Dare to be Remarkable by Andrew Murray

[Tom Frame]

Dare to be Remarkable (Ebook) by Andrew Murray 10/$15
32 pages, 16 photos
Available at: magic@andrewmurray.biz


Well now, hows that for a taunting, grandiose title? Fortunately, this collection of card magic by Andrew Murray lives up to its provocative appellation.

Mr. Murray writes well and does a good job of teaching the material. The photos are clear and helpful. He dutifully provides attribution and includes a handy Sleights Bibliography.

Every time that you want to read this ebook, you must enter your secret password. Damn, another password to forget! But, I empathize with Mr. Murrays security concerns. In the grand scheme of things, the password issue is only a minor hassle.

Tyros are hereby forewarned. The material in these pages requires an intermediate level of technical prowess.


F.T.W.: Three cards are freely selected, signed and held in a face-down packet in the performers hand. He removes four Kings from his pocket and places them face-up on top of the face-down signed selections. He turns three of the Kings face-down, places them on the bottom of the packet and then he flips the packet over.

The performer turns the uppermost King face-down and places it in his right outer side jacket pocket. He removes the next face-down King and places it in his outer left side jacket pocket. He displays another King, then places it face-down in his top outer breast pocket. He flips the final King face-up on top of the packet and taps the packet against his three pockets that are holding the Kings.

He immediately flips over the remaining cards, revealing the three other Kings. With empty hands, he removes the signed selections from his pockets.

This is the authors very impressive version of John Careys effect, W.T.F.. Mr. Murray employs a devious technique that was used in the Bannon/Aronson/Solomon effect Among the Discards.

When I first read this technique, I feared that it was too discrepant to go unnoticed. But after performing this effect several times, I was delighted to discover that the technique aroused no suspicion, and the crowd was blown away. I really like it.


Though of Card in Wallet: The performer places an unknown card in his inner breast pocket. A participant freely names any card, say the Two of Hearts. The performer spreads the deck toward him and cuts it as he comments on the participants selection.

He reminds the crowd of the card that he placed in his pocket at the beginning. He reaches into his pocket and removes the card, which is a Joker. The performer feebly remarks that Jokers are wild. and the crowd groans. With an empty hand, he removes his wallet from his pocket, unzips the compartment and removes the Two of Hearts.

Version #2: The performer riffles the deck and asks participant #1 to say stop as she glimpses a card. He hands the deck to this participant as he asks participant #2 to think of any card. The performer retrieves the deck from participant #1, removes an unknown card and places it in his pocket. He correctly identifies participant #1s card as the Seven of Hearts. .

Participant #2 names any card, say the Six of Spades. The performer spreads through the deck and cuts it, commenting on her selection. He removes a card from his pocket and shows that it is the Seven of Hearts. He removes his wallet from his pocket, unzips the compartment and removes the Six of Clubs.

In both versions of the effect, a suitable Card to Wallet wallet is required. You must also be adept at palming.

Im troubled by the fact that after the participant names any card, the performer must look through the deck and cut it. This is a suspicious, procedurally unmotivated action and the authors justification is weak. I believe that the participant must realize that the performer is looking for her card. This awareness may help her to reconstruct the method. I dont like it.


Twice as Nice: Two participants freely select cards, which are lost in the deck. The performer turns the deck face-up and asks the participants if the face card, the King of Clubs, is one of their cards. They inform him that it isnt their card. He removes the King of Clubs, flips the deck face-down and uses the King of Clubs to flip the top card of the deck, the King of Spades face-up. The participants deny that it is their card. He places the King of Clubs beneath the King of Spades and flips both cards face-down onto the deck.

The performer places the top card of the deck onto participant #1s palm and the next card onto the palm of participant #2. The participants sandwich the cards between their palms as the performer disposes of the deck. He touches each participants hands with one of his hands and then reveals that he is holding a card in each hand. He turns the cards over, revealing the black Kings. The participants name their selections, separate their hands and discover that they are holding their selected cards.

This is a powerful, well constructed effect that gains even more strength because the magic occurs in the participants hands. They will swoon at their experience of the performer stealing and replacing cards while they are securely holding them. I really like it.


Three: A participant freely peeks at a card. The participant riffles the corner of the deck and the performer peeks at a card. The performer removes his card from the deck and holds it face-down. He hands the deck to his participant and she removes her card. She reveals that her card is the Nine of Clubs and the performer displays his card, the Nine of Spades.

The participant selects another card. The performer merely thinks of a card. He names his card and it is the same card that was selected by his participant.

The performer spreads the faces of the cards toward him, remembers a card and names it aloud. Lets say its the Ten of Diamonds. He shuffles the deck, spreads it face-down between his hands and asks his participant to say stop. He breaks the spread at that point and turns packet face-up to show that the participant has selected the Ten of Diamonds.

This is an effective three phase routine that becomes more baffling as it proceeds. It also exemplifies how a performer can connect with a participant in an entertaining, mystifying manner. I like it.


