By: Marty
I decided a couple of months ago to learn a Strip Out type shuffle
after seeing a video clip of Martin A. Nash on the web. I realized how
deceptive it could really look. I guess up until then I'd just seen it
done badly so I've stuck with my good 'ole Zarrow Shuffle. So after 15
years of card magic I finally put some practice into a Strip
Out. (pretty sad to wait 15 years huh?) It's going very, very
well. It's not as tough as I thought it might be. But in doing some
research I've found at least two major differences in this type of
shuffle. The Push Through and the Strip Out. My question is, is there
an advantage to either one over the other? Is one more deceptive than
the other? I've found the Push Through naturally airs the deck a
little better, but seams to leave a bigger offset. The Strip Out
leaves a small offset but sometimes I loose the offset toward the
bottom of the deck. (a technique problem I'm sure) Anyway, I was just
wondering your thoughts on the matter. Oh, and I also prefer to
shuffle so as to under cut the deck at the end of the shuffle rather
than top cut the deck to the table. Seems every reference I've seen to
these shuffles, cuts to the table. Maybe because the shuffle came from
gambling roots. It just doesn't seem natural that way. Especially if
your gonna shuffle more than one time.
By: Joe M. Turner
For those among us who may not be as familiar with the work you're
describing, you might post a short description of the push through and
the strip out shuffles -- what makes them different, etc. This might
help others follow the comments.
By: Paul W. Cummins
With the Strip Out shuffle, the deck is halved and the halves table
riffled together. The cards are ostensibly squared, but actually are
*almost* squared - the resulting measure of jogged cards constituting
the "brief." One packet is then stripped out of the other in the
opposite direction from which it was squared, hopefully simulating a
cut.
In the Push Through (or, Pull Through) shuffle, after the brief has been established (or, for quick shufflers, as the brief is established), the halves are angled very slightly and pushed (or pulled) through one another prior to the strip-that-should-simulate-a-cut.
By: Paul W. Cummins
Hi Marty,
I use both the Strip Out (in which the half-decks do NOT "go through" one another) and the Push Through (in which the half-decks *are* angled through one another). Although the Zarrow is an outstanding shuffle, after seeing Mr. Zarrow himself demonstrate the technique I realized that almost every magician I've seen doing the Zarrow Shuffle is using an inferior technique. So, I went back to the drawing board, as it were, to work on my Zarrow.
Meanwhile, my preference between the Strip Out and Push Through lies with the Strip Out for a single shuffle and the Push Through for multiple shuffles ( - and ending the shuffle sequence with a Strip Out). Either shuffle may be done with an incredibly small brief, but I've found that if you hold your hands over the ends of the deck properly, an extremely minute brief is not necessary. Both techniques require airing the deck, at least when I do them, and there are two methods I'm aware of for doing the airing. One is in Jon Racherbaumer's Card Finesse and the other in my lecture notes, ...from a shuffled deck in use...
By: NCSteve
Could you offer any tips for improving the Zarrow shuffle?
By: Paul W. Cummins
I'm afraid I'm still looking for a satisfactory technique myself...
By: Jamie Badman
Ed. Note:This is in response to NCSteve, not Paul W. Cummins.
Seconded! I've quite a few tapes with people using the Zarrow Shuffle on and to be honest in not one of them is it truly deceptive; there's usually a little 'skip' in the movement or there's an unnatural amount of cover created. I'd really love to see someone do this *really* well and would love even more an explanation by someone who does it really well about what makes a good and a bad Zarrow; finesses etc...
By: Steve V.
Johnny Tompson did one on of of his video's, I think vol. 2 of the
latest series, and it was handled differently than I've seen before
and actually looked very good.
By: gene r. gordon
The best addvice I can give is related to the presentation of an
effect with a Zarrow in (triumph & a couple of other tricks being
exceptions) it. When you start to weave the halves (ie. shuffle) you
are looking at the action. As soon as they are going together look up
& address and make eye contact with the audiance. This of corse is
good advice when doing other types of sleights.
THIS DOES NOT mean you can skimp on proper technique!
On actual technique I've all ways liked the look of Vernon's two suffle Zarrow using a well shall I say a card thats like a 'breath' of fresh air.
By: MB Korn
I've had the pleasure of seeing quite a few top cardmen (Zarrow,
Dingle, Ortiz, Malone, Swain, etc.) perform the Zarrow Shuffle. It
truly is a very difficult move to do well! (As is the double lift!)
