Kelly, a young and ambitious entrepreneur, has recently incorporated magic into her business. This decision has attracted a lot of attention and interest from both the media and customers alike. By incorporating magic, Kelly has managed to set herself apart from her competitors and create a unique selling point for her brand. One of the main reasons why Kelly decided to incorporate magic into her business is because she believes it adds an element of surprise and delight to her customers’ experience. By integrating magic tricks into her marketing campaigns and product launches, Kelly is able to captivate her audience and leave a lasting impression. This not only helps to build brand loyalty but also generates word-of-mouth marketing as customers share their magical experiences with others.
Which, to a genre reader, can be an extraordinarily frustrating attitude to be asked to espouse, especially when one considers that the surreal aspects of her stories require Link's readers provide their own emotional onramps into her fiction. Matt Cheney writes about Link's story "Stone Animals"--in which an urban family moves to the country and begins to experience a haunting that ultimately alienates them from each other and themselves--that it 'both employs and parodies the basic elements of suburban psychological realism, the sort of scaffolding John Cheever and so many other writers hung their words and laundry on.' He's obviously right, but whereas in Cheever's fiction, the use of psychological realism enabled--and still does enable--readers who weren't suburban middle managers and bored 50s housewives to put themselves in his characters' shoes, Link's use of surreal elements creates a barrier between her characters and her readers. Unless you've been where her characters are--unless you've felt the vertigo that comes with not recognizing yourself as a spouse, a parent, a homeowner, like the family in "Stone Animals," or watched your dead-end future come into focus, like the well-meaning retail clerk in "The Hortlak"--you won't be able to get there by reading about them. You'll end up looking at them through a glass, appreciating their predicament, but never quite empathizing with it.
As the story approaches its end, the two shows come together into a Buffy -ish blend of soap and supernatural and at the risk of sounding facetious, I think it s possible to argue that Kelly Link would be writing very different stories if Buffy the Vampire Slayer hadn t existed. So what happens if the Eighteenth Amendment, which at the time of passing established the prohibition of alcoholic beverages, was actually intended for magic, which was just as addictive and deadly as alcohol.
This not only helps to build brand loyalty but also generates word-of-mouth marketing as customers share their magical experiences with others. Furthermore, Kelly believes that magic can greatly enhance the way customers perceive her products and services. By introducing magical elements, she is able to create a sense of wonder and excitement, making her customers feel like they are part of something truly special.
The Genii Forum
Can anybody tell me the Month, Year, Issue number, when Ron Bauer discussed his handling of the Kelly Bottom Placement/Ovette Master Move in the Charlie Miller Magicana?
Thanks in advance to anyone that can locate this.
Dennis Loomis
www.loomismagic.com
Steve Bryant Posts: 1947 Joined: January 17th, 2008, 12:00 pm Favorite Magician: Ballantine Location: Bloomington IN Contact:
Re: Kelly Bottom Placement in Genii?
Post by Steve Bryant » May 21st, 2003, 6:51 pm
December 1982. Volume 46, No. 12. Santa on the cover. GuestRe: Kelly Bottom Placement in Genii?
Post by Guest » May 23rd, 2003, 6:30 am
Thanks so much, Steve. GuestRe: Kelly Bottom Placement in Genii?
Post by Guest » May 23rd, 2003, 7:13 am
Bob K. showed me that control and it looked sweet. There does not seem to be a lot published on it. Daryl, Giobbi, is it in Tarbell?
Where can one obtain a copy of the referenced Magicana article. There are none on ebay. Google not much help either. Is it available at online shops?
Re: Kelly Bottom Placement in Genii?
Post by Guest » May 23rd, 2003, 5:36 pm
I've just begun to put together a Bibliography. It's far from complete, I havn't pulled together all of the page numbers, etc., but for what it's worth, here are a few places to read about or view the Kelly Bottom Placement/Ovette Master move:
Tarbell III Page 184, Frank Kelly
Dai Vernons Handling of the move is described in Ultimate Secrets of Card Magic on Page 107. In the same book, the original is described well with illustrations in conjunction with Francis Haxtons Last Word Four Aces on page 143.
Lewis Ganson's Routined Manipulation Finale
The "get-ready" for the Kelly Bottom Placement uses a "get-ready" that is similar that used in the "Tip-over Change" (see page 86 in Expert Card Technique by Hugard & Braue).
