The (Almost) Complete Bobo Study Guide

The (Almost) Complete Bobo Study Guide:
[size=150][u]Part I - Mastering the Basics[/u][/size]
Step 1: The study of Coin Concealments

Chapter 1
Coin concealment is the most important part of coin magic. Obviously, for any
magic to take place, there must be actions happening underneath the veneer of
ordinary actions. These are the concealments - the ground work that will be used
in the more advance work.
It must be understood that sometimes these concealments will be necessary to use

in conjunction with coins that are unknown to begin with - coins that will
appear from nowhere or be added secretly or even swapped. Other times, the
concealments will be used in conjunction with a coin that is known (as in
complete vanishes or transpositions and such).
Step 1 means that we must take a look at the different concealments that are
available to us. Even if we don't have a need of use at this time, in the future
we may wish to do a certain thing and the knowledge of these concealments will
allow us to logically piece together exactly how to bring about the effect that
we desire. So, the knowledge that these concealments exist is an important
thing.
Understand, this doesn't mean that you must learn each and every one of them.
Only that you know that they are there for your use, should such a need ever
arise.
Take the time to read this entire chapter. It comprises 9 concealments/sleights.

Whilst you read each and every one of these concealments, have a coin at the
ready. When you see one that you like, pay particular attention to it. Pick up
your coin and learn the sleight - or at least begin working on it. Play with it.
Keeping in mind that "play" is something that we did as children, this "play"
brought us to certain realities in our adulthood - play is as much a part of
learning as work is and, oftentimes, more effective than work.
Picture, in your mind's eye, where you might be able to make use of such a
sleight. Try to consider when such a concealment may be necessary to you.
Consider the angle issues that come with it, while you are practicing this
sleight. Take your time with this chapter.
My requirement of you, as the student, is that you learn the finger palm and the
classic palm from this chapter of the book. I consider these two concealments to
be the most important. For advanced work, others will become important and we
shall look at them later, as this thread unfolds and as we work through the
book. For now, though, please understand that the two most important and useful
of all of these concealments is the classic and finger palms.
Of these two, the finger palm is usually picked up quickly. The classic takes
much more time, however. That's alright. Don't feel badly about not being able
to do a good classic palm in a day or two. Once you've put a couple of months
into getting a smooth and natural looking classic, you'll feel all the more
proud of yourself in the mastery. This is a good thing.
When working on the classic, use a coin that feels good in your hand. This will
vary from student to student. I oftentimes hear the suggestion that you use
something that is hard to work with because later easier things will be quickly
adapted. I suggest the reverse of this with the classic palm. To my way of
thinking, the classic is hard enough with something that is comfortable for you,
there simply is no sense in making this a more difficult job than it needs to
be. Once you've learned it and are comfortable with it, then you can start
challenging yourself to work with harder devices.
Both of those sleights out of the way, the next two most useful sleights are the
thumb palm and the Downs palm. After you've become very comfortable with the
finger palm and you are getting in shape with the classic, start working on the
thumb palm. The thumb palm will help to get you in shape for using a convincing
Downs palm.
Being a pedantic sort of chap, I suggest that you remember that the Downs palm
is always capitalized in writing. This is because it was "invented" (or at least
given its first treatise) by T. Nelson Downs. Never forget that the history of
our art is equally as important as the performance of magic itself.
Once you've started working on the thumb palm, you'll realize just how difficult
it is to get into position without motion or movement from your thumb as the
coin is deposited. That's okay. Just get used to the mechanics of getting the
coin where it needs to be. Once you have that down and are capable of doing it
slowly and smoothly, begin training your hand to get the coin into position with
no movement or motion from the thumb.
Most magicians will tell you that putting a coin into thumb palm without motion
of the thumb is unnecessary. I'm telling you that proper training of the hand
is, in fact, necessary and you must be able to do this with no thumb movement.
This comes down to commitment. We magicians really are a lazy lot, aren't we? Do
what I tell you and how I tell you to do it and you will evolve into a slick
coin magician...Sorry, I don't allow for lazy students.
As you begin to master the thumb palm, begin working on your Downs palm. You
will note that after mastery of the thumb palm, the Downs only seems to be a
natural evolution. The motion is much the same, just a very slight alteration of
finger movement and muscle control.
Next, train your hand to go from thumb to Downs with as little motion as is
necessary to get the coin into position. Put it back with as little motion as
possible. Get comfortable with moving it from one to the other, quickly and
subtly.
Of important note, this is work that is going to take you weeks to months in the
mastery. This will not come overnight, so don't expect it to. Persistence and
practice are the key, here. And, again, work at your own pace. Don't feel that
you must learn this in a particular time frame. You'll find that your muscles
will become cramped if you overwork your hand - avoid this. Once the cramping
starts, it is time to stop. Massage your hand. Give yourself a break and come
back later in the day, or tomorrow. It's alright, you know. There is a
difference between careful commitment and laziness.
Now, here comes the hard part...The really hard part:
After you've become smooth with these sleights, teach your other hand to do them
just as well. You should be competent with all of your sleight in both your left
and right hand.
Geez, there's a couple of months worth of work for you right there!
Step 2: The Quick Fix

Chapters 3, 4 and 5
Let's face it, we magicians just want to get our trick home, rip it out of the
box, take a cursory glance at the instructions and start doing the trick. Half
the time we don't even give the instructions a cursory glance. Why should doing
a coin trick out of Bobo be any different?
Certainly you are going to pay attention to learning what needs to be learned,
i.e. the classic, finger, thumb and Downs palm (and maybe even the front finger
hold and the back finger clip - all from Chapter 1), but you should be able to
do a trick right here and now.
In the pages that compromise chapters 3, 4 and 5, you'll find just what you're
looking for. In a moment, you'll begin skimming through these pages, looking for
a trick that you like, but for now, open your book to chapter 3 and take a look
at the second trick, "Simple Vanish." This really is a simple vanish.
You'll note that the text teaches this vanish from classic position and it is in
classic palm that you'll retain the coin in this vanish. You must remember,
though, that you don't [u]have[/u] to do it this way. The coin can be in finger
palm position or even front finger hold position and still function precisely
the way the book is teaching you to do the vanish.
Using whichever of the three positions that you feel most comfortable with (i.e.
classic, finger or front finger hold), learn to do this vanish.
Once you have the basic mechanics down, get in front of your mirror. Now, here's
the deal: actually put the coin from one hand to the other. Do this at least 6
times, actually putting the coin in the other hand. Watch your muscles and
finger motions while you transfer that coin from one hand to the other.
Now, six times in a row, do the sleight and make it look exactly like it did
when you actually transferred the coin. [u]Exactly[/u]. If you do this, if you
mock the real transfer with your false transfer, you will have a deceptive tool
that will become an important tool in your coin work in the future.
Do this very slowly at first - as slowly as you possibly can and still make it
look real. Never forget, magic should be slow and obvious, not fast and furious.
In fast motion, you will find two problems:
1) Speed of movement draws attention. In magic, you're trying to control

attention and put that attention where you need/want it. As soon as you move
quickly, attention is immediately drawn to the fast action. This is, of course,
to be avoided.
2) Speed of movement gives your audience an explanation - "The Hand Is Quicker

Than The Eye." We all know this is tripe, but your audience believes it. If you
move quickly, they will simply dismiss your magic as the hand being quicker than
the eye. This also is to be avoided.
So, take 15 or 20 minutes and really teach yourself this vanish. Of course,
you'll be putting in more time to polish this vanish and make it absolutely
perfect, but in the course of a quarter of an hour, you now have a trick. In and
of itself, it's not a big deal, but once you put it into the context of an
overall routine, it will be fantastic...And, we will get to routining so don't
get ahead of the class. For now, it is enough to have a good coin vanish.
If, at this point, you vanish the coin, you are left "dirty." If you are seated,
you can easily lap the coin as you feign to hand it to someone. Easily done. Or,
if you "throw" the coin to someone, eyes will follow the imaginary coin, giving
you a fraction of a second to pocket the coin. Voila! A coin vanish.
Again, the sleight that you have above is a false transfer, specifically it is
called a fake put. However, I would be remiss here if I did not cover the
classic false transfer - The French Drop. The French Drop is a fake take,
specifically.
You'll find instruction for the French drop in chapter 3 also. Just as above,
get in front of that mirror. Actually take the coin, at least 6 times and watch
your muscle and finger movement. When doing the French drop, mock those
movements exactly. You are free to ditch the coin (should you decide to simply
vanish the coin as a stand alone trick) the same as above.
Instead, though, try this:
Showing the coin in right hand and put it in the left (simple vanish). Vanish
the coin and with your right hand, reach behind your knee and produce the coin.
Toss it onto the left hand, show it to the folks on your left, explaining that
this is a magic coin (or any good story for the coin that you can muster) and do
a French drop. Vanish the coin and with your right hand, take a spectator by the
wrist and hold his hand slightly in the air. Now pluck the coin from their elbow
(simply push it from finger palm to the tips of your finger whilst making a
downward motion at their elbow).
Spend the next hour working on your two false transfers. Use your mirror and
make the false transfer match the reality [u]exactly[/u]. This gives you one
good fake put and one good fake take. These will become not only useful tools
for you as we continue along, but they will be necessary in the making of coin
magic. And you will use these two sleights for the rest of your life, in one way
or another.
It is here, after working through these two important sleights, that you are to
skim through chapters 3, 4 and 5. Check stuff out. If something catches your
eye, give it some time and give it a try. Make notes in your notebook (don't
have a notebook? Then stop, right now, go to your local store and purchase a
notebook) about the specific tricks (chapter and page number) that you'd like to
be able to do if you cannot get to them this instant.
But, familiarize yourself with these chapters. Don't read them word for word,
skim until something catches your eye and either work on it a bit, or notate it
in your book.
As an example, in chapter 5 "Quick Tricks," you'll find "Coin Production From

Two Cards." Right now, take a look at that one. It can be a cool way to
introduce a coin for the beginning of a routine. Play with it - give it a try if
you like it.
There are a plethora of good tricks like that in those pages, so have a look and
pick out a couple for yourself.
We shall be going back to these chapters for a closer study later, but for now
you have a lot on your plate. Also, as we go back and take a closer look at
these chapters, your notebooks will be of great use to you, so please do keep
those notebooks. As time goes on, you'll find that those notebooks will become
important tools for you and you will refer back to them for years to come. Keep
those notebooks.
Just as with step 1, teach both hands to do these sleights equally well.
Step 3: Technique
Chapter 2
As we move into the study of basic techniques in coin magic, your finger palm
should be perfected, your classic palm should be on its way (possibly at 50% of
where you think it should be to be perfected) and your thumb palm should be
strong, if not perfected (possibly at 80%).
You should further be working on, or familiarized with, a couple of other

concealments from chapter 1 and your natural curiosity should be leading you to
at least consider studies outside of Bobo (for example, what, exactly, is a
"Spellbound" change and what interesting tidbits can I find in Jay Sankey's
"Revolutionary Coin Magic?").
Also, you should have a couple of rudimentary coin tricks that you can do out of
chapters 3, 4 and 5 of Bobo. Basically, you should be playing with your coins
and seeing what you can do with them. You should further be writing notes in
your notebook that deal with which tricks you want to learn and putting
patter/story lines to the ones that you do. Never forget that your work should
be scripted...
At this point you are setting the ground work for taking your coin magic to the
level of "magic." Let's make a differentiation between a puzzle and [u]magic[/u]
right here and now.
This differentiation should be leading you to the study of theory in magic.