Even most of the best card guys give off a "signature" that they're doing the Zarrow...just like when doing the pass.
I don't know that I've ever seen a cardguy do a Zarrow when I didn't know he was doing a Zarrow.
Years ago, Derek Dingle gave me quite a few good tips. To me, the key is to simulate a legitimate riffle shuffle. Mike Skinner, in the introduction to his "Classic Sampler" provides one of the BEST tips to practice card sleights ...DON'T repetitively perform a sleight. Do one real, one false, one real, one false. This will allow you to practice simulating the real and not "ingraining" poor technique.
This is very difficult with the Zarrow. Much has to do with the "binding" action inherent when actually pushing together two portions of the deck. Finger positions are also very important. If it doesn't simulate a real shuffle, you're tipping and probably fooling yourself. (Unless ALL you do is Zarrows.)
Believe it or not, but one of the best proponents of the Zarrow I've seen was Doug Edwards. He provides some handling details in his book by Lorayne. (It might have been also published in Apocalypse?)
Regarding the PushThrough vs. StripOut:
I've got a private tape of my routines. Many involve riffle shuffle work (as well as shifts, deals, etc.) If you'd like a copy, let me know. If you can cover the shipping/handling cost, it would be my pleasure.
By: houdiniking
Thanks for the kind words about my Zarrow Shuffle. It IS one of my
specialties. I prefer a Zarrow over a Strip Out (although it DOES
depend on the type of routine) as once the two halves are riffled
together and secretly unweaved - the shuffle is over! No need to worry
about the push thru nor the strip out.
When I was a meager 14 years of age I would see Herb Zarrow at Tannen's Magic Shop and would ask him to do his Zarrow shuffle. He really blew my mind with it. It was terrific!! Ever since then I've developed my own handlings and effects with it.
Doug Edwards
HOUDINIKING
By: Nathan W. Kranzo
The best description I have seen IN PRINT is in The Complete Works Of
Derek Dingle. He provides several tips as far as hand placement, and
"binding" of the cards. He also offers a multiple Zarrow shuffle
technique to retain full deck order.
By: Marty
Thank you Paul, for you response. (I really enjoyed your notes, by the
way.) That makes a lot of sense. You can keep shuffling without
stopping or hesitating with the push through. What do you suggest as a
realistic brief? I'm working with about 3/8". I'd like to get it down
to about 1/4", but when I do I have a tendency to start loosing it
toward the bottom of the deck.
Also, I'm reasonably sure I'm one of those magicians that have poor Zarrow technique. Although I've never had anyone question my shuffle, I was wondering if you had a good reference for the Zarrow Shuffle. The only one I have is Ortiz At The Card Table. It's a good description, but not extremely detailed. Ortiz mentions most magicians have poor technique, but doesn't really mention what those technique problems are. Any help would be appreciated.
By: Paul W. Cummins
As has been suggested in other posts, the smallest brief with which
you are comfortable, while striving to minimize it, is probably
best. This assumes, of course, that your comfortable brief is not an
inch! [g]
You say you lose part of the bottom of the deck at times when you strip. In my experience, this happens not during the strip, but during while setting the deck for the strip (with or without a push through). For this reason, I like to anchor one far corner of the deck by placing my second and third fingerpads against the mat with that far corner of the deck between these fingers. Then, only the other half of the deck actually moves (either to set up for the strip out, or to set up for the strip after pushing one packet through the other).
Since all the pressure is from the opposite side of the deck from the anchored corner, all the cards in the anchored half stay square and thus no cards are mixed together from the separate packets when setting up for the strip.
By: Jason
I don't think you should be overly concerned about the size of your
brief. As Paul mentioned, so long as your hands are covering the ends
of the deck, it cannot be seen, except possibly by yourself. That's
not to say you shouldn't strive to do the move as well as possible
though.
Also, you need to maintain a brief with a size that allows your fingers to stripout the cards. For this reason, the smallest brief possible will differ from card man to card man.
To give a reference to what is reasonable, I think the smallest brief you are comfortable is reasonable. However anything around border width of a bicycle card is quite good in my opinion.
In regards to your losing of the bottom half of the deck, I believe that comes from your pushing in of the cards (for either shuffle) being accomplished by a finger which is angled to the deck. Try lifting your wrists slightly to make your fingers more (though not quite) perpendicular to the plane of the deck.
