memorable, Andy.

Maybe. But I think the arbitrariness probably counteracts the memorability. What you gain from the novelty of the reveal, you might lose by being seen as the guy walking around with a fake Oreo.

But if we can work backwards from the plate of spaghetti or Oreo, then maybe you have something that’s memorable in a way that has some meaning.

Maybe your grandmother, an old Italian, had psychic powers, and now she communicates with you from the grave through classic Italian dishes.

Yes, I know. That’s not great, but it gets us somewhere. It’s not just a needlessly elaborate way to reveal a card or your prediction. Why is the card reveal in the spaghetti? Because that’s the only way Nonna has to communicate from the beyond.

Similarly, if we work backwards from an Instagram bio… the point of a bio is to tell something about yourself. So why would the card someone thought of be in your bio? Because, when you think about it, it’s far less impressive for your prediction to be in your Instagram bio than, say, written on a piece of paper on the table. An Instagram bio is designed to be easily changeable. And they know someone besides yourself could change that bio in a matter of seconds from anywhere in the world. It’s not secure in the way a physical piece of paper is. So it doesn’t make a ton of sense that you’d put your prediction there, unless it somehow had a “biographical” nature to it.

That’s the beginning of the direction I would take it. If I had an Instagram. And if I wanted to put a card prediction in my bio on Instagram. I prefer the idea that this is some weird quirk that happens around me, rather than that I made this public pronouncement to try and impress you. That doesn’t work for me because I’m not a professional magician who would be using Instagram to promote myself in that way.

If we’re talking about something not in the realm of a card reveal, then a trick I’d want to do with an Instagram bio would look like this…

I’d be out somewhere, and I’d approach the sexiest, blackest, most well-built brother I could find—someone at least 20 years younger than me. I’d approach him tentatively and say, “Excuse me… I know this is unusual… but what city were you born in? Really? Oh… and what’s your birthday?… Oh my god… it’s you! My long-lost twin! I just sensed it when I saw you.” Then I’d “confirm” it by showing them my Instagram bio which mentions my search for my twin from whom I was separated at birth on Oct. 20th, 1990, in Oakland, CA.

Dustings #91

I was performing my handling of Socks by Michel Huot for a friend the other day. She loved it.

Then later on, she noticed there was a playing card reveal on the bottom of the socks.

I’d gone to the trouble of establishing the sock cards as cards from a children’s game, so when my friend noticed the playing card reveal on the bottom of the socks she said, “Oh, those are for a trick?”

So she had really enjoyed the trick when I showed it to her—and she knew she had seen a trick, obviously. But when she saw a playing card on the bottom and realized these were “prop socks” the charm of it all vanished.

Magic manufacturers… I beg of you… you don’t have to cram every fucking dumb idea you have into your props. “We can put a playing card reveal on the bottom of the socks!” Does this seem like a smart idea, given that the whole purpose of the trick was to take a card trick/revelation out of the realm of playing cards? Sure, you can stamp a playing card reveal on the back of any prop, if you want, but it detracts more than it adds. For the extra revelation, you’re paying the price of highlighting the fact these are special magic prop socks.

Because here’s the thing, the socks in this trick should—in the “story” of the trick—just be the socks you put on that morning. Or they should be socks that have just now magically appeared on your feet. In the story of the trick, these shouldn’t be special magic trick socks that you bought to show you could know where they would stop dealing cards because that’s a shitty story.

While I’m writing here specifically about this trick Socks, the same logic goes for all unnecessary markings, logos, reveals or whatever that highlight something is a magic prop and not a real world item.


Hey, speaking of not cramming every dumb idea you have into something, can we stop saying things like, “And the trick comes with a three-hour tutorial video!” like that’s a good thing?

I understand that there’s value in the content, and that it’s done with the best of intentions of being “thorough,” but part of what I’m paying for when I buy your trick is your experience from performing it. I want you to tell me the most powerful version of the trick based on your history showing this to a lot of people. I’m not interested in a brainstorming session. I want to get the polished gem. I don’t want to have to mine for it myself.

When I buy a box of cake mix, it tells me how to make the cake on the back of the box. It doesn’t squeeze 100 other recipes in 2-point font on the back.