There are many books out there, to be found, on the study of theory. "Absolute
Magic" (Brown) is an excellent choice. "Mastering the Art of Magic" (Burger) is
another excellent choice, as is "Strong Magic" (Ortiz).
All that aside, let's take a look at some basic coin technique:
There are 10 headings in chapter 2 that give you basic technique. Of those,
there are two that are almost absolute requirements. The first is the Bobo
Switch and the second is the Utility Switch.
The Bobo switch manifests itself in many routines outside of coin magic.
Further, almost every coin worker uses the Bobo switch at one point or another
in his/her routines. Study this one, learn this one, make it yours.
Furthermore, the Bobo switch allows you to put the switched coin quickly into
finger palm, classic palm or thumb palm. This gives you a great many choices in
where you shall go in any given routine.
Once you have familiarized yourself with the Bobo switch, take a look at the
Utility Switch. The utility switch is a form of misdirection. This
misdirectional tool is called "prevarication." It is telling a lie without
coming right out and telling a lie. It can be a powerful tool when employed
subtly and properly. In the general scheme of things, the utility switch is easy
to learn (the Bobo switch will take some work to get perfected, however).
Your job is to learn and perfect both the Bobo switch and the utility switch.
While you work on those, though, let's take a look at some of the other
techniques that you will be able to employ in your coin work.
First, let's consider The Coin Flip. This is a subtle proving technique. The
general belief is that the human hand is incapable of doing two things at once.
In this case, flipping and catching the coin cannot be done if a coin is hidden
in the hand. While we, as magicians, know this to be incorrect, the laymen do
not. So, by flipping a coin and catching it, you are proving your hand empty of
anything but the flipped coin. This can be a powerful tool when employed at the
right time. It is worth learning, as a general rule.
Next, The Click Pass. Bobo offers 3 methods for this. The click pass can be
employed in specific situations. In the general scheme of routining, it becomes
a powerful weapon - but it needs a purpose for being. I suggest that you learn
the mechanics of it, but unless you have a specific need of use, it can be
passed over. As you become more advanced in your coin work and routining, you'll
find uses for the click pass. Presently, though, it is enough to understand its
mechanics and why it exists.
Now, let's take a look at The Change-Over Pass. This is one that I highly
recommend that you learn and master. An excellent move for proving both hands
empty, this is what we call an "acquitment." As has been recommended earlier in
this thread, sleeving is an excellent tool to use and have at your
fingertips...But, what if you are wearing a t-shirt or other short sleeved
shirt? The change-over pass becomes a powerful tool at this point.
Moreover, the change-over pass can be translated into other fields of work in
magic. For example, I use the change-over pass in conjunction with a TT. Whether
stealing from thumb palm with a coin or stealing from the tip of your thumb with
a TT, the method is the same. With the coin, you steal with the middle and ring
fingers, with the TT you steal it immediately into finger palm. Still, the
methodology remains the same.
Sidebar: Learn to use techniques from one genre of magic and translate them into
other genre of magic - it will make your work much, much stronger in the long
run.
By way of example:
Using a classic palm, you have a copper hidden. You take and show your silver to
the spectators, giving it a story. While you let the spec handle the silver, you
move the copper into finger palm. Taking back the coin, you throw it to the
other hand (Bobo switch) then show that the silver has changed to copper.
Handing the copper to the spec, you prepare to show both hands empty via the
change-over pass. A minor miracle when it is proved that, with no sleeves, the
only coin that you possess is the copper which was formerly a silver. Throw in a
Spellbound change at this point and you'll blow them away!
Next up: The Bottom Steal. This is another that requires a need of use, like the
click pass. In and of itself, it is nothing special. Again, though, as you
advance, you may just find yourself in a position where it will become a useful
tool. So, it is important that you know of it and understand it. Look it over
and know that it exists.
Next: The Shaw-Judah Switch. This is much like the Bobo switch and, again, one
that is important to note. And, yet again, this is going to be used in a routine
where there is a specific need of it. Look it over, know that it exists.
Lastly (and yes, I have skipped a couple), an important part of this chapter is
Taking Advantage of a Fumble. Pay particular attention to this treatise. The
fact of the matter is, regardless of how much you practice, no matter how
perfected your technique, you will ultimately fumble. Be aware of what can be
done to turn a fumble into a success. Play with this section and let your
imagination run wild. A fumble can actually be a good thing!
Okay, one last "lastly:" The One-Hand Switch can be a dangerous weapon when
employed properly. I suggest that you learn this one.
[size=150][u]Updates and Notes[/u][/size]
In regard to "The New Modern Coin Magic," it contains 4 extra chapters

comprising 158 more pages. Everything appears to be exactly the same up to the
extra 4 chapters, so I will continue on as I've done and there should be no
discrepancies regardless of which book you are using.
Let's just do a quick review of what we have to this point (keeping in mind that
we are only on step 3 at this point):
We have at least 3 good coin concealments (from Chapter 1)

We have at least 2 good false transfers (from Chapter 3)
We have at least 2 good techniques (from Chapter 2)
We have a couple of good tricks (from Chapters 3, 4 and/or 5)
It is now that you are going to want to start paying attention to routining.
Shortly I'll write up a treatise on routining - something that will give you a
better path to follow for putting together a routine of your own - but, for now,
just stop and consider the need for routining.
The final chapter of MCM is a conglomeration of routines. They range from easy
to hard to nigh on impossible. This is an excellent study guide for putting
together routines, but it lacks an explanation of how the student should go
about making their own routines.
So, take a look at what you've got at this point and see if you can link a
couple of your concealments with your techniques in order to put your tricks
together in an overall performance. Start trying to think in terms of several
effects linked together in order to build a routine. Certainly, at this point,
you will only be able to do rudimentary routining. That's okay, though. In fact,
that's probably a good thing because at this point you aren't inundated with so
much material that it becomes difficult to figure out what to put with what and
where.
Just as with working through Bobo slowly, as we are doing, and learning the
basics which will give us a strong foundation for more advanced work, so to with
routining. It is better to start off basic and work up to advanced...In other
words, you've got to crawl before you can walk and walk before you can run.
So, take a moment and consider what you've learned at this point, get out your
notebook and try to build a routine from what you have right now. This routine
doesn't have to be anything huge or amazing, just a logical set of tricks hooked
together to make an overall routine.
Here is a very, very basic example of routining:
The performer takes out a coin and shows it around, explaining that it is a
magic coin. For effect, the coin should be old and possibly worn - a coin that
is a good luck piece handed down from father to son over generations. While the
amount of luck that it has brought is questionable, it does have some
interesting qualities that you've noticed over the years...
Perform "Through the Leg" (first trick, chapter 5) and immediately follow it
with "Rubbed Through the Leg" (second trick, chapter 5).
Sidebar: While the effect itself is much the same for both of these tricks, the
method is very different. As a result, it is okay to do "the same trick twice"
because the methodology will lose them. In fact, it is rather good to do this
two times in a row, because quite often, when doing a trick, the spectators will
say, "Do that again!" By doing it twice, you've gotten rid of that desire to see
it again (call it a "preemptive strike" if you will) and by changing up the
method, they think they've seen it twice but won't be able to figure it out.
The performer then displays the coin at the outstretched tips of index and
middle fingers while explaining that that isn't even the most impressive of what
that coin can do...
Thumb palm vanish the coin, use a change-over pass to prove both hand empty
then, with a snap of the fingers, the coin comes back.
In fact, the performer explains, oftentimes he/she even questions the existence
of the coin, even though it is always found in his/her pocket.
Using any false transfer, throw the imaginary coin into the air and
simultaneously ditch it whilst the spec's eyes follow the upward arc of that
imaginary coin.
-Fin-
There you have it - a very simple and direct routine. The coin is introduced, it
is proved to have "other-worldly" qualities and ultimately vanishes completely.
A beginning, a middle and an end.
[size=85]© copyright 2013 Michael J. Herzog all rights reserved[/size]

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Post Icon Posted: Jun 28, 2013 10:03 am Click to view the We Like! List3
At this point in your study of Bobo, you should be very comfortable with coin
work. Your notebook should have a couple of tricks that you like listed in its
pages as well as a routine or two that you are either working on or have worked
on to the point that you are showing it to your inner core of friends and family
who are generally privy to your beginning work.
Moreover, you should be coming to the realization that coin magic requires a bit
of body motion and body language to really sell it. With coins, minor nuances
and subtlety go a long way in creating a visual effect that is realistic. This
is, of course, where your mirror comes in because the study of your hands and
the muscles of your hands is extremely important.
In a moment, we will enter the realm of coin vanishes. As you go through your
book and look these "tricks" over, you need to keep in mind that many of these
aren't just vanishes, but ways of transfering a coin from one hand to the other
in a convincing manner. You will not always want to vanish a coin when you
apparantly transfer it - just keep this in mind.
Also, some of these vanishes are going to require that you go back and learn a
different concealment or technique in order to make them work. As long as your
main concealments and techniques are strong, then it is suggested that you take
the time to learn new ones. This will give your repertoire a greater variety and
allow you more scope when putting routines together. You are slowly building
your toolbox.
Step 4: Coin Vanishes

Chapter 3 & 4
Part 1: Chapter 3
[u]The Standard Vanish[/u] (fake put) is an excellent vanish for placing the
coin into classic palm position. The problem is that it is very difficult to
make it look natural.
[u]The Simple Vanish[/u] (fake put) allows you to start in classic palm, finger
palm or front finger hold, so is diverse in where it allows you to go
immediately following the vanish.
[u]Over the Top[/u] (fake put) is very deceptive, yet very knacky.
[u]The Tunnel Vanish[/u] (fake put) is not only deceptive, but will allow you to
pull off a vanish under the closest of scrutiny. The downside to this is that it
is a relatively unnatural way of placing/transfering a coin from one hand to the
other - with careful scripting/routining this can be overcome.
[u]The Thumb Palm Vanish[/u] (fake take) allows you to start the coin in thumb
palm and, when executed properly, looks like a very fair way of taking a coin
from one hand to the other, albeit rather an odd way of transfering the coin.
It, of course, preps for a good acquitment.
[u]The Drop Vanish[/u] (fake put) should be given careful consideration by the
student, as it can be used in more ways than just as a vanish/false transfer, so
it is a utility move. It is given a fairly long treatise in Bobo and the fact of
the matter is, this is one that was worked through by Milt Kort (you will notice
that his name appears in Bobo almost 2 dozen times - Kort was a great coin man
of his day). This utility move works as a vanish, a switch and a pass, depending
on your application.
[u]The Bobo Coin Vanish[/u] (fake take) takes advantage of age old effect,
"Retention of Vision." This was something that serious coin men of their day
knew very well and the power behind it. Properly used, your spectators will
swear that you placed the coin in the hand that you claim that you did.
[u]The Slide Vanish[/u] (fake put) is very deceptive when used properly and
further is a natural way to transfer a coin.
[u]The Illusive Coin Pass[/u] (fake take or fake put, depending on presentation)
is one to pay close attention to. This is used quite a bit by David Roth -
almost over used.
[u]A Coin Vanish[/u] (fake put) requires a lot of work to get smooth and
deceptive, but looks very natural when executed properly.
[u]The Pinch Vanish[/u] (fake put) is knacky but dangerously deceptive.
[u]Gone[/u] (steal) is worth study as it teaches handling and misdirection as

well as audience control.
[u]The New Era Coin Go[/u] (fake put) is knacky, but given time and work could
easily be a reputation maker.
[u]The Flyaway Coin[/u] (fake put) is another that could easily become a
reputation maker, but it will test you acting and misdirecting skills. Not
technically hard to do, but difficult to use as a convincer. In the right hands,
this is another that could easily become a reputation maker.
[u]Behind the Back[/u] (trick) is another knacky one, but could be used to good
effect.
[u]The French Drop[/u] (fake take) is just simply one that should be known by
every magician.
[u]The Reverse French Drop[/u] (fake take) is a good way to go if you need the
coin immediately put into classic palm.
[u]The Elusive Silver Dollar[/u] (fake take) is powerful, but highly technical.
It will require a strong commitment to practice.
[u]The Wrist Watch Vanish[/u] (fake put) requires, of course, that you are
wearing a wrist watch. It's a good "ditch" to know, though, as it sets the coin
into easy position for a steal to get it back.
[u]The Pulse Trick[/u] (fake put) requires the use of a strong back palm. Given
the commitment to practice, it can be an excellent trick in the hands of a
competent performer.
[u]The Cranium Vanish[/u] (trick) is an overlooked gem. It has certain

performance requirements which hinder its use in general, but when your audience
is below shoulder level, this is a fiendishly powerful trick.
[u]Vanish with the Aid of a Handkerchief[/u] (trick) does two things: 1) It