That sure is a mass of unorganized thoughts, but I hope it helps.
By: Marty
Thank you Jason, I think you've hit on my problem. I do have a
tendency to lay the heal of my hands on the mat while shuffling. Which
in turn lays my fingers over. By lifting my hands and fingers more
perpendicular it does keep the brief more consistent from top to
bottom.
By: Paul W. Cummins
I agree with this too. In my experience (the suggestions I'm giving
certainly may not apply to everyone!), the fingers of both hand should
be perpendicular to the table when squaring the deck, setting up for
the strip, and for stripping out.
By: Gregory Lee
Ortiz teaches the zarrow shuffle in his video "At the Card Table",
with several cards as top cover. Whereas Bill Malone only does a slip
cut (one card cover) before the zarrow. Do you think that having more
cards for cover is more convincing?
Taught in Card college and in Sam the Bellhop, they recommend leaving a base of cards, eg. 10-15 cards, at the beginnning of the shuffle. I find that this helps the shuffles; especially the push-thru, in which sticky cards may create unnecessary friction, thus messing up the strip out. Do you think leaving a 15 card base is excessive?
By: Marty
More cards as a cover is always more convincing, but I believe that
Ortiz is not maintaining the complete order of the deck. i.e. His
Vegas Shuffle, he only maintaining a red and black separation. Or in
other effects he is Zarrowing a block of cards under a particular
card. Bill Malone is maintaining the full deck order. The best way to
do that, with a Zarrow, is to do a slip cut, and Zarrow under the
slipped card to maintain the order.
I just started learning the Strip Out Shuffle, but personally I think 15 cards is very excessive. Most references say eight cards. I even think that's too many. Three or four is plenty, if you even need to use it at all. If the deck is aired properly it's not a problem even with an older deck.
By: Jason Tang
With the Zarrow, a better way (IMO) to maintain full deck order is to
do more than one Zarrow under a given block of cards as is explained
in various books like Vernon's Inner Card Trilogy, and the Complete
Works of Derek Dingle.
This takes you away from using a single card as cover.
Further on the push-through/strip out shuffles. Look into any resource where Martin Nash talks about what he refers to as "The Soft Shuffle". Assuming you are using a half decent conditioned deck, binding is no longer a problem. ie. You do not need to air the deck out at all, ever.
By: Ken Simmons
Those that have seen me do the Strip-Out and/or Push-Thru Shuffle know
that I utilize a VERY minute "brief." However, I like to use a
"delayed" approach, that is, do the Strip-Out (or Push-Thru) THEN
place the deck aside... patter, then go back to the deck and complete
the "move" if you will... This Absolutely KILLS!
Nothing like False Shuffling when they have no clue!!! Magician's included...
By: Earl Nelson
Yes, and Jack Carpenter applies this principle to the Zarrow in his
book. It's very deceptive.
By: Tomas Blomberg
May I ask what in Carpenter's books you are referring to? I have
trouble understanding how an incomplete Zarrow can be placed aside on
the table and completed later.
By: Earl Nelson
It's in Modus Operandi, in the back. Instead of squaring the deck,
it's set in an X, then you can come back and do a legit triple cut to
finish.
By: Gregory Lee
I've only seen Ortiz and Bill Malone do the zarrow on videotape. They
teach it well and I do it okay. Pushing the cards together always
appears too quick. It's kind of hard to simulate the friction of the
cards. I guess the messier, the better. I also remember seeing Eric
Mead doing it live. (Seeing magicians live, face to face, is a very
rare event or me).
Is there anyone other than Ortiz and Malone on videotape which teaches a "good" zarrow? Ideally, I'd like to see Herb Zarrow live, face to face. But it will probably never happen, so I'd like the next possible alternative.
By: Ken Simmons
ME! A slow approach is always better...
By: Ken Simmons
When I do a Push-Thru or Strip-Out, only HALF of the white border is
evident...
Only IF you know what you're looking for...
By: Nathan W. Kranzo
Ken is not refering to the Zarrow, but i see your point Greg. I know
of no other good "video" examples of the Zarrow, other than real live
observation (Ackerman has a good in the hands Zarrow). While you might
not ever be able to witness Herb, luckily there are a handfull of
other magi who can perform the Zarrow beautifully.
As far as Ken's strip out/push through is concerned.............he's not exagerating. I've seen it live, and in action. His brief is, well................very brief.