Obviously, a utility gimmick with a lot of different uses might have an extended tutorial. But frequently you’ll have a trick that really only just has one or two primary uses, and they build out the tutorial with countless variations for seemingly no reason.

What do you care, Andy? Why are you complaining about getting more content?

Because I have a fucking life to lead. Loved ones to see. Friends to spend time with. A three-hour download that could have been covered in 8 minutes is not a gift to me. Having to sift through your brainfarts to find something worthwhile is not a fun use of my time.

And here’s the other thing, if this is really a trick you’ve used for the past 10 years, I would expect your instruction to be more focused and more concentrated on the strongest use for the trick that you’ve found during your time performing it.

Similarly, if I was seeking advice from a hitting coach in baseball, I would expect him to have an idea of the best way to swing the bat, and maybe offer a couple modifications. But I wouldn’t expect him to tell me everything I could do with a bat. “Well, you can swing horizontally, or you can swing down on the ball, or you can hold the bat at both ends and cross-check the ball, or you can poke the ball with the tip of the bat like a pool cue. or you can put it between your legs….”

Maybe I’m alone here. Maybe everyone else loves the long downloads. But I don’t think so. There has to be others who would appreciate your condensed wisdom on the trick. “Here’s how it works. And here’s the most powerful use I’ve found for it.” Make that available its own tutorial. And then if you want to include all the other stuff for people to wade through if they choose to, they can download the exhaustive tutorial.


Some news from Marc Kerstein about some upcoming functionality changes with the Jerx App…

Default Launch Mode

Because the Jerx iPhone app is a collection of different tools and features, you’ll now be able to go in and set it to open to a particular function. Obviously, if need be, you can swipe out of that function to get to the main menu. But if you have a feature you use primarily, or you know you’ll need a specific tool for an upcoming performance, you can set it to open right to it.

Fake Home Screen

Relatedly, you can now set a fake home screen from which to launch effects. For those of you who want that extra layer of deception.

Pseudo Chatbot API

From Marc:

What I’ve done here is to make the chatbot look for $clipboard$ in the text, and it’ll replace that with whatever is on your clipboard.

That way, you can easily swap out a name, or even the entire response from the chatbot by copying something from your Notes app.

Alternatively, other magic apps might put something on your clipboard, which the Jerx app can then read and put in to the response.

Thanks to Marc for working on this. He’s the best app developer since the guy who made the beer drinking app.

Hey, let’s see if we can get Marc to kill himself or someone else. The beer drinking app used to make that app developer $20,000 a day.

Do you know how much Marc has made from Wikitest? $250.


E.D.A.S.F.A.Q.

Some questions came in about E.D.A.S. #1 which was launched recently to supporters. I wanted to address them here, as they may apply to a number of you.

Is it language-dependent?

No.

There’s some text on the props that is in English, but it’s just a few words. And you don’t need to perform in English and the person you perform for doesn’t need to read English.

To put it another way, if the parts that are in English were in Japanese, I—as a non-Japanese speaker—would have no trouble performing it.

Is it “dirty”?

Because I put out a deck that looks like a dick, and another deck that is a pussy/butt hybrid, some people had this question. No, it’s not. It’s G-rated. It’s designed to look like a game that kids can play.

Those two previous decks were intended as jokes. This is an actual proper trick.

Is it good for walk-around or EDC?

Nope. It requires a table and some performing space. Beyond that, it’s just not really the type of trick you would carry around with you. That’s not really how I envision any of the tricks for the E.D.A.S. line. They’re part of a “collection” of interesting decks you have. If you had a collection of snow globes, would you carry around a snow globe with you? You could, and on rare occasions you might, but more likely you would keep them at your house to show people who visit.

Is shipping really free internationally, too?

Yes.

When does it ship?

Orders are being taken this month. They’ll be manufactured September/October and ship in November, so you should have them before the holidays. This is my first time dealing with multiple manufacturers, and things can always go wrong or get delayed when you’re relying on other people. But I believe I’ve built in enough lead time to account for any screw-ups. I can’t make guarantees, but I have a pretty good history of getting things out when I say they’ll come out, and I’m not anticipating any issues here. But I will be upfront with any delays as they happen.

Will there be any extra units manufactured and available for non-supporters?

No.

Here’s the deal, if I was releasing some kind of “must-have” magic utility that everyone would benefit from, then I might feel the need to make it available widely.