introduces the use of another prop that can come in handy in coin magic (a hank)
and 2) it gives the student his first look at the subtlety that we now call "The
Ramsay Subtlety." The Ramsay subtlety is "Fig. 3" on page 44 (hard back) and a
terrifically powerful convincer move when used sparingly and properly.
[u]The "Heads and Tails" Vanish[/u] (trick) introduces the student to a multiple
coin vanish. Whilst the trick itself is limited in scope, it is worth a look for
the mechanics alone and could be used in the making of a routine, where it may
just prove to be a useful vanish.
[u]Vanish for Several Coins[/u] (fake put/trick) offers two ways of using the
click pass (technique). The first is used by Doc Eason regularly. The second
I've never seen done by anyone (while I don't doubt that it could be done,
technically it is really rather odd).
[u]A Trio of Vanishes[/u] (routine using fake puts) is a series of vanishes,

ending with the coin fully vanished. This routine introduces sleeving and also
uses the Ramsay subtlety. This should be looked over closely by the student,
even if not learned, because it teaches subtlety in conjunction with an overall
routine and shows that you can do the same trick several times in a row if you
switch up the method. Well worth your time in study.
This gives you 25 sleights/tricks with which to choose from. I strongly suggest
that you don't attempt to learn all 25 (although, if that's what you wish to do,
then certainly more power to you!) but rather take a look at each of them and
consider their strengths and weaknesses. Also, try to consider what each of
these will bring to the table, giving proper consideration to routining the
material.
My personal suggestion is that you choose 5 of these tricks, write them down in
your notebook and begin working on them. You should already have 2 of them
mastered at this point anyway, so that will cut down on some of your work load.
Furthermore, do your best to teach both hands to do these sleights that you've
chosen. Remember, when you do a false transfer, the coin is left behind, in the
original hand. By being capable with these sleights with both hands, you will be
able to keep the coin in either the left or the right hand which will open up a
wider scope of what you can do in the context of a routine.
Failing that, then at least teach your off hand one or two of the sleights. In
this way, you will still be given some latitude in which hand the coin is left
behind. For example, if you need the coin in the left hand, then teach your
hands to do a French drop starting in the left hand and if you need a coin in
the right, then teach yourself the simple vanish starting in your right hand.
This will cut down on your workload but also allow you to set up a continuity in
your routines.
One last thing (and I would be remiss not to mention it here) is to give due
consideration to "Vanish with the Aid of a Handkerchief." Do you remember the
"word from our sponsor?" The magic mouse? By introducing a handkerchief into
your routine, you allow yourself to segue into a silk or handkerchief routine.
Now, the magic mouse isn't everyone's cup of tea, but what is important here is
that you understand that it is more powerful to move from one routine to another
by giving it a logical segue. By bringing an additional prop into your coin
magic, you give yourself further avenues to explore.
Part 2: Chapter 4
[u]The Bobo Complete Coin Vanish[/u] is a very deceptive way of ditching a coin.
In fact, this particular method will appear later on in the book via the use of
a handkerchief. This is an excellent method to know and study.
[u]Complete Thumb Palm Vanish[/u] uses the same ditching method as the Bobo
complete vanish above - again, this is an important method to understand. The
problem with both of these vanishes is, of course, that you need a shirt or
jacket with an outer breast pocket.
[u]Knee-zy Vanish[/u] is a study of repetition and misdirection. While you may

not use this vanish as presented in the book, the ditching method under
misdirection is an important technique to study.
[u]Sucker Vanish[/u] is worth some time to study. Again, you might not wish to
actually use this particular effect, but what it teaches is very important in
coin magic. It plays to the spectator's suspicions as well as using some very
subtle psychology in leading them along. Take the time to give this trick due
consideration.
[u]Pocket Vanish[/u] is certainly worth your time as this is one that can be
translated into other areas of work. As an example, I use this vanish in
conjunction with my color changing knife routine, as the knife can be slid out
of the fold in a very similar fashion to how it is presented with the coin in
the book. Any time that you can translate one method into another area of your
work is a good thing.
[u]With a Handkerchief #1[/u] again uses the breast pocket to ditch the coin.
Are you seeing a theme?
[u]With a Handkerchief #2[/u] is a look at another way of ditching a coin, based

upon the clothes that you wear. I've pointed out in another thread that coin
magic is dependant not only on your skill with subtlety but also the clothes
that you wear. Learn to take advantage of everything at your fingertips. That
really is your job as a magician.
(Here, again, we have introduced a handkerchief into the mix, allowing us to go

in another direction with routining. While you can make an entire study out of
handkerchief magic alone, I suggest that you pick up a copy of "Self-Working
Handkerchief Magic" [Fulves], which will give you a greater scope in your
routining.)
[u]With a Handkerchief #3[/u] has Kort's name on it. This alone means that it is
worth your time to study it, even if you do not add it to your repertoire.
Again, I feel the need to point out that Milt Kort was a master of magic, even
though you will rarely see his name and you're probably being introduced to Kort
via Bobo. Milt Kort, while relatively unknown to the younger magicians, was one
of the great masters of his day and you would do well to pay attention to
anything that bears the name Kort.
[u]In a Spectator's Pocket[/u] offers three methods for putting a coin into your
spectator's pocket. Here we see that coin magic is not only effected by your
clothing, but by your spectator's clothing as well. Again, it is imperative that
you learn to use every aspect of your environment when doing coin magic.
Furthermore, this is something that cannot be practiced, as per se. You actually
need a spectator when trying to pull off something like this. Can you do it?
Challenge yourself and see.
[u]Bluff Vanish[/u] is just the heigth of having big, brass ba...Okay, look,
coin magic requires subtlety of handling and this is about as subtle as it gets.
Study this one, learn this one and if you do it with an inkling of panache, they
will worship at your feet!
[u]Sucker Bluff Vanish[/u] is an extension of the bluff vanish, but I urge you
to consider the ramifications of any "sucker" effect. It takes a certain
personality to pull off such a thing and not set your audience against you or
open you up to a "challenge" feel to your magic. Careful consideration is due
this effect, should you decide to learn and use it.
[u]The Coin Fold[/u] is an excellent device that has some workable applications.
Coupled with the use of flash paper and a one-hand switch (technique) this can
be a dangerous weapon in the hands of a competent coin worker.
[u]The Envelope Vanish[/u] has its own set of applications. I'll leave this one
to your own, fertile imaginations, though (since I've never had cause to use it
myself...).
I suggest that you learn three of these full vanishes. If you are doing a one
coin routine, there is simply no better way of finishing it off than having the
coin fully vanish at the end. Of course, there is always "the giant coin"
finisher, but this still requires that the coin itself is ditched in one way or
another. Either way, this is an important study of coin magic.
Take your time and work through chapters 3 and 4 at this point. Using the notes
above, you should be better able to make informed choices in which you'd like to
master and which can be given a pass.
I have gone back and edited my posts thus far to read, "Part I - Mastering the
Basics." This post will encompass Step 5 of the basics and, since we will be
looking at Chapter 5 of Bobo, it is the perfect segue to "Part II - Advanced
Coin Work" because some of the tricks in Chapter 5 are moving into advanced coin
work.
Before we go over this last step of Part I, let's take a look at where we are
now...
Notes and Review
To date, you should know the following:
Classic Palm
Finger Palm
Thumb Palm
Downs Palm
The Back Finger Clip*
The Back Palm*
The Bobo Switch
Utility Switch
One Hand Switch*
Change-Over pass
The Coin Flip*
Simple Vanish
The French Drop
Thumb Palm Vanish*
The Bobo Coin Vanish*
Vanish with the Aid of a Handkerchief*
Complete Thumb Palm Vanish*
The Bobo Complete Coin Vanish*
Bluff Vanish*
* These are subjective, but if you don't know any given one of these, then you
should have another to fill it's slot. That is 19 sleights that you have either
mastered or to which you are giving daily work/practice.
Now, consider that for just a moment. That is 19 sleights or tricks. Nineteen
different things that you can do and routine them together in various
combinations. A full routine will probably require 5 to 8 of those sleights or
tricks (quite possibly less). How many different combinations of 8 or less can
you put together from 19?
Don't waste your time trying to figure it out. The simple answer is: A sh*t
load.
It is very rare for anyone to stick to one manual when learning magic, whether
coin, card, silk or rope or any other facet of magic. So, in a moment, I'm going
to give you a list of DVDs and books that you may just be interested in and that
will help you along as you study Bobo.
What is important to keep in mind here is that there is very little on the
market that doesn't have some roots in Bobo. For example, "The Messiah Vanish"
(Sankey) which is marketed by Ellusionist (I think) under the name "The Devil
Coin Vanish" is nothing more than "Smart Coin Trick" (Chapman, Chapter 5 of
Bobo, originally published in "The Bat"). Also, Daryl has an effect marketed
called, "Cross of India" which is nothing more than a version of "The
Inseperable Pair" from Bobo. As mentioned earlier, David Roth's retention vanish
of choice is, specifically, "The Illusive Coin Pass" (Crawford, originally
published in "Greater Magic").
Please understand, I'm not suggesting that there is nothing new on the market,
only that Bobo is about as complete a book/manual of coin magic as anyone can
place their hands on. With some creativity and some work, you might just be the
next guy to release a "new" coin trick that you worked out because of your time
and effort spent in Bobo. What I'm saying is that your commitment to working
through Bobo is an important step in your overall health as a coin magician, so
don't stop here even if you do pick up some of the supplemental material that
I'm about to suggest:
Expert Coin Magic Made Easy - DVD - Roth

Revolutionary Coin Magic - DVD - Sankey
Palms of Steel - DVD - Kam
Coin Magic 2000 - DVD - Dill
Up In Smoke - DVD - Cummins
The Magic of Michael Ammar - book - Ammar
The Magic Book - book - Lorayne
Apocalypse - 4 volume book set - Lorayne
Expert Coin Magic - book - Roth
Coin Magic - book - Kaufman
Now, without further ado, let's get back to Bobo...
Step 5: Quick Tricks
In this chapter of Bobo, there are over two dozen tricks to choose from which
range from very easy to very difficult. I suggest that you take your time with
this chapter, read through it (32 pages) and choose at least 5 of them that you
like. These 5 chosen tricks should be different than any that you may have
chosen previously, in step 2 (Quick Fix) that we’ve already covered.
However, as you are going over these tricks, slowly and carefully, separating
the wheat from the chaff, consider them in a routining bent, as well as what
they can give you in the line of quick, one offs. I know that I push routining
on you pretty strongly, but there is still a time and a place for one off
tricks. So, give thought to both routining and one offs.
[u]Through the Leg, (a) and (b)[/u]: Two methods, closely related. Give due
consideration to following either one of these with the other, but certainly
give consideration as to how they may be routined with other tricks. Also, don’t
be afraid to inject some of your own creativity with how and when to routine any
give “quick trick” with other sleight of hand to your own end.
[u]Rubbed Through the Leg[/u]: This effect, whether you use it or not, is very
important in your study of coin magic. It has an explanation of “focus of
attention” and how to use it to your advantage. By studying this application,
you’ll find that there are other ways to translate it into your own, creative
routines (or even one off, quick tricks of your own machination). This is not
only a very important principle in coin magic, but also when working with any
small objects in a close up situation. Give this trick due consideration and
study as it will help you overall in your work as a magician.
[u]Through the Pocket (a), (b) and (c)[/u]: This is a trio of penetrations which
can be used in one offs or routined with other penetration sequences. Keep in
mind that penetrations are penetrations, whether through the cloth of your pant
leg or through your hand, leg or any other body part, or even the table that you
may be sitting at. This is an important study, as the book is now pointing out
how you can use different effects from different parts of the book in order to
routine material. Dai Vernon said, “Read between the lines.” If ever that was
important, it is important here.
[u]Through the Hand (a), (b) and (c)[/u]: Again, we have a trio of penetrations,
this time through the hand. Studying these three penetrations, you’ll get ideas
of how to get a coin to penetrate from the back of the hand to the palm and vice
versa. This is well worth your time in study, even if you never use any of these
tricks. Also, if you pay honest attention to these tricks, you’ll find that they
are gently nudging you to start using body language and body motion to sell your
coin magic. This is extremely important.
[u]Through a Handkerchief (a) and (b)[/u]: Here we see an additional prop

introduced into our magic with coins. Silks and handkerchiefs will not only
allow you additional routining options, but also gives you good cover when doing
magic. This cover can be a powerful thing in the right hands. Furthermore, the
study of these two tricks also teaches you how to move that coin around, from
one concealment to another comfortably and naturally. This is an important study
on your road to coin magic. I strongly suggest that you pay particular attention
to this pair of tricks.
[u]Double Penetration[/u]: This begins the basis of several marketed effects