Propulsion: A participant freely selects and signs a card, which is lost in the deck. The performer hands her a balloon and asks her to blow it up and tie off the end. He riffles the deck toward the balloon and asks her to shake the balloon. She hears something rattling around inside. The performer removes a hatpin and pops the balloon. On the floor, amidst the burst balloon bits, the participant spies a folded card. She unfolds it and discovers her signed selection.

This is a fine addition to the Card in Balloon catalog. Mr. Murray employs Mark Jenests sly method for creating the sound within the balloon. The card makes its appearance thanks to the authors clever Pressure Production. The technique is a bit knacky, but its potential applications are well worth the practice. I like it.


Reset Redone: The performer displays a packet of four face-down cards. He removes the bottom card and shows that it is the King of Diamonds. He drops it face-down on top of the packet and immediately turns it face-up, showing that it has transformed into a Joker. He turns it face-down and deals it to the table. He removes the bottom card of the packet, displays the King of Spades and drops it face-down onto the packet. He turns it face-up and reveals that it has transformed into a Joker. He turns it face-down and deals it to the table.

The performer removes the bottom card and turns it face-up on the packet, displaying the King of Clubs. He flips the King face-down on the packet. He turns the cards face-up and reveals that the final two Kings have transformed in Jokers. He flips the cards face-down and drops them on top of the two tabled cards.

He picks up the packet, turns it face-up and shows that the Jokers have instantly transformed back into Kings. The performer removes the four Jokers from different pockets and places them face-up on top of the King packet. Instantly, the Kings vanish and he is left holding only the Jokers. With empty hands, he removes the Kings from four different pockets.

This is Mr. Murrays terrific version of Paul Harriss Reset. The author was inspired by David Stones work on this popular trick. Lordy, this effect is jam-packed with a whole lotta magic! The crowds eyeballs will pop out on stalks like a coterie of crustaceans. I really like it.


V.I.P.: The performer waves his hand over the face-down deck and an Ace appears face-up on top. He turns the Ace face-down onto the deck. Upon turning the Ace face-up, the other three Aces instantly appear face-up.

The author was inspired to develop this method after he witnessed Denis Behr perform his Bloom Production. Thankfully, Mr. Murrays method is much easier. This is tasty, visually startling eye candy. I like it.


Overall, I thoroughly enjoyed this collection of card magic. Im very impressed by the authors thinking and creativity. Andrew Murray has thrown down the gauntlet. So screw your courage to the sticking place and Dare to be Remarkable!


Highly Recommended

[Richard Kaufman]

"The crowds eyeballs will pop out on stalks like a coterie of crustaceans."

I like it.

[Curtis Kam]

Tom, the Reset effect sounds identical to a well-known Jack Carpenter routine. I'm just sayin'.

[JHostler]

...I'm just sayin'.

What does that mean, exactly? I'm just askin'.

[Richard Kaufman]

It's an accusation.

[Tom Frame]

I contacted Mr. Murray and urged him to respond to this matter.

[Andrew Murray]

Wow! An accusation...

Ok, first can I say that I am totally unfamiliar with Jack Carpenter's Reset routine. I have not read it, seen it performed or ever had it mentioned to me.

I have Jack's Expert Portfolio No.1 (the only Jack Carpenter material I own) and there is no version of Reset in there - where is the Reset routine you cite Curtis?

As mentioned in my e-Book, (a book I assume you have not seen Curtis as I have not sent a copy to you), the inspiration for my handling was David Stone's 'Reset' routine from the Real Secrets of Magic Volume 2.

I have changed the transformations and the moments of the 'cops' but the overall effect, ie. one four of a kind changing to another then one being retrieved from the pockets instantly followed by the other four of a kind, is as far as I was aware David's.

David may well have been influenced by a Jack Carpenter routine (no credit is given on the DVD to JC) but my influence, for the record, was David Stone.

May I make a suggestion?
Before accusations are made (Richard Kaufman's word, not mine) perhaps one should look at the routine's in question rather than the synopsis of effects? I would be very surprised indeed if the handling of Reset Redone was the same as Jack Carpenter's routine.

While it is impossible to have seen or read every variant of a plot in print, can I please mention before someone here does, that I have credited both Paul Harris and Brother John Hamman for their initial concepts. Over the years, I have learned many versions of Reset (yet still have never seen Mr Carpenter's version) and have other unpublished handling of the plot.

Should we not tackle existing plots in fear of being accused of stealing someone else's routine? I think not. Reset Redone is MY routine inspired by David Stone and David Stone alone.

Curtis, if you'd like to make a side by side comparison and then enlighten the Genii Forum on your findings, I would be more than happy to extract my routine from 'Dare To Be Remarkable' and send it to you for analysis.

In the meantime, if someone can point me toward the Jack Carpenter routine, I would be more than happy to take a look and then add a credit (as I did with a Justin Higham routine I was unaware of) to my e-Book if appropriate.