Paul Harris describes a variation of the move in Art of Astonishment. (Face Lift)
Daryl's Video: Encyclopedia of Card Sleights Vol.4
It is often referenced in older texts as the Ovette Master Move and dates back to 1927. Frank Kelly either reinvented it or forgot the source.
The move is shown by Johnny Thompson on Volume 3 of The Commercial Classics Videos in conjunction with the Malini Card Stab.
Allan Ackermans version is taught on his A-1 Video Tape: Every Move a Move.
Gene Maze has a variation of the move in Apocalypse Vol. 20 No. 12 December 1997, on page 2878. (The Final Issue!)
Ron Bauer discussed his handling of the move in December 1982. Volume 46, No. 12. Genii Magazine. (Santa on the cover.) It was in Charlie Miller's Magicana Column.
In an issue of MAGIC there's a palm based on the Kelly Move, and if memory serves, it's called the "Kelly Kop."
Denis Behr Posts: 411 Joined: January 18th, 2008, 12:00 pm Location: Munich Contact:Re: Kelly Bottom Placement in Genii?
Post by Denis Behr » May 24th, 2003, 10:20 am
Dennis, while including variations you might find some further sources here:
http://www.denisbehr.de/kelly.htm
Far from complete, too, of course.
(There was also a nice variation in the second issue of The Penumbra by Hollingworth.)
Bill McFadden Posts: 621 Joined: January 17th, 2008, 12:00 pm Location: Villesville-on-the-Chesapeake
Re: Kelly Bottom Placement in Genii?
Post by Bill McFadden » May 24th, 2003, 1:24 pm
You might also include the following sources: The Complete Walton, Vol. 1, Chapter 8, page 209. Video: Patrick Page's Reveal-a-Card Discoveries.
Richard Kaufman Posts: 26917 Joined: July 18th, 2001, 12:00 pm Favorite Magician: Theodore DeLand Location: Washington DC Contact:
Re: Kelly Bottom Placement in Genii?
Post by Richard Kaufman » May 24th, 2003, 3:08 pm
The move itself first appeared under Joe Ovette's name as The Ovette Master move decades before Frank Kelly printed it in Tarbell. The word I've heard is that Kelly was not likely to have swiped it, so it is a possible instance of reinvention. It would seem that most people learned it from the description in Tarbell, since the name Kelly Bottom Placement stuck.
However, the description of the No-Clutch Bottom Placement in Racherbaumer's Card Finesse is by FAR the best technique ever published for this sleight. One great thing about this technique is that it allows you to do all the other clever things other people have come up with, such as Maze's Reverse and some of the Ackerman techniques, but without the clutch giveaway.
Re: Kelly Bottom Placement in Genii?
Post by George Olson » May 24th, 2003, 11:24 pm
In this months "Prime Moves" under the Premium member section, Jon Racherbaumer has a review of an Ed Marlo expansion of the Ovette move that is really quite interesting, check it out. Don't you belong? :eek: Really a good reason to join. ;)
GuestRe: Kelly Bottom Placement in Genii?
Post by Guest » June 5th, 2003, 6:48 pm
For the best handling of this move go to thinklikeaconjuror.com, then to the whats new section, and then click on the video. I guarantee you will be amazed at how this can look! Jon R. has seen this live, and can vouch for the accuracy of the video, if anyone has any questions. There is NO scooping action, the ever-present tell when most performers attempt this move. Do yourself a favor and take a look.
Richard Kaufman Posts: 26917 Joined: July 18th, 2001, 12:00 pm Favorite Magician: Theodore DeLand Location: Washington DC Contact:
Re: Kelly Bottom Placement in Genii?
Post by Richard Kaufman » June 5th, 2003, 9:30 pm
Good luck finding the video clip on the site. I couldn't! Subscribe today to Genii Magazine Ian Kendall Posts: 2621 Joined: January 17th, 2008, 12:00 pm Location: Edinburgh Contact:Re: Kelly Bottom Placement in Genii?
Post by Ian Kendall » June 6th, 2003, 1:15 am
It's on the front page, click on the link 'Click here for latest'.
Ian Kendall Close up magician in Edinburgh and ScotlandRichard Kaufman Posts: 26917 Joined: July 18th, 2001, 12:00 pm Favorite Magician: Theodore DeLand Location: Washington DC Contact:
Re: Kelly Bottom Placement in Genii?
Post by Richard Kaufman » June 6th, 2003, 8:21 am
I've watched the clip.