wherein coins penetrate handkerchiefs. It is well worth your time to study this
particular effect, especially when you consider that this trick is covered quite
often in lectures by some of our general heroes of the day - Michael Ammar and
David Roth, amongst others.
[u]Pants Leg Miracle[/u]: This is an excellent study in coin transformations and

will help to lay the foundation of transformation down the road.
[u]Half Dollar to Quarter[/u]: Another Milt Kort offering. Need I say more?
[u]The Charmed Coin[/u]: A good study in repetition as misdirection as well as a

nice effect, particularly for kids entertainers.
[u]The Coin of Metamorphosis[/u]: Not only is this an important study in what

the human hand is capable of when trained properly, the misdirection of this
particular trick is of great import as well as seeing again where body movement
comes into play for coin magic. I strongly suggest mastery of this effect, even
if you never show it to a single spectator - this trick is that important.
Further, the treatise of this trick gives suggested patter and is an excellent
study in how to match movement and action to words. Overall, probably in the top
three tricks that should be carefully studied in this chapter.
[u]Coin to Key[/u]: Another transformation, this time from one item (a coin) to
an fully unrelated item (a key). Give this trick your careful consideration, as
it is used to good effect by many magicians as an excellent one off. Done
properly and with only a modicum of panache, it is a jaw dropper.
[u]Change for a Half[/u]: Much the same as “Coin to Key” but the transformation
tends to make more sense, logically (well, as logically as magic can be, I
guess!). Considering this trick and the former trick, “Coin to Key,” what else
can you transform a coin into using this method? Use your imagination - it is
your most powerful tool.
[u]Much from Little[/u]: While this is a difficult trick to pull off because of
angles and set up, the fact is that this method is a very important theoretical
idea in the realm of coin magic. Learn it, whether you use it or not. Study it
and give due consideration as to where and when such a method could come in
handy. It is an underused idea in the magic industry these days…You might just
make your reputation off of this silly, little trick.
[u]The Topsy Turvy Coins[/u]: I have yet to find a real use for this. But, the
fact remains that it is an offering in Bobo and certainly worth a look. I’ve
always said that there are no bad tricks, only bad magicians. Can you find a use
for this?
[u]The Impromptu Mint[/u]: This is a good exercise for you hand if you wish to
work with back palming. It could also be a killer in the right hands.
[u]Smart Coin Trick[/u]: This is a full vanish of a coin and a killer when
executed properly. So good is this trick that it has been given a treatise by
Jay Sankey as well as sold professionally as a stand alone piece. The real trick
to this effect is getting the coin back once you’ve vanished it and Sankey
covers that in a different way than the Bobo way. Still, take a good, long look
at this one!
[u]Impromptu Version[/u]: Another look at how to get that coin back from “Smart
Coin Trick.”
[u]The Switchover[/u]: Again, a look at how to move a coin around, unseen, under
the cover of a completely separate prop - the pocket hank.
[u]The Appearing Half[/u]: Again, using a pocket hank in conjunction with coins.
You are probably starting to notice a trend here. A pocket hank, or a silk, not
only gives good cover to some stunning coin magic, but also allows you choices
in routining. If you like silk or handkerchief routines, you can easily combine
them with your coin magic. Certainly worth your due consideration.
[u]Coin Production from Two Cards[/u]: This is an excellent trick and now gives
you the choice of routining card magic with coins.
[u]The Touch of Midas[/u]: Here we see the name Cardini coming out in Bobo. This
alone should tell you that what you have here is an advanced coin effect. If you
are hardcore in your desire to be a coin magician, you’ll want to pay close
attention to this trick. It can also be used in conjunction with an opening for
a close up version of “Miser’s Dream.”
[u]One to Four & One to Six[/u]: These two final tricks in this chapter will
honestly test your willingness to practice. This is terrifically advanced coin
magic, but given the proper time and practice, they are really strong magic.
Worth study, even if you’re not of a mind to put such work into your coin
presentations. Again, as with certain tricks above, it will really teach you
what the human hand is capable of, given the proper time and training.
Next up, we get into “Part II - Advanced Coin Work.”

Michael Jay
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Toledo, Ohio
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[size=150][u]Part II - Advanced Coin Magic[/u][/size]
Step 1: Cuffing and Sleeving

[u]Part 1: Chapter 6, Cuffing[/u]
This chapter of the book, which is a whopping 3 pages long, comes to us from an
era when men wore their trousers with cuffs. The argument can be made that,
since we no longer have cuffs on our pant legs, this is a superfluous chapter in
Bobo and should simply be overlooked. I must respectfully disagree with such an
assessment, however.
First, it is only 3 pages long. Certainly it cannot hurt you to take five
minutes of your time and give it a look.
Second, it just may come in handy at some point in your career. How (you may
ask)? Well, I'll tell you how.
See, in magic, we are after a character of whom we shall become while we are in
front of an audience. Of course, your character should be an extension of
yourself, but we all see ourselves differently. If you decide at some point that
you'd like to have a characterization of a '50s style confidence man, then
you'll be at liberty to have trousers with cuffs. At this point, you'll be
giving yourself an extra tool to use in your performance. That can only be a
good thing.
Third, it's only 3 pages long, so read it.
With cuffing, we have the full ditch of a coin (or any small, flat object, for
that matter). Oftentimes, magicians don't like to be left dirty and the pant
cuff is an excellent place to use when cleaning up. It simply isn't suspect.
Also, cuffing is dependent on proper blocking, misdirection and body language.

The same can be said of a topit and topit methods. So, the pant cuff is very
similar to the topit on many levels.
It is worth your time to give this very short chapter a look, so please do read
it.
[u]Part 2: Chapter 7, Sleeving[/u]
"Apparently place a coin in your left hand, actually retaining it in the right.
You can open the left hand and show it empty but you cannot display the other
hand unless you do a change over. Wouldn't it be cleaner to be completely rid of
the coin, yet be able to produce it at will? Sleeving is the answer." -J.B.
Bobo-
Many years ago, I saw a local lecture featuring Bob King. Mr. King borrowed a
quarter and immediately proceeded to put a cigarette through that borrowed
quarter. Of course, most anyone familiar with magic knows how this trick works
(cig thru coin), but the problem was that Bob took the borrowed coin and openly
and fairly put that cigarette through it. He had my attention. In fact, he had
everyone's attention, because there was no switch that any of us were aware of.
It was pretty amazing stuff.
Bobo divides the chapter on sleeving into two sections. The first section deals
with sleeving techniques, the second deals with tricks that use sleeving. I'm
not going to spend much time herein with the second section, but rather put my
time into going over the techniques and their value.
Starting at the very beginning, there is a five paragraph introduction to

sleeving, just before getting into methods. Pay particular attention to this
introduction as it makes the methods to come easier to deal with. You need to
understand fully how your equipment must function in order to facilitate the
proper use of sleeving and that is precisely what this introduction will get
you.
Now, I understand that, generally speaking, a lot of newer magicians will not
have a use for sleeving, preferring to go with the "street performer's" dress of
the day (trainers, jeans and t-shirt). However, if you live in a temperate zone,
you'll find that in early spring, late autumn and the winter time, you will, in
fact, be wearing a jacket. Depending on your jacket, sleeving may just become a
useful tool for you during 6 out of 12 months of the year. That's 50% of the
time. So, you may just want to give your due consideration to what is an
extremely effective tool in the coin man's repertoire.
If, like me, you wear a jacket in your formal work, then sleeving becomes an
invaluable tool to have at your fingertips. However, we must pay careful
attention when Bobo tells us, "Sleeving is no panacea...Don't overdo it. Include
only one or two such effects in an entire routine." That is an important piece
of advice that, if followed, will take your coin magic from strong to miracle
status. Trust me on this: Sleeving is an exceptional tool when used properly and
at the right time.
[u]Delayed Action Sleeving[/u] This is the basic manuever. Study it, because it
is the basis that the rest of the techniques will spring from. Become
comfortable doing this if you are going to use sleeving at all. You may never
actually use this method, but you must be familiar with it if you're going to
advance in sleeving techniques.
Further, understand that this method can be used for any small object. Did you
want to ditch that TT? Well, here's a way of doing it and yet still being able
to get that little item back when you're ready. Again, I cannot stress strongly
enough how valuable it is to borrow techniques from one genre of magic and apply
them to other genre.
[u]Improved Method[/u] Here we see that you can make a minor change to a
technique, but call it something completely different. This is the foundation of
the advanced magic that we see on the market today - what we are all prepared to
pay huge sums of money to learn from these "cutting edge" magicians by buying up
their manuscripts and DVDs.
If you learn nothing else from taking "Delayed Action Sleeving" and upgrading to
the "Improved Method," then learn that the "new and improved" techniques of
today are nothing more than a slight variation of something that is already
there.
So, pay attention to our first method offered and look at what the "improved"
method brings to the table.
-On a side note: "delayed action" means that you sleeve after the sleight is
finished, "instantaneous" means that the sleeving operation happens at the point
of the sleight-
[u]The "Pumpkin Seed" Vanish[/u] Here we have a difference in not only

technique, but where the coin ends up overall. In the above two methods, the
vanished coin starts and finishes in the hand that sleeved it. The "pumpkin
seed" method, however, puts it in the opposite sleeve.
Give your careful consideration in routining any given piece of coin chicanery
as to where you want the coin to be accessible from as this will decide whether
you go with delayed action sleeving or "instantaneous" sleeving. This will come
down to your application in any given trick that you do.
You see, you must understand that "advanced" coin magic is not only about
sleights, but is about thought and process. In other words, you and I can do the
[u]very[/u] [u]same[/u] simple trick, but because I am "advanced" in my handling
of that very same trick, mine will appear miraculous while yours will appear
clever in the eyes of the laymen.
"Advanced" does not simply mean "greater skill," but rather greater thought to
routining and more consideration given to the tools that are there for anyone's
use, should they simply take the time to study, learn and use those tools.
Routining is a tool. Sleights are tools. Sleeving, characterization and
presentation are tools. Learn to use them in harmony with each other and you
will elevate your trick to miracle status.
[u]Reverse "Pumpkin Seed" Vanish[/u] At first glance, this may appear to be

something that immediately "gives the game away." Obviously, if you do a one
handed vanish and the coin is gone, it must have gone somewhere (give your specs
credit for intelligence). In this circumstance, you'll leave your audience with
no choice other than to believe that it went up your sleeve.
But, try this on for size:
You have a coin classic palmed. You ask to borrow a coin from your spec (a
similar coin to the one you have classic palmed). You take that coin from your
spec with the same hand that has the classic palmed coin and you hold it in such
a way (as you take the coin) as to do the reverse pumpkin seed vanish. Do the
vanish as you flip your hand over and show the coin, sitting on your palm
(actually showing the previously classic palmed coin, the other having been
sleeved).
It will appear, to all the world, as if you took the coin and simply turned your
hand over, dropping that coin onto your palm in the so doing. This is precisely
the method that Bob King (discussed above) used when he blew a room full of
magicians away. The illusion is amazing. You take the coin and flip your hand
over, dropping it onto your palm as you do.
In reality, you simply reverse pumpkin seed vanish the borrowed coin as you flip
your hand over, revealing the classic palmed coin. This is a one handed coin
switch that is so convincing that it will go unnoticed by anyone, laymen and
magician alike. It is subtle, and in that subtlety, masterful...And yet it is
within the grasp of a basic coin manipulator.
Again I say that advanced coin magic is a matter of thought and process, not in
a desire to spend every waking moment practicing near impossible sleight of
hand. Be creative. Study every tool that is at your fingertips - you don't even
have to learn how to use these tools, but consider, in your mind's eye, just how
deceptive any given tool can be when used in combination with other tools. This
is where you go from "basic" to "advanced."
[u]The Catapult (and variation)[/u] Another method that in and of itself must
lead the spectators to wonder where the coin has gone. Again, these methods
should be used in conjunction with a routine, rather than as something that
stands on their own.
Creativity, folks. Be creative. Study these tools and consider what use they are
to you in routines or tricks that you already do.
[u]Judah Method[/u] This method, designed by Stuart Judah, is very interesting.