By: Ed A
Can you really see a good zarrow??? whatch dealers in a casino... that
is how your zarrow should look. Now go practice... or you can't have
any pudding.
By: vanAdamme
If you're even in Melbourne, Australia, go to Bernard's magic
shop. They sell a series of 18 video cassettes, by a young magician
called Bryan Wood. Tapes 1 - 6 and 13 - 18 feature card magic. I
believe tape 14 or 15 features a very good Zarrow and push-out
shuffle.
By: Dr. Z
John Mendoza does a GREAT Zarrow on the tape he sales during his
lectures. His routine "The Squeeze" is entirely based on it.
By: FalgahBoy
In your opinion, what is the most convincing-looking false shuffle
that retains the order of the entire deck? I'm not very good at false
shuffles. I have an acceptable Zarrow, but I think it can look a
little fishy at times (even when done well). One that I really like is
Martin A. Nash's "Las Vegas Shuffle," which is a combination of a
pull-through, followed by a false cutting sequence. It looks
incredible, and very real. When I try it, I can't do it nearly as
smoothly. I'm workin' on it though!
By: Scott Horn
Here's 3 ideas
Overhand shuffles (lots of variations). Pace of movement is the key.
There are 2 good riffle shuffle, cascade, cut sequences
Eric Andersons - "Shufflesque"
Danny Archers - In the hands false shuffle
By: CHARLIE
Speaking of false shuffles in the hands, the best way to end a good in
the hand overhand shuffle is a in the hand false cut. In Bill Malones
Sam the Bell hop there are some exellent false cuts and shuffles. In
caard college 2 there is a good false cut and shuffle. One I think is
the one Darwin Ortiz uses alot.
By: Jim Morton
Well executed push-throughs, Zarrows, and strip-outs are all
undetectable to lay people. Some magicians prefer the Zarrow over the
others because it does not need a cut, which they consider a tell. Lay
people do not consider cutting the cards a sign of anything other than
cutting the cards. For me, the false shuffle that fooled me badly the
first time I saw it was Eric Anderson's "Shufflesque" which you can
find in "Ah-Ha!" by David Harkey. The book is worth the price for that
sleight alone.
By: FalgahBoy
Thanks! I'll look into that! Does it simulate something that looks
like a fairly ordinary riffle-shufffle?
By: Jason Tang
The false shuffle from Ah-Ha! is an in-the-hands false riffle
shuffle.
By: FalgahBoy
That makes two reccomendations for that one. Does it retain the entire
deck order?
By: Richard Parker
It does retain the entire deck order. I was blown away the first time
I saw it. I mean, it killed me. It's an in-the-hands riffle shuffle
with a bridge, followed by a swing cut. I worked on it but it didn't
come quickly, and I already do The Optical Shuffle, which I discussed
earlier in this thread, so I put it down. But it looks so good that I
still play with it now and then, hoping the magic will come to my
fingers so that I can add another gorgeous move to my
repertoire. . . .
By: Jim Morton
It's an in-the-hands riffle shuffle with a cascade closure. Yes, it
retains the entire deck order. Properly done, it is virtually
undetectable. It is a little knacky, but not frustratingly so. Once
you get it, you've got it.
By: Richard Parker
Jim, I agree. I've seen Harkey do this shuffle a couple of times now,
and it looked great both times. It's completely in the hands, which I
like, and he doesn't look at it when he does it, either, so it can be
done casually. I wonder, though, if the shuffle looks as good when two
or three people are standing right in front of you, one or two feet
away, as it does when they're sitting and are four or five feet away
from you. When I saw it, Harkey was standing and the rest of us were
sitting in front of him -- standard lecture format.
I'm going to stick with the one I learned from Daryl, but I have to admit, Anderson's "Shufflesque" looked GREAT both times I've seen it.
By: Steve V
I'll toss in that this is the first time I've ever seen anything
positive said about Ah-Ha.
By: Nathan W. Kranzo
-I'll toss in that this is the first time I've ever seen anything
positive said about Ah-Ha.-
That's insane. There are three routines in that book that i use almost everytime i work. It's very rare that i get three routines that i will actually use from one book. Make this the second good thing you've heard about Ah-Ha.
Shufflesque is great. The beauty of this shuffle is, just that, it IS a real shuffle with bridge.
