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Topics - Kyle

Pages: [1] 2
1
Word Puzzles / Dr. Frankenstein's creation
« on: January 10, 2012, 05:11:22 PM »
For his latest creation Frankenstein takes half of Connie, part of Nesta,
Part of Nellie, and part of Auntie.
What does Frankenstein call his creation?





























Answer: Constantine

2
Word Puzzles / What is two days after the day before yesterday?
« on: January 10, 2012, 05:09:26 PM »
What is two days after the day before yesterday?


































Answer:Tomorrow. The day before yesterday was two days ago; the day after the day before yesterday; two days after that(yesterday) is tomorrow.

3
Word Puzzles / Test your General Knowledge
« on: January 10, 2012, 05:01:02 PM »
These are the recognised names given to groups of creatures, but they have been mixed up. You have to re-arrange them correctly.

Colony of Birds
Horde of Spiders
Den of wild pigs
Clutter of Crows
Nest of Snakes
Park of Elks
Doylt of Ferrets
Gang of Machine Guns
Business of Swine
Volery of Artillery
Hover of Gnats
Drift of Frogs















Answer: Colony of Frogs
Horde of Gnats
Den of Snakes
Clutter of Spiders
Nest of Machine Guns
Park of Artillery
Doylt of Swine
Gang of Elks
Business of Ferrets
Volery of Birds
Hover of Crows
Drift of Wild Pigs

4
Word Puzzles / Solve the crime mystery
« on: January 10, 2012, 04:59:01 PM »
At the scene of heinous crime, five suspects, one of whom is the guilty party, are being interrogated by a detective. Each of the suspects gives one statement and it lates transpires that just three of these statements are correct.

These are the statements

Uncle Jack: Uncle Jim Committed the murder
Aunty Mary: I Did not do it
Cousin Stewart: It was not Cousin Margaret
Uncle Jim: Uncle Jack is lying when he says I did it
Cousin Margaret: Aunt Mary is telling the truth

Who committed the murder?































Answer: Cousin Margaret.The statements of Aunty Mary, Uncle Jim and cousin Margaret are true.

5
Illusions / Can you read it, illusion.
« on: January 07, 2012, 12:42:37 AM »
















ANSWER: BAD EYES, If you want to read it then close your eyes almost 80% and look at the centre of the pic... ...

6
Word Puzzles / Find the answer, who is the greatest?
« on: January 06, 2012, 04:36:59 PM »

The Pharoah asked: "Who is the greatest fo the gods?"
'I am not" said Horus.
"Anubis is" said Isis.
"Isis is lying" said Anubis
Only one God was telling the truth, the other two were lying.
Who is the greatest?






















Answer:Assume Horus is the greatest
" I am not" said Horus (LIE)
"Anubis is" said Isis( LIE)
"Isis is lying" said Anubis(TRUTH)

7
Handkercheif Tricks / The Knots Magic Trick Reavealed
« on: January 04, 2012, 05:57:33 PM »
I call this trick by a simple name, because extreme simplicity is its prevailing feature from beginning to end. The last few tricks described have all had apparatus, to some extent, as a component part; this one is all sleight of hand. In "Drawing-room Magic" (p. 65), I gave directions for untying a knot by word of command, and noted at the time that an enlargement of the trick would be given in "Grand Magic." We have now arrived at the enlargement. In the minor trick, the knot is tied in a peculiar fashion by the performer himself; now the knots are to be tied by various members of the audience, and it is this which gives the trick such a marvellous appearance.



Fig. 43.