It is a study in coin handling, if nothing else. Please understand that Judah
was a coin master of his day, so pay attention to this vanish/sleeving
technique.
I cannot comment too much on this method, as I do not use it, nor do I find a
use for it, in my own repertoire. So, I leave it to you to see if it is a
workable idea in your own routines. But, again, it is important to note simply
because it is Mr. Judah's pet way of sleeving a coin. And, it is also important
to note the name of Stuart Judah, who was producing miracles before most of us
were born.
[u]A Unique Sleeving Move[/u] Of worthy note, here, is the fact that this method
is a variation of a variation. Because of this fact, it allows Ross Bertram to
claim it as his own.
Again, historical variations that have been claimed, which allow a magician
(Bertram, in this case) to have his name associated with the effect/technique.
Of most important note here is that Bertram did not publish a manuscript and
sell it to all the magicians of that day - it is simply included in a larger
treatise on coin magic.
My apologies - I guess I get a little tired of seeing variations of variations

get sold (now-a-days) as if they, and they alone, were of any monetary value to
the magicians today who are more than happy to line up and pay for the "clever"
ideas of guys who (mostly) don't even know where the hell the original sleights
came from or, oftentimes, that they even existed.
Now I'm just on my soap box, I guess...
[u]The Throw[/u] Study this method for the idea that lies behind it. This can be
used in conjunction with a formal "Miser's Dream" presentation or any
presentation where you want to continue to produce and vanish the same coin,
over and over, whilst appearing to produce more than just the one that you are
actually producing.
This is a theoretical technique that is used in many different genre of magic,

including the cups and balls. While the method is different (obviously), the
technique and theory behind using the same item over and over for producing an
object with the idea that you are producing many items remains (much) the same.
Well worth your time to give it due consideration.
[u]Kort Method[/u] What do you know? Here, again, we see the name Milt Kort pop
back up. I guess that having personally known Kort tends to color my
perceptions...But the fact remains, Kort is the most fecund name to appear in
Bobo.
This particular method is akin to a "retention of vision" vanish. Getting the

timing down properly is the most difficult part of this technique. If, however,
you can time this properly and routine it well, it really is a miraculous
vanish.
[u]Kirk Stiles Method[/u] Very similar to Kort's method, the variation is worthy
of its own treatise in Bobo.
Take a look at both Kort's and Stiles's method, here. One may work for you while
the other may not. But, again, I say it is a matter of having as many tools at
your fingertips as possible in the overall building and health of your routine.
Use what works, don't worry about what doesn't.
And, yet again, if you look throughout the history books, you won't see where
Kort or Stiles were selling their silly, little techniques as if they were the
newest miracle on the block.
Gads how I long for the old days...
[u]A Method of Sleeving One of Several Coins[/u] Kort again. I won't waste my
time explaining how important it is to study Kort's material and sleights. I'm
sure you understand by now the depth of this man's contributions to our art.
[u]Dr. E.M. Robert's Method[/u] To my way of thinking, this is, quite probably,
THE most important method that you can learn. This allows you to drop the hand
(and retrieve the sleeved coin), but still be able to come up empty handed when
needs be.
The problem that has always existed with sleeving is that you have to keep your
forearm parallel with the ground in order to keep the coin in place. This is,
obviously, not always possible and could lead to uncomfortable or unnatural
positions. Dr. Robert's method eliminates this problem. This is probably why the
treatise on this method garners almost 4 full pages of information relating to
the method.
I strongly suggest that anyone who is going to give proper time to sleeving pay
very careful attention to this method. It is very, very important.
[u]Loading (4 methods)[/u] An important treatise in relation to routining. Look

this over, consider its applications, use what you can.
[u]Switching[/u] Again, the use of a handkerchief comes up in the text.
Have you given consideration to using a handkerchief in your coin magic and,
even moreover, into your routining? I strongly suggest it.
[u]The Sleeve Pocket[/u] A terrific tool to have on your side if you are going
to do any formal coin magic at all. Take a look at this treatise - it really is
good stuff!
If you are serious at being light years ahead of the other coin magicians
(again, this if for a formal coin man, not just the guys who have a passing
interest in coin magic), then this is the gizmo for you.
The applications of such a tool simply boggle the mind of any creative magician
who considers what a sleeve pocket could allow them to achieve in any given
routine.
Again, though, this is for the hardcore coin man.
And, on this note, I shall end it with the simple directive to take a look at
the tricks section of chapter of Bobo. You don't necessarily have to learn any
of these tricks, even if you are interested in getting into the sleeving end of
coin magic. What these tricks offer you, assuming that you shall not be learning
them properly, is creative thoughts and ideas of where sleeving can take your
coin magic.
Creativity will take you farther in magic that you could possibly imagine.
Gaffes and gizmos used outside of the norm can move you from a garden variety
magician into a savior of the magic industry these days. Recently, on these
boards, a "Glorpy" was suggested in use with a formal "Dancing Hank" routine. Of
worthy note is that Banachek took the Glorpy and used it for a completely
different application. Because of his creative thinking, it offered his routine
an "other worldly" taste. He elevated a magic trick into the realm of
spirituality...
You can do the same - just take your thinking outside of the mundane magic world
and elevate yourself onto a higher plane. Remember, a useless, little trick in
the hands of a master becomes a great miracle and a great miracle in the hands
of a trickster becomes a useless, little trick.
It's fully up to you.
[u]Notes and Review[/u]:
Let's take a look at where you are, right now (or where you should be).
You should have your main sleights down, sleights like the classic palm, the
finger palm and the thumb palm. You should have several quick, one off tricks
that you can do with panache and a few routines, even if they are rudimentary
routines. You should be mixing and matching different sleights, experimenting
with your coins to see what effects that you can make using those sleights,
effects that are different than what you are learning straight out of Bobo.
You should further be considering alternative methods for tricks that you like,
but are unable to do because of your hand structure (what we've been talking
about earlier, like, for me, back palming is impossible so I must explore
alternative methods for tricks that require a back palm). This is fully possible
with a little bit of creativity and some honest practice/work (and a knowledge
of the tools that you have at your fingertips).
You should presently have a tool chest of sleights and techniques that allow you
to express yourself creatively with coin magic. Using utility passes, sleeving,
vanishes, productions and switches all in harmony to produce magical occurrences
that are inexplicable to your audience.
One way to do this is start with a simple vanish that you like and expand on
where you can go from there. For example, using the thumb palm vanish, you do a
change over, snap your fingers and the coin reappears in the hand from which it
vanished. From here, do a pumpkin seed vanish and you can openly and cleanly
show the hands empty, explain that it reappears in your pocket and take out a
duplicate coin. As you show the duplicate, retrieve the original and you can
split the coin into two coins (I prefer Sankey's "Slick Splits" for this
application - it can be found on "Revolutionary Coin Magic"). You are now at
liberty to move into a two coin routine or even steal a third (have a pen in
your pocket with the third coin held in its clip - by introducing the pen, you
can quickly have a third, unknown coin in play).
Where can you take it from there?
The third coin doesn't even have to be a duplicate - you can introduce an off
coin, like a copper if you've been using silvers and now you are prepared to
accomplish physical changes and transpositions...
Creativity and familiarity with your tools will bring you to this level. And, at
that point, you are no longer in the realm of basic coin magic, but are now
advanced!
Write your thoughts and ideas down in your notebook. If you come to a spot that
you cannot get past, then give it time and think about it or even sleep on it.
Come back to your notebook and write down some possible solutions to your
problem. Work those through, find which works the best. Use it. Keep your
routines and all changes written in your notebook...
Whatever you do, though, keep a *** notebook! If I had one piece of advice that
I could go back in time and be able to change what I did, I would have kept
notebooks on my work. As time goes by, those notebooks will become invaluable to
you. Trust me - do it.
And, without further ado…
Step 2: Flourishes and gaffes

[u]Part 1: Chapter 9, Coin Classics (flourishes)[/u]
Starting on page 201, you will find three flourishes that can be performed by a
coin worker. Unlike cards, where there are a half ton of flourishes, coins
simply don't offer a great deal when it comes to flourishing (at least, outside
of what any normal person can do). So, we coin workers must make do with what we
have. In a way, it is a blessing as well as a curse, because we don't have to
put years into learning a massive amount of flourishes, giving our time over to
our sleights and presentation, instead. In effect, we can learn our flourishes
in a fraction of the time that it takes a card worker to learn their flourishes.
The first offering here is the coin roll. I suggest that you learn to do this.
It isn't terribly hard to do, but it takes practice to do it with speed and
efficiency. Further, as Doc Eason states, it is visually compelling to watch -
it just looks cool! And, when I'm performing it to the spectator, I use a line
from Greg Wilson, "We call this move 'the really lonely guy.'" That always gets
a laugh.
On "Palms of Steel," (Kam) you'll find a very nice production of coins that can
be done under the guise of the coin roll. Worth your time to look into that and
as an added bonus, you'll also find some excellent work on spellbound change.
Between those two parts of the DVD, it pays for itself.
In Bobo, you'll see that the instruction suggests that you roll the coin with
your fingers at full extension. Personally, I find it easier to do in a fisted
presentation and I further find it to be more aesthetically attractive. Try it
both ways and see which you prefer. Do it that way.
The Downs Coin Star is an interesting display, but I've never used it myself nor
have I seen it done by anyone. Bobo gives you instruction for doing it using
gaffed coins, if you please. If you like it, learn it. If you don't like it,
give it a pass.
Finally, we have the Roll Down Flourish. I've never put the time into this one
myself, but it is very pleasing to the eye to watch someone do this. If you like
it learn it, if you don't like it, don't learn it. Pretty simple stuff!
[u]Part 2A: Chapter 12, Shell and Folding Half[/u]
[u]
The Shell[/u]
You're going to find that the shell is used frequently by many of today's
magicians. Here is a gaffed coin that has been used for somewhere around a
century, if not longer. Obviously, with anything that venerable yet that popular
amongst the magic community, it only behooves you to study up on this gaffe and
give it your due consideration.
The problem that we will have, at this point, is that everything in Bobo is
explained in USA coins. So, to my UK and other "foreign" Brothers and Sisters, I
say: Be creative here. Also, it is of worthy note that there are two points of
view when using foreign currency...
1) Foreign currency is automatically suspect.
2) Foreign currency is not suspect if your presentation is strong and your

script explains the usage thereof.
Count me in the latter camp. When I do my Gadabout Coins presentation, I use

British Half Crowns. I find them visually compelling and my script specifically
states that they were given to me by my grandfather who was stationed in England
during WWI. So, they have a reason for being and I have yet to be in front of
any spectator who has claimed I'm using "trick" coins.
So, if you are worried about using foreign currency, not to fear. You'll find
plenty of UK sites that stock these coins for your currency and as a last
resort, you can have Gibson make you the gaffes that you need (for a price, of
course).
Anyway, moving right along...
[u]Mystery with a Half Shell[/u] gives you a strong handling for this gaffed
coin. It is an important step, because it explains how to handle the gaffe sans
noise. This noise that can accompany using any gaffed coin is to be overcome.
You'll find that your gaffed coins simply do not sound normal when scraping
against a real coin - a discrepancy that is to be avoided at all cost.
[u]How to Make Money[/u] is "Scotch and Soda." Again, further proof that much of
today's coin magic comes directly from Bobo. The difference here being that
"Scotch and Soda" is immediately examinable at the conclusion of the trick
whereas this one is not. Then again, if you have an inkling of creativity, you
can use the sleights that you've already learned to this point to make this
trick examinable at the end, also.
[u]Three Questions[/u] is a different handling of the "Scotch and Soda" effect.