I find it hard to believe this line: "Despite RB [Ron Bauer] being a devoutly shy kind of person, we caught him with our little video camera doing the bottom placement. Unfortunately, we were on his bad side so all we can show you is an exposed view of the move. Let us know what you think. "
Here's what I think: that's a lot of hooey! If the guy was sitting in front of you and you're holding a video camera, there's no reason in the world you can't get a spectator's view of the action.
I can do dozens of sleights that look wonderful in an exposed view and don't look nearly as good from the spectator's view.
Before anyone could make a judgement as to the quality of this particular variation of the Kelly Bottom Placement one would need to see it look quite invisible from the front.
Final point: what good is a sleight like this that flashes on the left side? A normal Kelly Bottom Placement is well concealed from that angle.
Re: Kelly Bottom Placement in Genii?
Post by Ian Kendall » June 6th, 2003, 8:33 am
I think they might be taking the michael as it were.
If you realise the important thing is the curled index finger to support the deck as the card is replaced at speed it's not hard to recreate the move.
If the packet comes in from the right side instead of the front, the left fingers can open to accomodate the loose card while being shaded by the rest of the cards being replaced. I've only tried it a couple of times just now, but it seems to be covered from most angles.
Having said that, I've always preferred the move from Card Finesse II, which I think is the one to which you refer. Unless I'm totally wrong again, as I've never read Card Finesse I.
Ian
Card trick hater and analyitcal pedant par excellance.
Re: Kelly Bottom Placement in Genii?
Post by AMCabral » June 6th, 2003, 8:42 am
Originally posted by Richard Kaufman:
I can do dozens of sleights that look wonderful in an exposed view and don't look nearly as good from the spectator's view.
Just curious. how does a sleight look wonderful in an exposed view? Isn't that like being the world's tallest midget? :p
-Tony
Richard Kaufman Posts: 26917 Joined: July 18th, 2001, 12:00 pm Favorite Magician: Theodore DeLand Location: Washington DC Contact:
Re: Kelly Bottom Placement in Genii?
Post by Richard Kaufman » June 6th, 2003, 8:45 am
Of course a sleight can look wonderful in an exposed view, however for entirely different reasons than it would wonderful from a spectator's view.
From the spectator's view, the definition of "wonderful" means that it's invisible. Pretty simple.
From the exposed or magician's view, the definition of "wonderful" includes all of our knowledge about the sleight and the expertise of its execution: fast or slow, graceful or clumsy, etc.
Re: Kelly Bottom Placement in Genii?
Post by AMCabral » June 6th, 2003, 8:47 am
Actually, come to think of it, that's exactly what my pass looks like.
I'm sorry, just thought that was a terribly funny turn of phrase. I'll go back to exposing myself now.
-Tony
Re: Kelly Bottom Placement in Genii?
Post by Jon Racherbaumer » June 6th, 2003, 9:08 am
There are many card sleights that demand attention to angles of visibility. All of the variations of the Ovette-Kelly Move are subject to
this restriction. Most performers clutch the right-hand section too tightly and strain their fingers. The next bugabbo is the replacement, which tends to look like an obvious "scoop under."
P. Chosse is quite right. I've seen him and Ron Bauer make the Bauer finesse look quite natural.
Bauer's version inspired my tinkering. I have a few versions on my Website. Here is one that may interest some of you. Peter Duffie wrote that he liked it.
DELAYED BOTTOM PLACEMENT
Jon Racherbaumer
This variation of the Ovette Master Move (Kelly Bottom Placement) eliminates the need to move your left fingers out of the way during the replacement of the right-hand section.
Method: Hold the deck face down in your left hand. Riffle down the outer left corner with your thumb and say, "As I riffle these cards, please say stop. " Time the riffle so that you are stopped just below midpoint.
Lift the portion above your thumb separation with your right hand, holding it from above and by the ends. The positions of your right thumb and second finger are important. Each is next to its respective left corner and your first finger is curled on top.
Move your right hand to the right and turn it palm up. Keep your hands close together, but extend your arms if a wider sweep is needed for the chosen card to be seen. Make sure your "sweeping action" is left to right. This will make the reverse Replacement Action look natural. (Photo 1)
The remaining talon in your left hand is held in a relaxed grip. Your first finger is curled underneath and your thumb is at the outer right side/corner. Your remaining fingers cradle the talon.