Fig. 44.
The performer advances, and begs the loan of several handkerchiefs. He takes two of those proffered, and, advancing towards one of the audience, presents just four inches (on no account more) of one end of each handkerchief, one being crossed over the other, with the request to have them tied together in a knot. The reason for crossing one end over is to induce the tyer to make either a "granny" or a reef knot, which are the knots easiest to undo—that is, after the conjuror's method. Fig. 42 shows a "granny" knot. The general appearance of a reef knot is somewhat the same, so it does not require a separate sketch, and the mode of proceeding will be in both cases similar. For convenience of description, I have depicted a dark-coloured and a white handkerchief, and the performer will do well to take this hint, and always, where possible, borrow handkerchiefs varying in colour or texture, in order that the sinuosities in the knots may be easily followed by the eye. As the performer wants a knot that is tied neither too loosely nor too tightly, he must keep his eye upon it whilst it is being tied. If it is loosely done, he must say, "Don't be afraid of tying it up tight, sir [or madam]; pull as hard as you like." In the event of a too literal acceptance of his words, he should take the handkerchiefs at once. Even when the knot is tied as hard as a stone, the performer takes it in the hands, and, with the remark, "Oh! this is not half tight enough yet," pretends to pull it up with all his force. What he really does is to take the small end of one handkerchief in one hand, and the body of the same hankerchief on the other side of the knot in the other. By pulling at these hard, and, where they do not give easily by wriggling them as well, the end of the handkerchief will be pulled out quite straight, as in Fig. 43. It will there be seen that the white handkerchief has been manipulated upon, and that the dark handkerchief is now really only tied round it. In some cases, the greatest difficulty arises through some malicious person tying an extremely hard knot. If the performer pulls too hard, he will, in all probability, rend the handkerchief without making things much better. In this case, he must endeavour, whilst borrowing another handkerchief, for the continuation of the trick, and under concealment of the same, to loosen the knot a little in the ordinary way, and then he can straighten the end openly later on, as though trying if all the knots were secure. It is not often that the amateur will, at the outset of his career, find much difficulty of this kind, for his audiences will not be of the antagonistic class. Suppose everything has gone favourably, the performer then takes another handkerchief, and has that tied on also, of course to a disengaged corner, and so goes on with four, five, or six, each knot being operated upon as soon as it is tied. If he notices that anyone is tying a reef knot, he should at once audibly remark upon it, as the public has a great idea that a reef knot is the most difficult to untie, whereas it is really the easiest of all. When anyone goes in for a multiplicity of twists, one end being wound round the other several times, let the performer rest easily in his shoes, for he has only to pull that end round which the other one is coiled, and five or six coils will make no difference; at the same time, he must appeal to the audience whether it is fair, &c., for effect. When the required number of handkerchiefs have been tied together, and all the knots have been operated upon secundum artem, the performer retires to the stage, and, taking a chair or low table (the chair for preference), proceeds to place the handkerchiefs in a pile upon it after the following manner: Knot No. 1 is held between the tips of the finger and thumb in such a manner that the main body of the straight end lies along the palm of the hand. The loose portion of the handkerchief is then opened out by the left hand and covered over the knot, which is placed, at the same time, upon the chair; whilst, under cover of the handkerchief, the little finger of the right hand is drawn up by a contraction of the hand as closely to the knot as possible, and there grasps firmly the main body of the straight end. By straightening out the hand again, the end will be pulled right out, and the handkerchiefs parted. All this must be done quickly. If the end, as it often will, requires two pulls to draw it clear, it is best to lift up the handkerchief, and exhibit the knot again, to show there is "no deception," or on any other plea, before giving the second pull. Proceed after the same manner with all the knots, each one being covered with a separate handkerchief, taking great care that none of them slip off the chair during the operation, or it will be shown that the knots are already undone. The handkerchiefs should either be trailed on the floor or hung over the back of the chair, where they will not become confused or get under the performer's feet, and so receive an undesired tug. For the purpose of diverting the attention of the audience during this operation, the performer should make some jocular remark concerning each knot. He should say something about having at length come to the "knotty point," and then describe each knot, whether correctly or incorrectly will not much matter. One, he must say, is the reef knot, another the Gordian knot, and another a weaver's knot. The last made will generally be a true lover's knot, about which the performer may remark, before small audiences, that it was a knotty (naughty) person who tied it. The performer has only to wave his wand over the heap, or to blow upon it, and then lift off the handkerchiefs one by one. The beginner will do well to try only three knots as a commencement, and to have them tied by ladies, who, as before explained, are always the best to fly to in risky cases. Whilst the knots are being tied, hang the handkerchiefs already joined over one arm, where they will be out of the way of danger, and in the way of assisting the performer by concealing any covert proceedings on his part in untying obstinate knots. The knot depicted at Fig. 44 I have christened the bęte noire knot, and such the performer will find it whenever it is tied for him. If he does not put the ends of the handkerchiefs crossed into the hands of the person whom he requests to tie a knot, he will find the bęte noire appear with marvellous rapidity. When it or any other difficult knot appears, the only thing to be done is to untie it covertly, and do it up again after the matter described in "Drawing-room Magic." This may seem a very cool direction to give, but is the only one appropriate to the occasion, and the performer must make the best of a bad job. I have often untied a knot whilst mounting the steps of the stage, and had everything done up again by the time I reached the chair. The performer must practise by tying for himself the most intricate knots imaginable; or, if he learns with a companion, let the two tie knots for each other. Silk handkerchiefs are, as a rule, the best; they slip easily and do not tear readily, which latter quality is not the lesser advantage: it makes one very uncomfortable to have to return a handkerchief with one end hanging by a thread. This trick is one of the few which it is impossible to purchase. Let every conjuror be careful in his performance of it, and only give it "by request," or on special occasions, for it is worth half a dozen apparatus tricks put together.

