Hugard's Magic Monthly

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Hugard's

MAGIC Monthly

DEVOTED SOLELY T O T H E INTERESTS O F M A G I C A N D MAGICIANS Vol. XIV. No. 1

JUNE, 1956

50

CENTS

THE ENCHANTElD CYLINDER When my old friend and magical confrere, Jean Hugard, asked me to contribute an article for the first n p ber of the fourteenth volume of hi magazine, I was rather embarrassed for the simple reason that I have no material on hand which would be suitable. After I published my book "Okito on Magic" there was very little left for publication. Now that I have passed my 88th birthday and retired from the actual stage it seems that I am getting exhausted in creating new effects. Yet beiig very fond of Jean I could not refuse his request and I came up with the idea of explaining a trick from the very old days. In my estimation there are quite a lot of good tricks which were performed by the old masters and "The Enchanted Cylinder of Benaiah" is one of them. This particular trick was performed by my late father. Incidentally, it appeared some time ago in "Triks," the leading magical magazine in Holland The writer claims it was invented by Buatier de Kolta, but I know that de Kolta never performed similar tricks; I have witnessed his performance several times in different theatres. My father told me that he purchased this trick from Monsieur Voisin, in Paris, who was the leading magical dealer at the time. As to who invented it I have not the slightest idea. When I started my career as Okito (in 1893) I had no money to buy expensive apparatus so my father loaned me his equipment and, amongst it, was "The Enchanted Cylinder!' I performed this effect till 1902. It was effective and spectacular and especially suitable for a silent act. If the cylinder is properly made by a sheet metal

worker, it will be foolproof. I suggest the cyliider be painted a nice bright color. Mine was a rich yellow with red decorations. And now for the trick itsefi Effeet: Cyliider is shown to be completely empty by passing a wand or fan several times from top to bottom.

With the cylinder held in a slanting position, above empty glasses, the content of a water pitcher is poured through the cylinder into the glasses. Result: the first glass receives red water, the second remains colorless and the thiid turns to blue. As the red liquid is poured into the cylinder, a red silk handkerchief is drawn from underneath the cylinder.

Turning the cylinder upside down it is shown that the liquid has vanished. The colorless liquid is then poured into the cylinder and a white handkerchief withdrawn from underneath it and, finally, the same is done with the blue liquid and a blue silk produced in like manner. Once more the wand is passed through the cylinder. Finally all three foulards are pushed into the cylinder from underneath and a large flag is produced from the top. Requirements: A prepared, nicely decorated metal cylinder, three empty water glasses, a glass pitcher full of water, 3 colored silks (red, white and blue) and a silk flag.

Method: Glass one and three are prepared. The first has a few grains of red aniline dye, the third blue aniline dye. The content of each glass is poured into space D. After turning the cylinder, the silks are produced from space B, through opening C. Finally, the three silks are pushed into space D (by holding the cylinder upside down) from underneath, and the flag is produced from space B via opening C. The wand or f m is repeatedly pushed through space A. The cylinder is 9 inches high and 5 inches in diameter. The water from the pitcher is poured through space A into the three glasses by holding the cylinder on a slant. C opening is one inch in diameter. The divisions of the places between the partitions are as follows: E, 235 inches diameter. D, 1% inches and A one inch. (See drawing for correct modus operandi.)

Hugard'a MAGIC Monthly

CKSTAGE

with FRANK JOGLAR "Magicana in Havana," the first international S.A.W. convention took the sun-baked Cuban capital by storm. Even before the festivities officially opened Milbourne Christ~pher~swathed in bandages and a black hood, pedaled furiously down the Malecon to deliver an invitation to President Batista to attend. Radio and TV cars flanked his bicycle and pedestrians stared at the strange sight. Front page coverage of this and Christopher's depositing of a sealed envelope which he said contained the winning number for Havana's $100,000 top prize National Lottery had the town talking. .. Many magicians checked in at the Nacional days before the Night Before Party, Tuesday, May 29. To the clink of frosted glasses filled with daiquiris and other beverages the Night Before wizards exhibited their wonders. Rudolph Derka, Alexander (Machado), Jose Echea, Hans Landay, Jack Gwynne, John Platt, Phil Thomas, Ronald Haines, Johnny Paul, Jane Clements, Dick DuBois, Bill Griffiths and Harlan Tarbell showed their specialties while waiters hove to with fresh cocktails, popcorn and tidbits for the spectators.. . Wednesday afternoon a pair of lecturers drew plaudits. Christopher ranged from a new twist on the knotted handkerchiefs, vanishing coins in glass and rope knots to a chalk gimmick for twoiperson telepathy. Dai Vernon talked on card handling as only he can and carefully explained his technique with Ramsey's coins and cylinder and the bells-in-hand stunt. . . The tremendous newspaper and TV publicity caused a sell-out at the Radiocentro Theatre for the Public Show Wednesday night.. . Those with extra tickets were getting twice the admission fee in front of the impressive showplace. . . A young, talented Cuban impressionist paced the production. Suave Rudolph Derka opened with giant card four aces and paper tricks. Hernandez followed in Mexican costume with Cantu-like dove productions after every trick. Christopher, with Jose Sousa as interpreter, featured the remote control card game and three predictions on a slate. Slydini, talking in Spanish, highlighted the paper balls over the head of a baffled spectator. . M e r intermission Johnny Paul racked up a laugh hit with the snake basket, vanishing candle comedy and banknote magic. . . Dai Vernon manipulated coins and cards, then domed a magnificent Chinese mask and robe