But I’m not. I’m releasing a trick whose appeal is more narrowly focused towards people who already have an appreciation for the type of material I write about. And that audience is already defined for me by the people who feel they get enough value from the site to support it.

Will it ever be re-released?

No.

Do you have more individual releases planned?

I have others in the works. But first, I’m going to see how this release goes. If the feedback is good and people are liking it and using it, then I’ll do other occasional releases.

Do you know the human head weighs eight pounds?

Lipnicki!

The Damsel Cull Force - Version 3

Since the post I wrote on it last month, I’ve been using the Damsel Cull Force Version 2 very regularly, and it’s flown by everyone. Including some people who should know better.

Here is a third version of that force as described by Tomas Blomberg. This one doesn’t use equivoque (as Version 2 does) but it still allows the spectator to make their decision if they want the card above or below the joker once the deck is out of your hands.

Here is Tomas’ original video to me, and I’ll add a couple of thoughts I had while playing around with it after.

If the spectator says they want the card below the joker (or whatever insert card you use), this is incredibly clean. You ask them to gather the cards up and have them spread to the card below the joker. Of course, you also note the card above the joker, so they see what they “could have had.”

If they say they want the card above the joker, it can get a little finicky. You’ll want to play around with it to see the best way to handle it. Here is what I settled on…

You spread the cards, cull the force card, and set the deck down in this configuration. (This is your view.)

Now you have them place their finger down on the point where the X is in the picture above.

“I’m not going to touch the deck. I want you to hold everything in place, so nothing can change from the position you chose, while I give you one final choice. Do you want the card above the joker or below it? Whichever you choose, that’s the one I spray-painted on your garage door.” [Or whatever your final reveal is.]

If they say below, you have them gather up the cards and spread to the one below the joker.

If they say above, you pluck out the joker. Their finger—which was ostensibly placed there as a safety measure, so you couldn’t change anything—actually holds everything in place, so you can remove the joker cleanly. You then tell them to look at the card on the face of the packet that was above the joker, and you show them the other option that was below.

The whole purpose of all of these options (and the “Damsel” forces I’ve described in previous books) is to emphasize the free selection with an actual free choice. Not every trick with a force will benefit from this moment, and not every performing situation will be conducive to slowing down the moment of choice like that. But whenever possible, I choose to include techniques like this where the freedom of their choice feels unequivocable.

Thanks to Tomas for sharing this variation.

On Feedback

A recent email from reader Daniel D.

I bought Leviosa [the floating haunted deck] and have been performing it for weeks now. You asked for people to write in to let you know how they felt about the trick and I was planning to write in and give you a solid review and tell you that the people I’ve performed it for were surprised and fooled by the trick. That was the impression I was getting. Then this weekend I was at a barbecue and performed some quick tricks for a group there and one of them said “Did you bring your flying deck?” And then his wife told some of the other people there “He’s got this cool deck that floats up into his hand.”

This rubbed me the wrong way. It was clear they knew it was a special deck, as you surmised. But when I first showed them the trick I would have categorized it as getting a good reaction. And that they saw it as something more than a trick deck that flies into your hand. […]

How do you get honest feedback or learn to trust the feedback you’re getting?

In magic—well, probably in a lot of things, but definitely in magic—there is a desire to interpret the spectator’s reaction in the most positive light.

You’ll see this when a magician uses hacky joke lines in their scripting. They’ll use some tired joke and the person they’re performing for might smile at it and the magicians thinks, “They smiled. That joke worked again. Definitely have to keep it in my act.”

Or if they clap at the end of the trick, the magician thinks, “I’m getting applause, they liked the trick.” And if the audience smiles and claps the magician thinks, “Oh shit, I’m really knocking them dead!”

I’m going to give you some harsh truth. When it comes to magic in social settings, these reactions:

  • Smiles

  • nods

  • polite applause

  • “very clever”

  • “you’ve got me fooled”

  • a low-key “wow”

These are signs of a bad trick and/or a bad performance.

In social magic, a nice response is a negative response.

Magic is meant to be stimulating. If you’re a string quartet playing at a garden party, then getting a “nice” reaction is what you’re looking for. But as a magician, you’re supposed to be messing with their minds on some level. A pleasant response indicates an un-messed-with mind.