Guy Hollingworth later published nearly identical work in his book Drawing Room Deceptions. He states that both he and Eric came up with the ideas independantly.
There are several great in-the-hands false riffle shuffles. Besides the Anderson/Hollingworth, i would also check out Allan Ackerman's "The Bottom Up Zarrow" from his recent lecture notes.
Another one i would like to mention is entitled "Fake Faro Flourish" by Meir Yedid from Magical Wishes. It is not a riffle shuffle, but a very deceptive false Faro shuffle.
By: Paul W. Cummins
I've said it here before, but look for a false in-hands riffle by Karl
Hein in Jon R.'s Inside/Out column in MAGIC - the deck is cut,
riffled, and bridged and there is *no* cut afterwards (i.e., no strip
out). It sounds and looks absolutely honest.
By: Bob K
Karl's shuffle is good. Right after I got to the convention in Orlando
someone told me to watch his false shuffle. He was performing
(impromptu) in the lobby and I watched him shuffle 5-6 times in the
course of the routine he did, and I kept waiting to see his false
shuffle. It wasn't until about 2 hours later that I found out that
they'd all been false.
By: rawdawg
I have yet to see a Zarrow that didn't look like a Zarrow no matter
how well executed. The cards never cage like they do during a legit
riffle shuffle. Jason England had Herb Zarrow demonstrate his Zarrow
at A-1 and Jason said it looked like an excellent Zarrow. Most pull
throughs I've witnessed usually have a huge cant that screams out
FALSE. Steve Forte uses a standard pull through but he does it so fast
that it fools me. It reminds me of the Vegas BJ dealers that have been
so unkind to me over the years. It's great in his context for gambling
since the idea is to get more hands per hour but in magic, it may look
funny unless you're Greg Wilson, Brian Tudor or that Eric guy from the
Castle. Last week, Richard Turner did a pull through stripping the
packet towards himself. Super deceptive since you never see the
strip. Rather it looks like the cut you were supposed to
do. Interesting enough to make me look into it further.
Lastest false shuffle to fly by me. Allan Ackerman's Bottom up Zarrow. Granted, I wasn't burning him when he did it.
By: Jason Tang
I have to agree with you on the Zarrow. So hard to do well, so easy to
do poorly.
I have not seen Mr. Zarrow himself do it though, which I hear is a thing of beauty. Perhaps in my lifetime...
By: TJ
I also asked Herb to demonstrate for me at A-1. I woulndt be surprised
if that guy did a real shuffle and said he was doing a zarrow ;o) But
seriously, it looked natural and I would have never knew it was a
zarrow if I hadnt asked. It can be done good!
By: Jim Morton
Forte's pull-through is a thing of beauty. He does it quickly, but
(more importantly, I think) he does it nonchalantly. In other words,
there is none of that funny last minute twitchiness that many people
are guilty of. Ackerman's Bottom Up Zarrow is great, but you're
watching it face on, which is the same as watching a regular Zarrow
from overhead. That would also be hard, if not impossible, to spot.
By: FalgahBoy
Today I bought the Ackerman video on false shuffling. I got some very
good information out of it. For some reason, though, it doesn't
contain the "Bottoms Up Zarrow" move to which you referred. Maybe he
made the video before getting into that perticular move (?). Great
video nevertheless.
By: rawdawg
The Bottom Up Zarrow is located in his Classic Handlings Fall Lecture
notes 1999. The creation of the shuffle is credited to both Allen
Ackerman and Steve Forte. I believe the thumb action from Forte's
tabled waterfall riffle is the genesis for the unweaving. Allen was a
bit vague when I asked him about this. It's a nice, casual walk around
shuffle, much easier than that Hollingsworth strip out monstrosity.
By: jason england
The best sources I know of for false shuffles are the Turner and Forte
tapes. Especially check out the faro with cascade and stripout on the
Turner tape. But other than that, I don't know of a single
"Super-shuffle" that is perfect for every situation.
Personally I have no trouble convincing laymen that a deck is shuffled when using either push-throughs, pull-outs, or Zarrow-esque shuffles. All have their strengths and weaknesses. At the same time, I don't know that I've ever been fooled by a false shuffle (again, we're talking full-deck here) since I learned the basic concepts of the strip-out and Zarrow. Both have tells that not even the best guys in the world can overcome.