Worth a look just to get your creative juices flowing.
[u]Coin Through a Glass[/u] offers you a miracle if you spend the time to get
this one down. Given time and consideration, this can be expanded upon to do
more than just a two coin presentation.
[u]Perfected Coin Through Handkerchief[/u] is billed as a "magician fooler." In

fact, it is!
[u].25 and .50 Transposition[/u] is a bit too confrontational for my purposes,

but could be used to good effect in the right person's hands. It could also be
used in a mentalist approach where the spectator always picks the right (or
wrong) hand.
[u]The Perengrinating Halves[/u] is a coins across presentation. In today's

market, there are a huge amount of coins across tricks to buy...However, with a
copy of Bobo, you'll already have an excellent method (and we shall look at
further coins across presentations in Bobo in upcoming lessons on this thread).
The lesson to be learned is that you don't need to buy up every new, slightly
altered, trick on the market to show powerful coin magic. You've already got
everything that you need in Bobo.
[u]Coins Through the Table[/u] authored by Milt Kort. No more needs be said.
[u]The Protean Coin[/u] again authored by Milt Kort. I must note here that a
silver/copper is introduced in combination with the shell. We shall talk more
about silver/coppers shortly in this post.
[u]The Sympathetic Coins[/u] is again authored by Kort. Again, the use of a

silver/copper in combination with a shell. Moreover, this will fool the hell out
of 99.99% of all magicians out there.
[u]The Modern Miser[/u] uses a hook coin. Again, we shall talk about this gaffe
shortly. Presently, though, this is a worthy trick to note in that it also uses
a combination of two seperate gaffes in the working.
[u]
The Folding Half[/u]
Here we see the use of another gaffe that is over 100 years old, yet still out
there, being used quite often and is the gaffe of choice when trying to make a
reputation. This is a versatile prop that most magicians think is only good for
coin in bottle effects. Bobo teaches us differently.
[u]The Half Dollar in the Bottle (and Second Method)[/u] starts us off. This is
the classic effect and probably known to every magician in existance.
Nevertheless, have a look at these two presentations, which will give you
excellent handling tips if you are of a mind to do this trick.
[u]The Magic Mint[/u] shows us what can be done if we start to think outside of
the box. Billed as a magician fooler, it will be just that in the hands of the
right performer, simply because, up to now, magicians don't associate anything
other than coin to bottle effect with a folding coin. Give this trick your due
consideration, if for no other reason that to get your creative juices flowing.
[u]Biting a Piece from a Coin[/u] made a name for David Blaine. And there it is,
in Bobo of all places! Had you been reading your Bobo all those years ago, that
might be you on the television...And that is one to bethink upon.
[u]Coin Through Card[/u] could be very useful when handing out your business
cards or, with some creativity, adding to "Coin From Cards" already found in
Bobo. How far can you push these things?
[u]Part 2B: Chapter 11, Trick Coin Trickery[/u]
This chapter of Bobo is going to introduce you to more gaffed coins which are
also venerable within the magic community. Obviously, the book being published
in 1952 lets us know that anything within its pages is at least a half century
old. Two of these gaffes have already been brought up in the text above, the
rest can be found in different sets, still available in US currency and some
available in foreign currency.
Whether or not you can find these sets in your own currency shouldn't even be an
issue, unless, of course, you subscribe to the theory that any foreign currency
is automatically suspect. The choice on whether to use foreign currency if you
cannot find these sets in your own currency rests soundly on your own shoulders.
In other words, you make your own limitations.
[u]Squeeze Play[/u] introduces you to a "nickel and penny" set, which is the
same as a "dime and penny" set. For these smaller sets, you don't need a "bang
ring." Any small glass will allow you to bounce the set around and seperate them
out. Reset is what becomes the main issue when deciding on whether or not you
wish to learn such tricks.
[u]Jimmy Valentine Picks a Lock[/u] again uses the "nickel and penny" set.
[u]Money Paper[/u] again uses the "nickel and penny" set.
I like to call these three preceeding tricks the "Stewart James Trilogy" because
each introduces other props into the trick and, of course, all three are
authored by Stewart James (an exceptional coin worker of his day). You can put
Mr. James on the same level as Roth or Dill of our day.
This trilogy makes use of the "nickel and penny" set and certainly gives you
something to consider in whether or not you wish to introduce extensive props
into your presentations, outside of just using coins. This, again, allows you to
take your presentations and routines in other directions, which is an important
side road to have at your fingertips when working through your own presentations
and routines.
[u]Almost a Transposition[/u] is a very interesting offering here. Again Stewart
James is the author, but this is based on a previous trick which we've covered
that uses sleeving instead of gaffes. It further introduces us to the "dime and
penny" set, which is used in combination with the "nickel and penny" set. What I
find to be so very interesting is that the first offering, under "sleeving," was
a collaboration between Kort and James whereas this particular trick is strictly
James. So, you can do this as a sleeving technique (which is instantly
re-settable) or you can do this as a gaffed presentation, depending on your
application.
[u]The Homing Coins[/u] introduces us to the ".21 cent" trick and further uses a
handkerchief. The possiblities that are presented using coins and kerchiefs
simply boggles my mind!
[u]The Circuis Trick[/u] further employes both the ".21 cent" trick and a
handkerchief. Boggle and bugger!
[u]The .16 Cent Vanish[/u] is the ".21 cent" trick again, this time as a stand
alone piece. This is a rather two dimensional use of the gimmick, but I can
attest that the reactions that it gets are amazing.
[u].85 Cents Through the Table[/u] gives us the use of a handkerchief again and
a different take on coins through the table. An excellent piece of chicanery to
use at the right time for the right crowd. As with all gaffed locking coin sets,
this is not a re-settable piece, but it is a strong piece.
Next up on the menu in Bobo is the use of copper/silver coins. Lightly touched
on above, this particular gaffe is another that is used frequently by magicians
today. Don't overlook the power of this gaffe.
[u]Copper and Silver Transpositions; Numbers One, Two, Three and Four[/u] gives
us four handlings and presentations for the copper/silver coin. Read these four
offerings in Bobo and you'll find that many of today's tricks can be seen in the
historical handling that Bobo offers to you. Each of these is a miracle in and
of itself, if handled properly.
[u]Presto Chango[/u] continues on with the uses of this very versatile gaffe.
[u]The Inferior Coin[/u] is a Kort effect. Better give this one its due!
[u]Thieves and Sheep[/u] offers a different look at a venerable effect. We have

not gotten to the earlier version of "Thieves and Sheep" offered in Bobo, but we
will get there soon. Presently, if you wish to learn this version, I strongly
suggest that you go back and take a look at Bobo's handling of the trick (which
is a collaberation of Kort and James, yet again) to get a feel for the trick to
begin with.
[u]In and Out[/u] brings that handkerchief back into play. Also, of worthy note,
this is a Hen Fetch effect. An obscure name, by today's standards, but an
important man of his day.
[u]Up Their Sleeve[/u] is authored by Hen Fetch, so worthy of note historically,

if for no other reason. It also makes use of a "hold out" which is of important
note to a coin worker.
[u]Buddha's Coin[/u] is powerful if you're using (or use) "Buddha" papers. If

you don't know what those are, then give this one a pass.
[u]The Stack of Quarters[/u] introduces us to "pence and cap" effects. The pence
and cap effects can be found at many magic shops, if you're of a mind to get
into these types of effects. The "second method" offered in the pages of Bobo is
of worthy note, as this presentational style, using a folded bill instead of a
cap, is used by John Carney (an exceptionally gifted magician and sleight of
hand master).
"Pence and cap" effects are historically important to any coin worker, so study
this offering in Bobo, if for no other reason than to understand where you came
from.
[u]The Hook Coin[/u] is mostly a treatise on the hook coin itself. See above for
further ideas on what can be accomplished with this gaffe.
[u]The Magnet[/u] allows you to see the beginnings of "The Raven," because that
is exactly what Bobo describes.
The last few gimmicks included in Bobo are worthy of your study and your time,
if for no other reason than to know about their existance. In 1952, when the
book was published, Bobo did not contain a comprehensive guide of all gaffed
coins in existance and in the 55 years past, more have hit the market. Still, it
is important to note that these gaffes exist and that there are more and more
every year for your use.
Don't be taken in, though. Most of the gaffes produced today, outside of the
classics listed in Bobo, have very little use, other than as one off tricks.
Stick with what Bobo suggests and consider these new gaffes for what they are:
Enigmas that may, or may not, be around 10 years from now.
Make intelligent decisions and guard your hard fought for lucre. If you like
what you read in Bobo, then consider getting the gaffes necessary to do the
tricks. But, also consider the versatility of these props. For example, a
copper/silver can be used in a plethora of tricks, as well as can the
shell...So, consider spending your money on things that will bring you as many
tricks from that one gaffe as possible, rather than spending hard earned money
on a gaffe that will give you just one trick and one trick only.
Step 3: Coins Across - Chapter 8
If you have managed to make it this far, following this study guide and working
through Bobo in earnest, then you have my sincerest congratulations. If you have
mastered the classic palm, the thumb palm and the finger palm (in conjunction
with various other techniques and sleights of which we have previously
discussed) and you are showing your coin work to whoever your audience is (be it
family and friends or that couple sitting at their table waiting for dinner),
then you may now call yourself a coin man. Even if you are not 100% perfect,
even if you blow it from time to time and "tip the gaffe," even if you aren't
exactly as far along as you wish to be, you still have successfully completed
some of the most difficult parts of being a coin man.
With the exception of sleeving and gaffes, we've really only worked on the
rudimentary components of coin magic. Now, however, we are going to step up to
the plate and start putting our tools to the test.
In Chapter 8, Coins Across, you are going to see where many of the routines of
today have come from. If you were to sit down and pick apart almost any coin
routine of today, you will see where the routines and tricks presented to us in
this chapter have given influence to them. For example, "Winged Silver" (page
149) is a "three fly" with four coins. Better yet, the very next effect ("The
Flying Eagles") is even closer to a three fly, only using six coins instead of
three (wherein the three in one hand transpose to join the three in the other
hand), but, of course, the methodology is different (picking up coins rather
than cleanly having three go from one hand to the other).
Regardless of these differences, though, the influence is there - much like the
influence of music genre to music genre (for example, the music of the classic
masters like Bach and Beethoven influencing such groups as The Beatles and
others). And, much like musicians of today would do well to study the technique
and "outdated" music of the past, so too you should be studying these important,
historical effects.
Where do you think Elusionist and others look when they're trying to find
something "new" to sell to you? :wink:
Now, before I begin looking at specific effects on offer in this chapter of

Bobo, and without trying to sound like an advertisement, I would like to
consider for one moment that you may just be having problems, still, with some
of the basic coin sleights, like the classic palm. I recommend to anyone having
difficulties with these basic sleights "Basic Coin Magic" by Ian Kendall (review
[color=darkblue][u]here[/u][/color]), which is, pound for pound, one of the best
teaching tools on the market today (and especially good for you "visual
learners"). Mr. Kendall's teaching style is terrific - you just can't lose with
this VCD and, truth be told, even if you are competent with the sleights, you'll
still learn some valuable insight from Ian. I highly recommend this VCD to
anyone and everyone who is into coins, in any way, shape or form.
[u]Copper and Silver Transposition[/u] (four methods)
1. Here we start off with a Kort effect. In fact, this particular effect tips a
method of loading an empty hand that was a favorite of Milt Kort. I would
strongly suggest that, even if you don't perform this effect, you study this
loading move which, as Bobo himself points out, "Master this move and you will
have a clever subterfuge which can be used effectively with other small articles
as well." This is reminiscent of the L'Homme Masque loading move, but a bit more
versatile.
Side Note: I feel the need to point out here that Milt Kort was such an
important man in magic that Stephen Minch wrote an entire book on Kort alone -
he really is one of the unsung heroes of our trade.
2. Next up, we have a Stewart Judah effect (another important coin man of his
day). In fact, as it states right off the top, this is identical to Kort's
offering with the exception of the final (loading) move. I believe that it is
important to not only look at this subterfuge, but to really understand how and
why it works. It is a bold move, to say the least...But, bold moves such as this
are quite often convincers when it comes to coin magic, which must be subtle
(and this IS subtle in its hardihood - rather a paradox, really).
3. This is the first of two offerings given to us by Arthur Punnar in Bobo. This
particular method of transposing the copper and silver could be quite striking
in the right hands (not mine, as I cannot back palm to save my ass). But, as
Bobo points out, "In performance, the action of the hands coming together,
turning, opening and separating coalesces into one graceful and natural
gesture." This is the real wisdom that you should be taking away from the lesson
taught in this particular effect - grace and economy of motion.
4. Almost three full pages go into explaining this Ross Bertram effect. Well, I
say effect, but this is much more of a routine in full, really. Study this, even
if you don't plan on using the moves/sleights. However, you will find that if
you have studied sleeving and are competent with both hands at sleeving, you
will have a short routine that will throw any spectators for a loop. This short
routine could easily be a reputation maker in the right hands and it doesn't
have to end, necessarily, as it is presented to you in the pages of Bobo. Having
a coin up each sleeve, for what would be considered "the end" by most,
well...Think, man, think. Where could you go from here?
[u]Guess Which Hand[/u] is a six phase routine that could actually be put to use
in a mentalist's repertoire (although probably preferable as a truncated version
in such a case). Oftentimes, I see a question arise as to Derren Brown's "Guess
Which Hand" presentation and this could easily be adapted to such a style...In
fact, someone should ask Derren if he's ever read Bobo, because (as we all know
that he was a magician to begin with) his presentation could easily be just such
an adaptation. I also think that it is important to read the very last statement
regarding this routine, which declares, "Showmanship and window-dressing amount
to 99 percent of the effect."
If you learn nothing else from reading this whole routine, learn showmanship and
window-dressing.
[u]Quarter and Half Dollar Transposition[/u] is a highly advanced routine and