Although very good indeed, the following method, in which one handkerchief only is used, is not so effective as when several are employed. The performer takes a large handkerchief, and ties a single knot in it, near the centre. He does not pull this knot tight, but leaves a loop large enough to receive his hand, or, at least, several fingers. Holding this loop in one hand, and presenting the two ends, side by side, with the other, he has another knot tied upon the first one. Whilst passing to another person, one end is pulled out straight, of course whilst ostensibly tightening the knot, and another knot is then tied; the end before straightened is again pulled at, and another knot tied, and so on until the handkerchief is all knots. The performer takes a pull at the straight end to ensure its running easily, and also pulls it through as far as it will come without actually untying. He then covers the bunch of knots with the loose centre of the handkerchief, and gives the whole to be held in the hands of a spectator. As the trying of many knots will have caused the centre of the handkerchief to become tightened up, it will be necessary for the left hand to take some time in opening it nicely. The time thus gained is just sufficient to enable the right hand to work out the straight end through the many folds, the movement being naturally screened by the open portion of the handkerchief in the left hand. Ask the person to whom the bundle is given to hold, to feel that the knots are still there. He will feel the hardened folds, and will mistake them for the knots. Always borrow a handkerchief for this trick, or the audience will infallibly think that the knotted handkerchief is rapidly exchanged for another. If anyone starts tying a bęte noire, you can stop him at once by saying that there will be no room for anyone else to tie a knot. This method is much easier than its forerunner, but, as before stated, it is not half so effective.

8
Here is how to do the bending spoon magic trick. Credits to ehow, the trick itself is kinda lame but meh.
Magic Tricks : How to Do the Bending Spoon Magic Trick



9
Word Puzzles / Fill in the Vowels
« on: January 02, 2012, 05:58:15 PM »
All of the vowels have been omitted from this saying. Put them back to produce the saying.

FTFRST YDNT SCCD TRYTRY GNTHNQTT HRSNSNS BN GDMNF LBTT




Answer: If at first you don't succeed, try, try, again, then quit. There's no sense being a damn fool about it.

10
Word Puzzles / who shaves the barber?
« on: January 02, 2012, 05:35:22 PM »
The Barber of Seville shaves all of the men living in Seville.
No man living in Seville is allowed by law to shave himself.
The Barber of Seville lives in Seville.

Who shaves the Barber of Seville?


















Answer. The barber is a woman.

11
For this a celluloid or a blown egg is needed. To it is attached a fine black silk thread, that has a small hook on the free end, which is fastened to the lower part of the performer's vest. The egg is stowed away under his vest or in a vest pocket. When ready for the trick a handkerchief and a soft felt hat are borrowed and laid on the table; near them are an egg and a goblet. The latter are handed out for examination, and as he goes back to his table the performer exchanges the real egg for the imitation one. Facing the audience, he drops the egg visibly into the goblet. Picking up the hat he stands it behind the goblet, brim up. Taking the handkerchief by two corners he spreads it out, as if to cover the goblet. While the latter is thus screened, the performer moves back a trifle, which causes the egg to rise up out of the glass and drop into the hat. The handkerchief is covered over the glass. Taking the hat in one hand and the glass in the other, the performer orders the egg to leave the glass and go into the hat. Seizing the handkerchief between his teeth he drags it off and shows the glass to be empty. The next moment he pours the egg from the hat into the glass. As he turns to put away the glass he unhooks the thread. Finally he returns the borrowed articles, thanking the owners.

It may be mentioned here that a simple and secure way to attach a piece of sewing silk to an egg is to tie one end of the thread to a piece of broken match, about three-quarters of an inch in length, then make a tiny hole in the shell of the egg, about the center, and push in the bit of match. The thread may break but will not pull off.

12
Card Tricks / Finding the missing card
« on: January 02, 2012, 05:17:32 PM »
Two cards, let us say, the three of hearts and the three of spades, are freely drawn by one of the audience, and afterward are returned to the middle of the pack. Placing his little finger between them, the performer makes "the pass," which brings one to the top, the other to the bottom of the pack. He then announces that though placed in the middle of the pack the cards have of their own volition, traveled to the bottom. "Here," he says, "is the three of hearts and following it, the three of spades." To make good his assertion he shows the three of hearts and removes it to show the next card. But to his dismay, an altogether different card is seen. He replaces the three of hearts, with the remark that he will send it in search of the missing card. While saying this, he places his right hand over the pack for a moment, stretches his left arm, ruffles the pack, and then shows the face of the cards once more. The three of hearts has gone, as the performer foretold. He rubs his hand over the face of the cards, and lo! there is the three of hearts and following it directly, is the three of spades.

