I've collected all the questions to which I haven't received answers. The other thread had become diffiuclt to read and understand.
4. There's a popular sequence often used in sandwich effects which I'd like to know the source of. The Marlo sandwich loading procedure is used to get a selected card between the two sandwich cards. The deck is then riffled on the table and the sandwich cards are passed through the tabled cards as they are riffled. You spread the sandwich cards as this occurs to give the illusion that you plucked the selected card from the middle of the pack. To whom does this technique belong?
7. Where was Jim Swain's variation of the optical shuffle, with the runs before and after, published?
10. Is there a known creator of the following one-handed cut: holding the deck in mechanic's grip, reach your thumb over to the right side of the pack and grip the upper portion. Now move the lower portion up and over the upper portion, using an action similar to that of a half pass or turnover pass. It is demonstrated on DARYL'S ENCYCLOPEDIA OF CARD SLEIGHTS and is called "The Reach-across Cut".
15. There is an excellent triple false cut described in Bannon's SMOKE AND MIRRORS (1991, p. 95). There, he credits Frank Thompson, and says that he doesn't think the cut has been published. It has been published, though, because Reinhard Mueller tracked down the cut to a book of Frank Garcia's called SUPER SUBTLE CARD MIRACLES (1973, p. 143), where it is attributed to Frank Thompson. From the appendix, "F.T. Cut: This is so named for Frank Thompson who was kind enough to allow me to include it here. I have added only the final cut to the table."
I've heard, however, on one of the Malone tapes, that this same cut belonged to Ed Marlo. On BILL MALONE'S ON THE LOOSE, VOL. 1, he says, "...false cut belongs to Ed Marlo. I think it must have been his favorite false cut, cause everytime I was with him, he would always sit there and he'd be doing this cut over and over again, and it took me a really long time to relize he was doing a false cut." On BILL MALONE TIPS SAM THE BELLHOP, he refers to the cut as "Marlo's favorite false cut."
I was just wondering if anyone knew whose creation this fabulous cut actually is.
16. Any idea where Marlo's book break technique first made its appearance?
17. Any information on the history of the classic force?
18. In JENNINGS '67 (1997, pp. 109, 164, 167), Richard Kaufman credits a technique for attaining a break below the top card of the deck to Robert-Houdin. You simply push the card over a fraction of an inch, just enough to allow your pinky to slip below the card. Where was the first published (in English)?
19. There is a nice ace production in Earl Nelson's VARIATIONS (1978, pp. 30-31) in the routine "Exploding Aces." Does anyone know to whom this belongs?