not for the weak of heart or the "lazy magician." If I'm correct (and I might
not be), it is here that we are introduced to a coin clip for the first time in
Bobo, a hold out as it were, to hold onto one coin until we have a need to grab
it. I have used (and sometimes still use) coin clips and I've never felt the
need to get them from a pro shop when a paper clip and safety pin do the trick
quite nicely.
A problem with this trick will become quickly apparent, which is the downfall of
books like Bobo, and that is the need to borrow coins which are no longer
ordinarily carried by the spectators. This precludes the entire "other side of
the pond" thing, where the specs simply don't carry any American coins, also.
So, if you intend on really studying this routine, the best that I can tell you
is to adapt and overcome. Given some thought and some work, though, this could
easily be a reputation maker for you...But, again, you'll have to work for it.
However, even if you decide not to use this routine, I strongly suggest that you
take some time, read through it, and see exactly what can be accomplished by
applying different sleights at different times and how the use of prevarication
can be very deceptive in the overall course of a routine. This is an excellent
study in coin magic and how to use sleights in conjunction with each other in
order to build a truly magical and deceptive routine.
[u]The Curious Nickel[/u] is arrestingly good magic in the right performer's

hands. Here we see the introduction of a lucky rabbit's foot (wasn't so ***
lucky for the rabbit, now was it?) or "some similar token" to help with the
magic. This is simply another type of magic wand - a reason to go into a pocket.
With coin magic in particular, this reason to enter a pocket is very, very
important. This allows for either ditching or retrieving - or both
simultaneously, in fact.
Honestly, this is an easy piece of magic to pull off, if you've studied your
sleeving. If sleeving isn't for you, then study this just for the idea of having
a reason to enter your pockets. That really is the most important lesson to take
away from this trick in particular.
[u]Two Pennies on the Leg[/u] is one of the pet effects of (TM member)
magicofthemind ([color=darkblue][u]click here[/u][/color]). It is simple and it
is deceptive and it can be done anytime, anywhere. This is just what the doctor
ordered for all you guys who want a trick that is always on you, because even if
you don't have the coins yourself, you can borrow them easily enough.
There are two specific statements in this trick explanation that are of ultimate
importance: "It is impossible for the spectators to concentrate on both actions
at once," and, "You must remember not to perform the trick too fast or too slow,
but in a smooth, even tempo." If you learn nothing else from this trick, learn
those two very important theories. They will serve you well in your own coin
work.
[u]The Inseparable Pair[/u] is a rather odd method, but one that is employed in
"Cross of India" (Daryl) and is also favored by Jay Sankey, although Sankey's
method is just slightly different. This particular trick is given two full pages
of treatment and has a variation which can be used as a penetration. Bobo
states, "The effect is a good one." I fully agree.
This is worth your time to study, even in the event that you don't use the trick
itself.
[u]Coins in the Teeth[/u] I cannot speak on too much here - I am opposed to most
anything that requires that you put something in your mouth. However, it is an
excellent use of a click pass and you may wish to give this a look just to see
how a click pass can be used to strong effect.
[u]The Drop Pass[/u] is an offering from Jimmy Buffaloe. As with many of the
names that crop up in Bobo, Buffaloe is an obscure name to everyone except
hardened coin men who've put in a lot of time studying this genre of magic.
However, as the text states, "A clever new sleight is responsible for the
trickery in this two coin puzzler," I would suggest that you give this a look
and consider what can be achieved using the sleight that is explained.
Bobo suggests that you immediately follow this effect with another Buffaloe
effect:
[u]The Hippity Hop Half[/u] requires a back palm in the method. Assuming that
you have a good/strong back palm, these two Buffaloe tricks taken together make
for an excellent, albeit short, routine. However, done together as a routine it
is quick and packs a punch.
[u]Rapid Transit[/u] will require an ability to sleeve properly. In the final

notes of this trick, you'll find that it is suggested that you don't even need
two coins and can substitute a magnet or rabbit's foot for one of the coins. In
fact, if you're performing "Curious Nickel" you can follow it with "Rapid
Transit" for a fairly powerful, smallish, routine.
[u]Winged Silver[/u] is an excellent study in coin work, as it brings repetition

into play and, as most of you know, repetition is only one form of misdirection
in your arsenal of misdirectional techniques. It is used to good advantage in
this coins across routine and study of this particular effect will pay off for
you in more ways than one.
The sleights used in "Winged Silver" are fairly easy to master (except, maybe,
the classic palm - but you should have a good grasp on that one already) and the
utility switch is used to strong prevarication misdirection. Also, you'll find
that the ending statement, "Finally toss the four back into the left hand and
place all five into the pocket," allows for an interesting visual effect - you
can flash all five coins, but your spectators will only see four (even if you
openly show all five). You simply flash the coins just before pocketing them and
almost every spectator will swear that they saw only four coins.
This effect includes an "improved version" at the end, using a Chinese coin or
other "off" coin. I suggest that you give this your due consideration, as the
inclusion of this odd coin adds a dimension to this trick that has surprising
effects on your spectators. Somehow that extra, odd coin throws off the
theorists - psychology in action.
[u]The Flying Eagles[/u] is very much outdated, by our standards today. Most
performers will tell you that much of the motion in this trick is superfluous
and there is no need for six coins to cover for three coins flying to the other
hand. However, if you take a look at the variation of this trick (using 8
coins), you'll find that this can be very devious and quite magical if presented
properly.
I personally find the variation to be quite a satisfying effect and it is not

that difficult to master. Pay particular attention to the statement, "Even
though the mystery makes use of only one sleight it is best to vary your
methods." This is an important lesson to learn...As the saying goes, "Never show
the same trick to the same audience twice in a row," this particular effect
flies in the face of that advice, so the student is strongly advised to use
different methods during the four transpositions.
A good lesson to learn.
[u]Three and Three[/u] again utilizes 6 coins in the transposition of three.

Again we see the value of a click pass in creating certain beliefs in the mind
of our spectators. Also, this effect includes a method similar to "The
Inseperable Pair" which is very similar to the Han Ping Chien maneuver. Worthy
of your time to study this effect.
[u]Chinese Money Mystery[/u] again utilizes the Han Ping Chien effect, even
though it is not technically Han Ping Chien. This also serves to teach the
student what can be accomplished via optical illusion.
[u]Frank Drobina's Coin Routine[/u] is a 5 phase routine that uses very simple
sleight of hand. The challenge here is to take these phases and practice them to
the point of being able to do this in your sleep. Given time and effort, though,
this is an excellent effect and worth your time to give it a look. Whether or
not you decide to learn this routine, I would suggest that you give it time in
your studies, as it teaches strong routining in conjunction with proper
misdirection - an excellent learning tool.
[u]Four Coins to a Glass[/u] is very much like a truncated version of "The

Miser's Dream." This effect could be used in a close up, walk around situation
where you'd like to perform a miser's dream type of presentation, but haven't
the time for such things.
I would consider this to be a high difficulty effect as far as sleights and

angles go, but to have this in your arsenal would be a reputation maker for you.
Give it your due consideration.
There is also a second version that follows this routine and it also rates high
on the difficulty scale. However, between the two versions, you'll find that it
offers a very natural use of the thumb palm (a rarity) and gives a method that
can easily be a utility move that you can apply to your own routines in the
future.
Take time with studying this particular routine and its second version.
[u]The Traveling Centavos[/u] is another routine and, again, could easily be a

reputation maker in the right hands. The study of this routine, though,
encompasses some important thoughts and observations about coin magic that I
believe you would be remiss to overlook.
For example, the text states, "Playing around with the 20 Centavo Pieces and the
dice cup, the following routine was born." What do you get out of that
statement? Remember when I told you that you should be playing with your coins?
This is what I'm getting at...The card guys always have a deck in their hands.
Newer magicians, whilst playing with their deck, oftentimes think they've come
up with new moves, just from playing with the deck. You should be doing this
with your coins.
Also, I tell you to read between the lines. One good example is the statement,
"Show the hands empty without calling attention to the fact." This is a subtle
thing to do, but very, very important in coin magic. Look over this routine and
read between the lines. Pay attention to techniques that crop up in this
routine, techniques that are not specifically given treatise to in the main text
of Bobo, but are there for you to use and discover if you just take the time to
consider how these things can be used in forging routines of your own - routines
that are complex and devious. Look at figures 3, 4 and 5. Read the adjoining
text. This is gold, man, pure gold.
[u]Miracle Coins to Pocket[/u] is the ultimate example of "adapt and overcome."

Glenn Harrison took first place at the SAM convention of 1949 using this device
that he invented to overcome a problem that he had.
This is worth your time if for no other reason than it shows you what can be
accomplished using a bit of creativity and thinking "outside of the box." Sure,
it's funky, but it is effective!

Michael Jay
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Regular user
Toledo, Ohio
168 Posts
[u]Notes and Review[/u]
If you have reached this point, then you have gotten over the hump and are on
the downside of Bobo - that is to say, you are now over half way through with
the book. Give yourself a pat on the back and buy yourself a set of 5 old, soft
coins. If you want to be truly compulsive/obsessive, then make sure the dates
match and that the wear on the coins is very close to the same (so that the
differences between coin to coin cannot be immediately observed by the
spectator).
While this is not necessary, it is oftentimes desirable to the more obsessed

coin guys.
Let's take a look at where you are at this point and further consider some of
the effects from the previous lesson (coins across):
Classic Palm
Finger Palm
Thumb Palm
Downs Palm
The Back Finger Clip*
The Back Palm*
The Bobo Switch
Utility Switch
One Hand Switch*
Change-Over pass
The Coin Flip*
Simple Vanish
The French Drop
Thumb Palm Vanish*
The Bobo Coin Vanish*
Vanish with the Aid of a Handkerchief*
Complete Thumb Palm Vanish*
The Bobo Complete Coin Vanish*
Bluff Vanish*
* These are subjective, but if you don't know any given one of these, then you
should have another to fill it's slot. That is 19 sleights that you have either
mastered or to which you are giving daily work/practice.
You should further have chosen at least 5 of the quick tricks (Chapter 5) and I
also suggest learning at least three from the preceding lesson (Chapter 8) which
range from easy to very difficult.
All of this together gives you 27 tricks/techniques that you can use to put
together scores, if not hundreds, of routines (add in gaffes and sleeving and
the imagination fails in considering the endless possibilities). Of course, you
don't want that many, because then you will never be good at a few - only
mediocre with a lot.
What this [u]does[/u] give you, though, is the ability to make a routine and
then hone it over the course of many performances. As you show your routine to
different spectators, you will find weak spots. You now have a huge tool box
with which to consider changing the weak spots with other devices to improve
your routine and make it stronger.
Learn to critique your work with extreme prejudice. Finding these weak spots is
a matter of practice and a willingness to "kill your children." And, as the late
Eugene Poinc was always fond of saying, "Sometimes you have to kill your
children." Don't be afraid to do that - this is what you must do to ensure that
your magic is the most powerful that it can be.
Before I get started on this lesson, though, there are two specific points that
I'd like to bring up: (1) Just in case you don't know, the Ramsay Subtlety is,
specifically, pictured on page 47 - it is figure 3 and (2) you'll find that many
sleights found in Bobo are not given their own treatise but rather are embedded
into certain tricks in the explanation (for example, the technique that is given
in "The Drop Pass" in Chapter 8), so I strongly suggest that you do take the
time to read it all because you don’t know what you might be missing.
Step 4: Coin Classics - Chapter 9
On offer here are more tricks and routines for which you will again see the
influence on today's coin magic by all the guys that you consider to be the
greats - guys like Sankey (his use of Han Ping Chien is legendary and this
chapter covers Han Ping Chien) and David Roth, who some have been led to believe
came up with the idea of "retention of vision" vanishes (and, by now, you should
be fully aware that retention of vision was already an "old standby" when Bobo
was first published over half of a century ago).
To paraphrase the old saying, "On the shoulders of giants." And that really is
where we stand.
[u]Coin Through a Ring[/u], the original method, gives you a look at something
else that can be done with that folding coin. Of course, there is a second
method wherein you don't need a gaffed coin. Both are effective.
[u]Silver or Copper Extraction[/u] covers three methods and all are worth a
look. The first, the Stewart Judah method, covers the technique required in the
set up for extracting the coin of their choice and ultimately how to pull out
the coin that they choose. The second, the Orville Meyer method may be a bit
easier for you, but mostly it is the same with only minor changes in handling,
really. The last method requires a back palm.
Of worthy note, Bobo mentions the use of an equivoque in the final notes of this
trick, which is certainly worth consideration in saving you some technical moves
and work.
[u]Copper Penetration[/u] (as stated in Bobo) makes a good follow up to the

previous trick. I would recommend that you do, in fact, use this if you do the
silver/copper extraction.
[u]The Expansion of Texture - Expanded[/u]! is interesting in its venerableness