When he first covers the pack for a moment, the fingers of his right hand are over the face of the pack and the thumb is at the back. With a gentle pressure and moving the hand downward toward the body the front and the back cards of the pack are removed and retained -between the fingers and thumb. The fingers close over the thumb, which presses the cards out of sight against the palm. The hand is held against the stomach, a natural position and yet one that completely conceals the cards. The forefinger points to the pack and the attention of the audience is thereby directed to it. The cards are ruffled and when the face of the pack is shown again, the three of hearts is gone. Then with an upward sweep of the hands, the performer places the two cards on the front of the pack, removes the right hand slowly, and the three of hearts is seen in its position at the bottom of the pack, while immediately following it is the missing three of spades.

13
Card Tricks / Rising Cards from the case
« on: January 02, 2012, 05:13:48 PM »
Several cards are drawn from the pack by the audience. They are returned, the pack is shuffled, and placed in an ordinary paper or pasteboard case, such as cards now usually come in. This the performer then holds up, and as the cards are called for, they rise, one at a time.



The case, which is the ordinary affair, has a slit cut in its face, lengthwise, as shown in Fig. 72. This is imperceptible, for it is merely a slit made with a sharp knife, not a slot. At the lower end of it is a tiny hole. At Figs. 72a and 72b is shown a little concave disc of metal; on the convex side of this is soldered a needle point, so that it somewhat resembles a small drawing pin. The concave side is filled with adhesive wax, and the whole disc is painted a flesh color. This is stuck on the tip of the forefinger.

When the drawn cards are replaced in the pack, they are brought to the top, by means of the "pass" and the pack is placed in the case with the top cards next to that part of the case in which is the slit. The flap of the case is turned back or upward, so that it will be out of the way.

Holding the case with the thumb on one side, the forefinger at the back and the other fingers at the other side, the cards are raised, as called for, by the pin point which enters the slit, the little hole at the end making the entrance easy.

14
Card Tricks / The Disappearing Queen
« on: January 02, 2012, 05:03:11 PM »
A pack of cards is shuffled and afterwards all the spot cards are taken out and laid on the bottom of an inverted glass or tumbler, which is then covered with a handkerchief.

Picking up the court cards, the performer shows the bottom card to one of the audience, whom he asks to take the card and place it in an envelope, which the performer hands to him.

Then the bottom card is shown to a second person, who, in turn, is asked to take it from the pack and place it in another envelope, as in the first case. And so the performer continues, showing the bottom card, and having it placed in an envelope, until all the court cards are disposed of.

Returning to his table, the performer requests them to call out simultaneously, when he shall say, three, the name of the card placed in the envelope. "Now, then," he says, "one, two, three," and with one voice there is a cry, "The Queen of Hearts." "What, every one the Queen of Hearts? Impossible!" says the performer. "Why think for a moment. There's only one Queen of Hearts in the pack, and here it is," he says, and taking the handkerchief off the cards that are on the tumbler, he picks up the top card, and shows that it is the Queen of Hearts. The audience are now asked to open their envelopes, and, to their surprise, each one finds an entirely different court card.

For this trick are needed a pack of cards, a tumbler, a handkerchief, a pack of envelopes, and a half Queen of Hearts of another pack, as shown in the illustration, Fig. 60.



Fig. 60


Fig. 61
When the cards have been shuffled and the spot cards are removed, including the Queen of Hearts, which the performer places on top of the others, he runs the cards over before the audience, so that they may see all are spot cards, taking care not to let the Queen of Hearts be seen. The packet of spot cards he lays on top of the tumbler, and covers it with a handkerchief. Picking up the court cards, the performer secretly places the half-Queen at the bottom of the pack. Taking the pack in his right hand, he covers the lower part of it, the forefinger covering the lower edge of the half-card, as shown in Fig. 61. Then going to one of the audience, he asks him to remember the bottom card, and then to remove it and place it face down in an envelope. At this, the critical moment of the trick, the performer lowers the pack and places it, face downward, in his left hand, the thumb near the top edge, the fingers beneath. With his right hand he grasps the pack, his thumb at the end toward the body, the fingers at the opposite end. Without changing the position of the left hand, which grasps the half-card, the right hand moves the pack forward a trifle. The result will be that the top edge of the half-Queen will be about the middle of the bottom card and be covered by the left forefinger. When the right hand is withdrawn the man who is assisting will take the bottom card, which he believes to be the Queen of Hearts, and place it in the envelope. Again the performer places his right hand on the pack, while the left hand moves the half-card to the front once more. The same procedure is repeated until all the stock of court cards is exhausted. With the last card care must be taken to press the half-card well against it and to palm the half-card neatly.

The persons who assist in this trick should sit well apart, and the cards should be held close to their faces, so that they may not be seen by those who draw them or by others. Of course each one imagines he has the Queen of Hearts in his envelope, and there is no little surprise when that card is found on top of the inverted tumbler, and a different one in the envelope.

15
Coin Tricks / Coin Through Hand Magic Trick Revealed
« on: January 02, 2012, 05:02:12 PM »
COIN THRU HAND (Magic Trick)

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