When you replace the right-hand portion, reversing the action, pivot the bottom selection with the tip of your third finger. This portion is held by your thumb and second fingers. Press down and outward to pivot the selection so that it tilts away from section. (Photo 2, an exposed view)
Do not flatten your right fingers, but keep your hand arched from wrist-to-fingers. This prevents a cramped or clutching appearance. Don't overdo the "arch" or begin to pivot the selection until your right hand is palm down. The selection is eventually pulled to the right (partially over the upper right corner of the upper section), which causes it to reach the wide angle shown.
When the right-hand section is replaced onto the left-hand talon, it lands flat and perfectly flush. The tilted selection goes under your left fingers, not between them and the left-hand section. This is much easier. (Photo 3 is an shot just as the right-hand section is coming down.)
Photo 4 is an exposed shot of the selection being maneuvered under your left hand.
When you practice the replacement, simply turn your right hand in a normal, unexaggerated downward arc. The descent is a direct, plopping kind of placement. The selection simultaneously goes under your left fingers as the right-hand packet is replaced.
When the spectator relaxes, lift all the entire deck with your right hand and make a slight, indicatory gesture as you move the deck forward. Everything is momentarily held in a right-hand Biddle Grip, including the tilted selection, which then slides from under your left hand. (Photo 5)
After the deck is lifted a few inches, replace it into a left-hand dealing position as you perform an All Around Square, rotating the deck end-for-end on a horizontal axis. The tilted selection is then pressed against the bottom of the deck. Photo 6 shows the moment the deck is replaced into your left hand for the final square up.
The entire action sequence happens in a couple of seconds. As you can see, the Bottom Placement is delayed. When the sections actually come together, the action is direct and trouble-free. Having you lower your left fingers and then perform the usual sweep-and-scoop are eliminated.
This technique is based on Ron Bauer's finessed technique for performing the Bottom Placement that was published in Genii (December- 1982).
Sorry I could not import the pics. They are on my site; however, most of you will be able to figure things out without any illustrations.
Sorry I could not import the pics. They are on my site; however, most of you will be able to figure things out without any illustrations.
This not only improves the overall customer experience but also elevates the perceived value of her offerings. In addition, incorporating magic into her business has allowed Kelly to create a strong sense of identity and authenticity. By showcasing her own magical talents, she is able to establish a personal connection with her customers and build trust. This personal touch sets her apart from other businesses that simply rely on traditional marketing techniques and impersonal interactions. While incorporating magic into her business has undoubtedly brought numerous benefits, it also comes with its fair share of challenges. Kelly has had to invest a significant amount of time and resources into learning and perfecting various magic tricks. This has required a great deal of dedication and commitment but has ultimately paid off in terms of the impact it has had on her business. Overall, Kelly's decision to incorporate magic into her business has been a game-changer. It has helped her to stand out in a crowded marketplace, create a unique customer experience, and build a strong brand identity. By embracing magic, Kelly has not only differentiated herself from her competitors but has also added an element of fun and excitement to her business..
Reviews for "Mastering the art of magic with Kelly as your guide"
1. Jake - 2/5 stars - I had high hopes for "Kelly just incorporates magic" since I am a fan of the fantasy genre, but I ended up feeling disappointed. The storytelling felt disjointed and lacked a clear direction. The author tried to incorporate too many elements into the plot, leaving me confused and unable to fully engage with the story. Additionally, the characters were underdeveloped, making it difficult to feel any connection or empathy towards them. Overall, this book fell short of my expectations and failed to effectively incorporate magic into the narrative.
2. Emily - 1/5 stars - "Kelly just incorporates magic" was a complete letdown for me. The magic aspect of the story felt forced and poorly executed. It seemed like the author was using magic as a crutch to compensate for weak plot development and dull characters. The writing style was also lacking, with choppy dialogue and inconsistent pacing. I struggled to stay interested and ultimately found myself skimming through parts of the book. Unfortunately, I cannot recommend this novel to fellow fantasy enthusiasts.
3. Amanda - 2/5 stars - As a lover of magical realism, I was excited to read "Kelly just incorporates magic", but it left me wanting more. The magic elements in the story felt half-hearted and never fully explored. It was as if the author couldn't commit to fully incorporating magic into the narrative or didn't understand how to do it effectively. The characters were also quite one-dimensional and lacked depth, making it difficult to connect with their journeys. Overall, I found the book to be mediocre and lacking the magical spark I was hoping for.