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!
[size=150][u]Part I - Mastering the Basics[/u][/size]
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.
[size=150][u]Part I - Mastering the Basics[/u][/size]
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.
-FinThere 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]
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.
[size=150][u]Part I - Mastering the Basics[/u][/size]
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...
[size=150][u]Part I - Mastering the Basics[/u][/size]
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 weve 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, dont 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, youll 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, youll 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, youll 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 daysYou 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. Ive 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 youve 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, youll want to pay close attention to this
trick. It can also be used in conjunction with an opening for a close up version of
Misers 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 youre 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.
[size=85] copyright 2013 Michael J. Herzog all rights reserved[/size]"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. BoboMany 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 (nowa-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
[size=150][u]Part II - Advanced Coin Magic[/u][/size]
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! 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!
[size=85] copyright 2013 Michael J. Herzog all rights reserved[/size]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 dont know what you might be
missing.
[size=150][u]Part II - Advanced Coin Magic[/u][/size]
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?
[size=85] copyright 2013 Michael J. Herzog all rights reserved[/size]