Happy holidays everyone!!

Best regards

Andrew

[Joe Mckay]

Just curious about Denis Behr's 'Bloom Production'. If Denis is reading this can you tell me if it is in print? I am familiar with a few routines like this, and would be interested in checking your version out as well...

Thanks!

Joe

[Stan Willis]

Attempts to contact you via magic@andrewmurray.biz have failed.Please verify?

[Andrew Murray]

Hi Joe,

I saw Denis' production years ago either on his website or aon youtube - I can not remember which. You may wish to contact Denis directly about this.

Stan - I have received lots of mails today to magic@andrewmurray.biz so I am not sure what the problem is. However, you can also send mail to thegreatmurrari@btinternet.com. Please email me accordingly.

Thanks

AM

[JHostler]

It's an accusation.

Exactly although in this case the classic Im just sayin wink/cop-out serves the dual purpose of emphasizing that fact.

In our age of variation ad infinitum, it is unfortunately much easier to levy accusations - however subtle - of theft than to parse the tens (hundreds?) of thousands of published card effects for potential credit/pre-invention. I just wish we could all be more civil about such things.

[Curtis Kam]

I appear to have inspired a misunderstanding. In this case, the phrase means what it says, neither wink nor cop-out intended. Obviously, and as Mr. Murray points out, I have not seen Mr. Murray's book, so cannot comment on how close the items are in effect, method, or presentation. Nor could I comment on the completeness of the credits, since again, I have not read the book.

All was saying, and all that I could say, is that the item in question, as described by Tom, sounds a lot like Jack's "Multiplex Reset" from "Modus Operandi". See Denis Behr's archive:

http://archive.denisbehr.de/archive/res ... &keyword=1

This could mean that the credit was left out of the book inadvertently, or on purpose, or that it was in the book, but not mentioned in the review, either advertently, or in-.

It could mean that David Stone was inspired by Jack's routine, or it could be the other way around. No way for me to know, since, again, obviously, I have not read the item in question.

Or it all could be a matter of independent reinvention. I don't know the precise claims made by Mr. Murray, so it's impossible for me, at this point, to say anything about that, and it's hard to see how anyone would assume I was trying to say anything about that at the time.

All that being the case, all I could say was exactly what I did. I was pointing that out so that Tom might address it, or perhaps, someone with a more complete library of Jack's work could comment. I could not recall the name of the routine, nor which book. I know it appeared in Genii or that other independent magic publication at one point. Thankfully, we have Denis Behr as a resource.

Mr. Murray, I thank you for your offer, but I do not have access to my library at the moment. I'm moving homes, and the books are finally all in boxes. I'm sure Tom knows someone who has a copy of Modus Operandi, or he may have it himself. Or the routine is possibly available on the Genii archives.

Anyways, in this case, I thought it was clear that a cigar was just a cigar. No gossipy scandal intended. In fact, I do agree with just one of Mr. Hostler's statements. I wish we could all be more civil about such things. I'm just sayin'.

[Tom Frame]

Here is a description of Jack Carpenters Multiplex Reset from Modus Operandi:

Four signed Aces are changed, one at a time, into four Kings. The Kings are transformed back into Aces. Each King is removed from a different pocket and placed on the Ace packet. The Aces vanish, leaving the performer holding only Kings. Each signed Ace is removed from a different pocket.

Apart from the signatures, Mr. Murrays effect is identical to Mr. Carpenters. Their presentations are slightly different. Their methods are completely different.

Im embarrassed to confess that Id forgotten about Mr. Carpenters effect. I have the book and Jacks a friend. I apologize to Jack and all of you for that brief episode of dementia.

Mr. Murrays handling is different, neither better nor worse. I like both authors methods equally well.

Im sure that Mr. Murray will update his ebook with a citation to Jack.

[Andrew Murray]

I certainly would be happy to update my e-book. In fact, all copies from this very moment will have a credit to Mr. Carpenter.

As suspected my method is different althought the effect is very similar.

To clarify, the credit to Mr. Carpenter was left out inadvertantly and innocently.

My 'precise claim' is that my routine was solely inspired by David Stone's Reset routine.

In terms of 'civility', the word "accusation" was levied by the Chief Genii and no-one else. His assumption was that your comment was an 'accusation'.

For the record Mr. Kam, I didn't regard your comment as an accusation but wanted to accurately address the comments made on this forum before speculative matters got out of hand. Thank you Mr. Frame for making me aware of the comments posted on here and urging me to respond accordingly.

Now that this matter has been addressed and the appropriate credits are now in place, I trust we can draw a close to this.

Happy Christmas everyone!

With my best wishes,

AM

[Caleb Wiles]

Thanks for the review, Tom. I think Andrew has some really nice routines described in this eBook. You can check out my full review here: http://www.calebwilesmagic.com/?p=845

Caleb