I have yet to see the shuffle that I wouldn't bet $100 bucks on whether it was completely false or not. So if you are looking to fool other knowledgeable magicians, I would not be surprised if you don't find what you're looking for. Mainitaining full deck order is a pretty daunting task if fooling those in the know is your goal.
A nice full deck sequence is in the first Jack Carpenter book Modus Operandi. It is a Zarrow-esque shuffle with a triple cut at the end.
But I would turn to Turner and Forte first for the sheer number of excellent full deck shuffles on their tapes.
By: Richard Parker
Ben, my favorite false shuffle is The Optical Shuffle on volume two of
Daryl's Encyclopedia of Card Sleights. Fortunately, I saw Daryl do
this in person, or I would never have learned it (I didn't see it on
the tape until after he showed it to us at the lecture). For some
reason, I'm the only magician I know of who was in attendance at the
lecture who actually worked it up, but I can tell you this: when I
showed a trick using it to several of the other magicians who where
there, I fooled them all. It's a beautiful false shuffle -- quick,
casual, and there are both audible and visual elements that "sell" the
shuffle completely. You don't have to look at it while you do it, and
it's done completely in the hands, so it works in any environment.
Here's the tip Daryl gave us at the lecture that makes all the difference in the world: don't do the shuffle with the backs of the cards toward the spectators (as it is done on the tape); do it with the faces of the cards toward the spectators. That way they see the face of a different card every time you "chop," so to speak (it's a "chop" or overhand shuffle), and they get the impression you are actually mixing up the cards. It's actually a discrepancy, but it works like a charm. And it's easy to hide the bottom card. I've never had anyone say, "Hey, I saw the same bottom card twice!" I just handle the cards so that they don't get a look at the bottom card. If you look at it and play with it, you'll see what I mean.
It's not quite as easy as it looks, but it isn't difficult. I learned in in just a few practice sessions, and I think you would pick it up more quickly than I did. It isn't difficult, it's casual, and it fools everybody who doesn't know it. If you give it a shot, I feel sure you'll agree. Adios and best of luck!
By: Ricky B
One convincing-looking false shuffle that retains the order of the
entire deck is not a false shuffle in the ordinary sense, and that is
the out-faro shuffle. As you may know, if you do 8 consecutive
out-faro shuffles, the deck returns to the order it was in before the
shuffles.
What some magi do is to do 6 out-faros before starting to perform and then to put the deck back in the box. When they start the show, they pull the cards out of the box and do two consecutive out-faros, a false cut, and they're ready to go. Since you are *actually* shuffling, it looks convincing, particulaly if you bridge the deck and cascade the cards together. You can hold your hands higher on the cascade, and it will be clear to all that the cards are mixing together.
It is a false shuffle in the sense that shuffling is assumed to mix up the cards so that you would not know the order, which of course is not the case with the faro.
One drawback is that this technique is only useful for the opening of your performance (you don't want to do 8 shuffles in a row while performing), but that may not be a problem if you're starting off with a stack. BTW, if you are taking the cards out of the box and doing 2 out-faros, you can make a note of your 26th card for each shuffle as a check on your perfect cut.
A possible drawback is that some people think that the faro looks fishy, but if you do Marlo's bottom-up style of faro, I think it looks like the way a less experienced card handler might shuffle. If you talk while weaving the packets and hold up your hands to show the cascade, I think it looks very convincing to the laity.
By: FalgahBoy
Well, you might be right. The thing is, I'm going based on my own
reaction to how it looked to me, the first time I ever saw it, and my
own observations. Prior to getting into magic, I had never seen a faro
shuffle, and it looked like a flourish to me. To this day, I've never
seen anyone other than a magician shuffle cards that way. I'm sure
they're out there, but I think they represent a severe minority of my
spectator public. I'd be happy to go the faro route if I can find no
other alternative that blends better with my usual way of handling
cards.
One thing I picked up from a Darwin Ortiz video, to make the faro seem like less of an unusual thing, is to say, "I'm going to use a style of shuffling that thoroughly mixes the cards..." Then, do the faro weave, and make a "thing" out of how thoroughly meshed they are. I like that idea very much. I think it's funny when the secret is given away in the presentation, right under their noses, and they never know it!
By: Ricky B
Sometimes I call it the lazy man's shuffle because you're not
expending the energy to lift the edges to riffle them. I personally
find it amusing to say it's lazy to shuffle that way.
Or you could say that from economy of motion comes true grace.
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