Do any of you have any suggestions that stop spectator from, "burning the hands" when palming? Ideas for executing a palm that has proven reliable for you? Subleties beyond expected misdirection??

Any thoughts, opinions are appreciated..

Thank You,

Steve Landavazo

In the introduction to "Secrets Draun From the Underground", Steve Draun writes:

"Finally, when it comes to palming, it is a personal quirk of mine not to hold out. I mean by this that I prefer to move DIRECTLY from one packet to the other or from the deck to the pocket or wallet, card box, etc., rather than keeping cards in the palm even for a few seconds.

I am not suggesting this is the only way, but that it's my way."

I might add that palming cards requires GOOD [mis]direction skills; simply hiding a card or cards in your hand so that nothing
"leaks" out is hardly enough to fool most people. Some of the tiniest little actions will serve to betray your inner fear of being caught, and this is usually what trips up the average would-be palmer.

Flow in your routine is also very important; if you palm off with your right hand and then hand the deck out to be shuffled you are just inviting all those NOT shuffling to wonder why your right hand is hanging stiffly at your side (for example)

Far better that you be using your right hand to direct others to "carefully watch the shuffler to make sure they're doing a good job" or other such natural actions (Tommy Mullica is an expert on finding things to do with a "dirty" hand; watch some of his performance tapes for such examples).

In short, you must become VERY comfortable - the opposite of self-conscious - with a card (or coin, or whatever) palmed in your hand.

For fine points on controlling the audience's interest, study Gary Kurtz's
"Leading With Your Head"; learn how to help the audience not consider or care about what might be hidden in your hand.

Regards,
Thomas Wayne

I have never been comfortable with holding out for very long with cards in a classic palm position. I have found it more natural looking to hold out in a Lateral or Flat Gambler's Palm position, especially since the two can be easily gotten into from each other.

However, those are very angly and situational palms. When I have to palm something in a classic palm position I always give my hand that is holding out something to do.

When I hand out a deck to be shuffled and I have a card palmed, depending on the angles I will make an overhand shuffle gesture with my hands. This will cause them to look at my hands for the moment, and because everything looks natural, when I put my hand to my side or wherever, there is no suspicion because they already saw my hands, in their opinion.

Hey Steve,
When it comes to actually executing a palm, a one-handed top palm is vastly superior to the two hand method. It gives me a whole other hand to draw attention to.

When it comes to holding out while the spectator is shuffling, I'll cross my arms. I saw Doc Eason do this and realized that you can hold out for as long as you want without drawing any attention to the hand. Even if someone is burning you, they won't be able to tell that you're holding out.

I could not disagree more strongly. The one handed top palm is hard to get into, the position of the right hand is vastly unnatural and I've never seen anyone do this move without it being obvious. In short, I have NEVER been taken in by the one hand top palm (you can see it coming a mile away) but I HAVE OFTEN been taken in by two handed top palms.

Steven Youell

I have to disagree with both of you. It really depends on the situation. In some cases the one handed top palm would work, although there are certainly many where it would not. As always, you have to choose the method depending on the situation.

In the Larry Jennings routine, "misdirection cards to pocket", he proposes the following:
(which only works for an audience of more than one for obvious reasons.)

You ask your spectators who is the better shuffler. They will always look at each other regardless of whether they are poker players or spectators who rarely handle cards. They may even discuss it.

This gives you ALL the misdirection you need to palm a card.

He then goes on to suggest that you say
"well, we'd better let him [turning to chap who was designated worst shuffler] shuffle them then."

This also generates a reaction (usually in the form of a laugh) and once again provides misdirection to palm a card.

The whole routine is done in the context of getting out a cigarette to light it and is so perfectly natural that any smoker performing in informal settings should definitely read up on it (in "the Classic Magic of Larry Jennings").

I often use the first idea in his routine to give me a little space to palm a card off and it has yet to fail me.

Stephen

Stephen,
GREAT idea! Thanks for sharing the Jennings idea. That ploy could be used for many things. Excellent food for thought.
Ted (Leondo)

Whoa!!!

That shuffle line is excellent!

That line is definitely going in to my next palming effect.

Hey Gunney,
I'm not sure which one-handed top palm you're familiar with, but the one I use is a breeze to get into. My right hand is essentially in biddle grip, so if that is a vastly unnatural position, I had better stop doing any routines that involve the biddle grip.

While I'm doing the palm, I'm drawing attention to something else with my left hand. Even if my one-handed top palm looked unnatural (which I don't think it does), the spectators focus is on something else entirely.

The only time I use two hands for a palm is while executing a bottom palm. It's great that you can get away with and feel comfortable with a two handed method. Isn't that all that matters?

Love all your ideas!!!

Stephen, Thomas; everyone, "Thank You"!

Your Friend In Magic,
Steve

To practice a top change, you need a sure-fire routine with loads of natural misdirection built in (for which I highly recommend Chad Long's "Now Look Here.").

The same goes for palming and the routine that fits the bill: Al Baker's "Card To Pocket." The palm is exectued as the spectator picks up their supposed card from the table in front of them.

If you can't find the mechanics of this routine anywhere, PM me.

BTW, Daryl does a super-sweet one-handed top palm in his "Hefty Penetration" routine. Looks way natural.

Giobbi supplies many "covers" for when your palming in his book card college 2
jamez

For those of you interested, Larry Jennings' effect "Misdirection Cards to Pocket" is found in his book "Classic Magic of Larry Jennings". Two spectators each select a card, they shuffle the deck, and the selections end up in two different pockets.

Chant Aldo Columbini's mantra: "You are the only one that knows!". He means you must not focus on your awareness of your secret move. Practice until you can truly focus on something else, such as a joke or a question - the sleight should be automatic and subliminal.