First, let me praise the look of Magicana under the guidance of David Acer, the artwork of Earle Oakes (my fave), and the substantive, robust "content." It is not easy gathering and producing material over a sustained period. I've tried to do it twice for four years initially and about six years at MAGIC, which translates (roughly) into coming up with 215-275 items.
After awhile, the stuff recedes into a fuzzy blur. And despite taking pains to get things right, there are missed credits, typos, misplaced drawings, missing text, and so on.
This being said, I noted with interest Euan McCall Bingham's "Uprising" and had one of those "shocks of recognition." I thought to myself: "This looks familiar...VERY familiar." In fact, it looked like a technique I had put into "Inside Out." It was...
This lead me to check matters out and write up one of my Provenance Bulletins that about 12 people read or care about. It's one of the sustaining ironies in magicdom. Everyone talks about crediting others and knowing the history of things, but unless it PERSONALLY matters, the topic is glossed over or ignored.
So, what follows may be of little interest to Forum participants, but it does show what frequently happens in magicdom. Here goes....
LAYERS OF CONNECTION
As just mentioned, this is another example of similar ideas appearing in print with and without attributions and where the connections or points of inspiration are unclear.
The dj vu moment for me, as also mentioned earlier, occurred when reading an Ambitous Card move called Uprising in Genii magazine (June-2005). As soon as I saw Earle Oakes drawings, I thoughtThat sleight looks like Jason Alfords After-Burner! that I wrote up for Magic magazine (December-1998). Sure enough, the one credited to Euan McCall Bingham is almost identical. Let me explain:
Both versions begin with a left pinky break above the two bottom cards. The top half of the deck is maneuvered into the left hand by using a Swing Cut. The top card of the left-hand portion is outjogged, using the right second finger. The two cards held by the break are dropped onto the left-hand portion, which is rotated face up. Next, the uppermost card of the double that was secretly unloaded must be maneuvered so that it is aligned with the outjogged card. Bingham does it differently from Alford.
Bingham: He first tables the right-hand portion. Then he moves his palm-up right hand below the outjogged card, placing his right thumb against the outer end of the jogged card. Then he uses his right second and third fingertips underneath to slide the necessary card into secret alignment.
Alford: He retains the right-hand portion and rotates his right hand palm up. He uses his left forefinger to engage the outer end of the outjogged card. Then he uses his right second and third fingertips to slide the necessary card into secret alignment.
The clean-up and ending of both techniques are identical.
Both versions also include an attribution to Super Rise from the Pallbearers Review (April, 1974). I credited Tom Ellis. Acer (Bingham) credit Ellis and Wesley James.
Since Earle Oakes illustrated both items, although almost 7 years has elapsed since Alfords version appeared in 1998, I decided to call Earle and asked if he was aware that he had essentially illustrated the same sleight. Well, when I told him that this occurred, he had no recollection of Alfords sleight. Of course, Earle draws hundreds of drawings each year. Who can remember everything they write or illustrate?
A couple of months after Alfords sleight appeared, it was brought to our attention that After-Burner was a re-invention, except for some minor technical details, of Michael Webers Layers of Conviction that was explained in Daryls Ambition Card Omnibus (1997). An Attribution Retribution appeared in Magic magazine (February-1999) and Alford apologized to Weber.
I checked with Weber and asked him about Layers of Conviction and if there were points of inspiration not mentioned in Minchs book. He said:
I didn't see the original mention or apology in Magic, and also missed Wesley's cries for recognition. They were buried too deep in material that was too shallow to dig any deeper.
Daryl did everyone a disservice when he failed to mention that both of my contributions to his Omnibus were collaborations with the extremely talented Eric Maurin, who is mentioned elsewhere in the book.
As to inspirations, I was aware of the original Dunbury Drop with one card in the context of an ambitious card routine and simply realized that dropping two cards instead of one allowed for a much cleaner display of placing the "top card" to the center of the other packet and also automatically placed the ambitious selection in a secondary position.
We now know that Weber and Maurin were inspired by the standard Drop Sleight and not the Ellis contribution, and that Maurins name should be attached to the sleight.
It should be noted that Weber-Maurin do not begin with a break above the two bottom cards. Instead, the card second from the face is angle-jogged. The top card is turned face up and then the top half is maneuvered into the left hand with a Swing Cut. The top card of the left-hand portion is turned face down. Then it is outjogged, using the right second finger. Meanwhile, the left pinky pulls down on the angle-jogged card so that the bottom two cards can be pulled onto the left-hand portion. The left-hand section is then rotated face up to show the face of the outjogged card.
After a one-beat pause, the left-hand section rotates face down again but is also tilted back and upright. The right-hand section moves behind it and to a down-jogged position. With the sections jogged accordingly, both sections are now tilted back so that the undersides are toward the audience.
Next, the uppermost card of the double secretly unloaded earlier is secretly pushed up with the right with the right second fingertip. It is not pushed into alignment with the outjogged card, but just short of this point.
When the sections are lowered to a horizontal plane (a broader action), the left forefinger stretches out and pulls the selection square with the top card. These are distinctive finesses.
The rest of the actions are carried out.
As mentioned earlier, a detailed description of Layers of Conviction can be found in Daryls Ambitious Card Omnibus by Stephen Minch, pp. 50-53.
I don't think that Acer or Bingham are guilty of anything devious or untoward. And it's disappointing to discover that one's good idea or move has ALREADY been published.