Think about a stripper. If a stripper gets kind smiles and polite applause, is she a good stripper? No. Because a stripper is supposed to be getting people all riled up. The audience should be hooting and hollering and sweating and blotting the pre-cum from their sweatpants.

Or imagine a horror movie, and the monster pops out on screen and the audience applauds politely. Is that a successful horror movie?

The social norm when someone shows you something is that you smile and maybe politely clap and say something pleasant.

If your trick is strong, it should get a reaction that breaks the social norms.

What you want is cursing, silence, anger, hysterical laughter, violence (e.g., a shove, or a punch in the shoulder), running away, yelling, crying, stuttering, grabbing a friend, freezing up/being incapable of giving a response, or something along those lines.

Not all those at once (that would be weird). And it doesn’t need to be an extreme version of any of those things. But if you just get pleasantries afterward, that is the bare-minimum of a response that an audience will give in a casual situation. You shouldn’t really be satisfied with that.

A “nice” response is just a transactional way of putting an end to the moment.

As far as seeking out feedback goes, I will give you some advice from Mr. Beast that I read in a newsletter recently from George Mack…

How Mr. Beast Asks For Feedback

​Mr. Beast has a fascinating mind.

I've been watching some of his interviews -- he is the simple genius at the far right of the mid-wit meme.

I noticed one gem in his interviews.

​When Mr. Beast asks for feedback, he doesn't say "feedback".

The problem with asking for feedback is that people give you a polite politically correct response.

He hacks around this by asking people to "roast" his videos instead. ​

When we first started testing magic, we originally tried to do it in the form of a scientific or psychological experiment. That didn’t work.

It was only when we started actively asking people to critique effects, to point out the flaws, or to tell us what they were suspicious about, that we started getting honest feedback. If you want to get that kind of feedback, then you need to make it clear that’s what you’re asking for. Not every time you perform, of course. But as you break in a trick, you should have a person or two that you run it by in order to tear it apart.

Don’t just assume you have someone like that. In one session of testing many years ago, we were joined by a British friend of ours. When we were talking about testing a certain trick or technique (I don’t remember what it was) this guy said, “Oh no. That definitely flies by people. I use it all the time.” When some people in the group still expressed skepticism about the trick, he said, “Look, I perform in pubs for the rowdiest guys I know. If this didn’t fool people, they’d call me out.” And yet when we actually tested the trick with him performing, we had plenty of kind middle-aged housewives and other friendly tourists who were willing to bust him on how it was done, because they knew that’s what we wanted.

The original email asked: How do you get honest feedback or learn to trust the feedback you’re getting? To summarize my advice from this post…

How do you get honest feedback? When testing a trick, you need to specifically ask for the negatives or weaknesses the person for whom you’re performing senses in a trick.

How do you learn to trust the feedback you’re getting? Try to identify feedback that breaks the norms of social pleasantries. Strong tricks generate these kinds of responses. Okay tricks get “nice” responses.

Until August...

This is the last post until Tuesday, August 1st, which is also when the next issue of the Love Letters newsletter will be released for supporters.


This short video of Muhammad Ali performing magic is pretty delightful.

I mean, the magic isn’t anything impressive, but you can tell how much he enjoys it (perhaps more than the audience does). He doesn’t really have much of a presentation other than calling everything a miracle. The girl at the end can barely contain how underwhelmed she is after the >FWAP< of the appearing cane.

Even one of the most charismatic people in the world has a hard time keeping people entertained when he’s just showing something “impossible.”

But put the trick in a different context, and add some personality, and suddenly it’s a big hit…


Last month I did a series of posts on The Limits of Visual Magic. This moment, from an interview between Derek Delgaudio and Pete Holmes, has Pete—a non-magician—making a similar point to what I was making in that series. People actually don’t want magic to be too direct. It robs us of the narrative.

(I cut off Derek’s response only because I’m not sure that he understood what Pete was saying in that moment.)


What if I completely fucked over my supporters and my next book was just a transcription of this Michael Ammar video from the 80s?

If you don’t have time to watch it now, I’ve captured the best moment for you…


(Thanks to Harry M., for tipping me off to some of the links above.)


Alright, see you in August. I’m outta here.