(yes, that's actually a word!). Another show of being able to extract either
copper or silver, it takes place in the hand of the spectator (and, as we all
know, magic is more effective when performed in the spectator's hands). Please
note that it was a pet effect of both Robert-Houdin and L'Homme Masque -
certainly worth your time to give it a look and possibly learn it.
In fact, with a bit of imagination, this could be routined with a copper/silver

coin for extra effect. I'll leave it to your fertile imaginations as to where
one could go with the three preceding effects and how they may possibly be
routined together and possibly expanded upon with other sleights/gaffes.
[u]The Gadabout Coins[/u] has been a favorite of mine for many years. If you
decide to learn this one, however, I would beg of you to take out the coin
through hand phase of this...It simply screams out that a fourth coin is used.
[u]The Three Coin Trick[/u] gives us three methods, the first by Milt Kort (his
name sure pops up a lot in Bobo, eh?). In Kort's method, you will need to learn
how to load a coin onto your spectator's person (see Chapter 4 - "In a
Spectator's Pocket" - for techniques). In the second method, a hook coin is used
and rather than the coin finally ending up in a pocket, you produce it from
their back (where you've hung it). The third method is really outrageous,
requiring you to load three coins onto your spectator's person.
Personally, I like the final note: "Still other variations are possible by
combining the moves in different combinations." Gold...Pure gold.
[u]The Bent Penny[/u] is powerful in that the magic happens right in the
spectator's hand. A great deal of psychology can be gleaned from the study of
this particular trick.
I believe that the two most important statements are, "No one suspects that you
would be so bold as to try to conceal a coin in your right hand while showing it
so freely as you illustrate how you want her to hold hers," and "She doesn't
know it is bent because it is impossible to tell the difference while holding it
tightly." More gold.
[u]Silver Extraction[/u] can be found in many guises on the market today. There
it is, yours, and you don't need to purchase the other guy's effect - you
already have it in your copy of Bobo.
[u]The Ghost of a Coin[/u] is another over-marketed effect. Also yours in Bobo.
I would suggest that you give both of the preceding tricks their due, since
there is much to learn in the treatise alone (even if you don't use these
tricks). Please note passages like, "A good switch in coin magic can be compared
to a good top change in card magic. It isn't the move that is so important, it's
the misdirection which hides the move."
Please take a look at the very final sentence in The Ghost of a Coin.
[u]Second Method[/u] is, of course, the second method for the preceding trick.
If you are good at back palming, have a look.
[u]Coins Through Table[/u] introduces you to the Han Ping Chien move, used to
great advantage by Jay Sankey. I would suggest that you learn this
procedure/technique because it really is widely used in some arrestingly good
magic. In fact, this particular trick can easily become a reputation maker for
you.
The most important thing to take away from reading through this trick, though,
is the natural application of prevarication that it uses to subtly influence the
mind of the spectators. As you form routines of your own, try to use the subtle
prevarication that this trick will teach you. With coin magic, quite often, it
relies on your audience making certain assumption that are simply not true. This
is terrifically good technique.
[u]Second, Third and Fourth Versions[/u] are further worthy of your time and
effort to study. Oftentimes, one method will simply not sit right with you, so
having the extra offerings for performing (basically) the same trick are an
important thing.
Also, take the time to consider the fact that there ARE other ways of achieving
the exact same effect, but via a different method or technique. Learn to apply
this thinking to your own magic. For example, you might like a specific trick in
Bobo, but hate the method. So, take a page out of Bobo and learn to adapt and
overcome.
[u]The Magical Filtration of Four Half Dollars[/u] is arrestingly strong magic,

simply put. Taking the time to learn this trick and practicing it to the point
of perfection will give you one of the strongest of magic tricks in the coin
industry. It is masterfully routined and made to pack one hell of a punch.
This routine alone could be easily sold for the price that you paid for the
entirety of Bobo's book itself. Read and study this routine.
This particular routine is so much more than just simply a routine. It is a

study in proper misdirection and timing. There is so much wisdom and some
important lessons to learn in coin magic within the treatise on this particular
routine that you would be foolish to skip reading this in its entirety. Also,
don't skip reading the variation that follows.
[u]The Sympathetic Coins[/u] is one of the most magical routines with coins that
you'll ever do, if you take the time to study and learn this routine. Again, a
study in misdirection and timing, please take the time to read through this just
to extract the wisdom that is written between the lines.
[u]Second and Third Versions, The Al Saal Stratagem[/u] are important addendums
to The Sympathetic Coins. Same as the advice that I gave you earlier, always
take a moment to look over the extra versions, because they may just strike you
better than the first.
[u]Fourth Version - The Changing Change[/u] is the brain child of Stewart James.
This is particularly important to study, as it was one magician's way of dealing
with other magicians. You see, having the same denomination of coins joining
together is fairly obvious in method to other magicians. However, having all
seperate denominations of coins really destroys the theorist's ideas.
Particularly worthy of your time and effort if you are involved in a magic club
and want to "wow" the boys or if you have an upcoming audition to be accepted
into a magic club. Use this, learn it and do it right, you will pass without
question.
[u]Downs Eureka Pass and "Eureka" Routine[/u] are terribly difficult. If you
really want to challenge yourself to have an extremely high caliber
sleight/routine, this is the way to go. Be prepared to spend many, many hours in
working on this.
But, if you do, then I agree with Bobo's statement, "The effect is truly
magical."
[u]Rattle Box Routine[/u] requires, of course, that you actually have a rattle
box. If you do, then this is a good trick and it really is on the "simple list."
However, don't dismiss this because of its simplicity. It is strong magic.
[u]Thieves and Sheep[/u] is the collaboration of Kort and Stewart James. Need I
say more? This really is an effective and powerful little trick to do at the
right time. Good stuff, man, just good stuff!
[u]Just Pretend[/u] can be put into the category of reasonably easy. It contains
no extremely hard sleights (unless you consider the Downs palm to be hard).
Don't overlook this one, though. In the hands of a showman, this is powerful
magic. Read the last paragraph of this trick's explanation - it isn't a lie.
[u]The Free and Unlimited Coinage of Silver[/u] will put your audience control
and ability to direct attention to the test - to an extreme test. But, given
time and work, particularly if you are a restaurant magician, will give you a
reputation of being one hell of a great magician. Give it a look.
[u]Coins and Cards[/u] is just plain cool. Even if you never do this trick or
have any desire to learn it, still read the entire explanation. Particularly,
read between the lines of this one. There is a massive amount of wisdom to be
gleaned from it.
In conclusion, I would highly recommend that you learn at least three of these
effects in this chapter. Honestly, I'd suggest 5, but that may be pushing you a
little. Nevertheless, this chapter alone contains tricks that have been given
"new faces" over the years, but the "new" techniques and methods have only been
minor changes.
Lastly, take heart. At this point, upon completion of this chapter, you are now
3/4 of the way through Bobo. It wasn't all that hard, was it?

The (Almost) Complete Bobo Study Guide

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The (Almost) Complete Bobo Study Guide:

[size=150][u]Part I - Mastering the Basics[/u][/size]

Step 1: The study of Coin Concealments

It must be understood that sometimes these concealments will be necessary to use

Take the time to read this entire chapter. It comprises 9 concealments/sleights.

[size=150][u]Part I - Mastering the Basics[/u][/size]

Step 2: The Quick Fix

1) Speed of movement draws attention. In magic, you're trying to control

2) Speed of movement gives your audience an explanation - "The Hand Is Quicker

Instead, though, try this:

As an example, in chapter 5 "Quick Tricks," you'll find "Coin Production From

[size=150][u]Part I - Mastering the Basics[/u][/size]

You should further be working on, or familiarized with, a couple of other

This differentiation should be leading you to the study of theory in magic.

[size=150][u]Updates and Notes[/u][/size]

In regard to "The New Modern Coin Magic," it contains 4 extra chapters

We have at least 3 good coin concealments (from Chapter 1)

Here is a very, very basic example of routining:

[size=85]© copyright 2013 Michael J. Herzog all rights reserved[/size]

[size=150][u]Part I - Mastering the Basics[/u][/size]

Step 4: Coin Vanishes

[u]The Pinch Vanish[/u] (fake put) is knacky but dangerously deceptive.

[u]Gone[/u] (steal) is worth study as it teaches handling and misdirection as

[u]The Cranium Vanish[/u] (trick) is an overlooked gem. It has certain

[u]Vanish with the Aid of a Handkerchief[/u] (trick) does two things: 1) It

[u]A Trio of Vanishes[/u] (routine using fake puts) is a series of vanishes,

[u]Knee-zy Vanish[/u] is a study of repetition and misdirection. While you may

[u]With a Handkerchief #2[/u] is a look at another way of ditching a coin, based

(Here, again, we have introduced a handkerchief into the mix, allowing us to go

Notes and Review

To date, you should know the following:

Expert Coin Magic Made Easy - DVD - Roth

Now, without further ado, let's get back to Bobo...

[size=150][u]Part I - Mastering the Basics[/u][/size]

Step 5: Quick Tricks

[u]Through a Handkerchief (a) and (b)[/u]: Here we see an additional prop

[u]Double Penetration[/u]: This begins the basis of several marketed effects

[u]Pants Leg Miracle[/u]: This is an excellent study in coin transformations and

[u]The Charmed Coin[/u]: A good study in repetition as misdirection as well as a

[u]The Coin of Metamorphosis[/u]: Not only is this an important study in what

Next up, we get into “Part II - Advanced Coin Work.”

[size=85]© copyright 2013 Michael J. Herzog all rights reserved[/size]

Step 1: Cuffing and Sleeving

Third, it's only 3 pages long, so read it.

Also, cuffing is dependent on proper blocking, misdirection and body language.

[u]Part 2: Chapter 7, Sleeving[/u]

Starting at the very beginning, there is a five paragraph introduction to

[u]The "Pumpkin Seed" Vanish[/u] Here we have a difference in not only

[u]Reverse "Pumpkin Seed" Vanish[/u] At first glance, this may appear to be

But, try this on for size:

[u]Judah Method[/u] This method, designed by Stuart Judah, is very interesting.

My apologies - I guess I get a little tired of seeing variations of variations

Now I'm just on my soap box, I guess...

This is a theoretical technique that is used in many different genre of magic,

Well worth your time to give it due consideration.

This particular method is akin to a "retention of vision" vanish. Getting the

Gads how I long for the old days...

[u]Loading (4 methods)[/u] An important treatise in relation to routining. Look

[u]Switching[/u] Again, the use of a handkerchief comes up in the text.

Again, though, this is for the hardcore coin man.

It's fully up to you.

[u]Notes and Review[/u]:

Where can you take it from there?

And, without further ado…