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for his unusual Chinese ring routine. Gwynne and Co. topped off the evening with fast fish bowl wizardry, the sand trick and his new trunk trick. This is much smaller than the usual trunk and after it's locked Gwynne, behind a curtain, gets in it.. . The audience was enthusiastic. Many Americans were baffled by the Spanish spoken and no doubt the Cubans were baffled by the English. Forgetting language barriers, it was a varied show and one that was enjoyed. . . Thursday A.M. the conventioneers were driven to the Institute Civico Militar. After a tour of the buildings and grounds and a typical Cuban lunch a show was staged in the attractive ICM theatre for the youngsters at the school and the visiting mystery workers. Pelayo Riera was the bi-lingual m.c. Alexander led off with silk and ribbon tricks. The Wurtzells vanished a wand, made a bottle change places with a glass. John Platt pantomimed with fire-eating, cut rope, stringing beads and tube production. Lil Griffiths burlesqued magic, in Spanish learned for the occasion. Dick DuBois drew roars with funny gestures and high-pitched voice as milk vanished, a bill turned up in a cigarette and a snake came up from his basket with a selected card. Bob Offenbacher's tricks hadn't arrived, so with borrowed props he worked in English and too close to the front of the stage. Resulting shadows made it hard to see what was happening. Tarbell was the smartest showman on the bill. He dropped his talk, worked deftly in pantomime with egg in paper, giant cups and balls and silk color change.. I almost forgot: on Wednesday a group of magicians at President Batih's invitation performed for him and another group staged a show for his children and their friends in a theatre on a nearby military post. Among those who participated were Bill Griffiths, Christopher, DuBois, Jimmy Grippo, Alexander, Joe Irving, Jose Sousa, Tarbell, Mrs. Doren.. . The papers covered the event with photos and stories. Newsreel and TV cameramen han-

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The opinions, criticisms and approvals which appear in this column have the full endorsement and are the sole responsibility of the editor and publisher, Jean Hugard.

for his beautifully flawless Magic on the Public Show and close up during the First International Convention of the Society of American Magicians held at the Hotel Nacional in Havana, May 29th through June 1st 1956. Slydini's superb presentation and masterly misdirection with silks, coins and cigarettes should serve as inspiration to all who aspire to the title of "Magician.'" dled the action end,. . Thursday night Dai Vernon, Johnny Paul, Slydini, John Platt and Vynn Boyar showed their best close-up tricks at the Nacional, This session alone was worth the prize of the trip. .. Friday A.M. National Council meeting. Chic Schoke elected president, Christopher, 1st V-P, Elmer Applegit, editor of M-U-M.Next year's convention will be in Hartford, Conn. Bassett Mordecai bad registration blanks on hand and was busy accepting advance bookings. . . Another free luncheon and drink session Friday afternoon at the Cerveceria Modelo. Tarbell lectured at the Nacional. Tricks with ropes, vanishing banana, looped ball manipulations, a twist on the object in ball of wool using ball of rope and other nifties.. . Final event, banquet and show at the fabulous Tropic&, open-air night club. Regular lavish Tropicana show, speeches, presentations and tricks by Gwynne, Slydini and Johnny Paul. A night to remember.. . Saturday afternobn Christopher's prediction was opened. It was the right number but too late for us to cash in on the $100,000 prize. CONVENTION SIDELIGHTS The Nacional had two pools, the weather was wonderfu1.throughout the affair, but few magicians got even slight sunburns. Late sessions and a busy schedule kept them indoors. . . Hardest workers: Jose Sousa, Pelayo Riera, Chic Schoke (who lined up the shows) atld Blanca Lopez. The last named prints this magazine, belongs to the Parent Assembly. She spent most of her time helping at the registration desk, translating for

(Continued on page 443)

Hugard's MAGIC Monthly

ZERO

This vanish is performed slowly and while wrist is held by spectator to prevent the possibility of quick motion. The hand opens and the currency is gone. Not a trace of it in either hand. No sleeves, no trouser cuffs, no gimmicks. Reads like a dealer's ad. With the following advantages: you won't have to send away for it, you won't have to pay for it and you won't have to wait for it. Just read on while I detail the method. Place a half dollar in the left hand, close the fingers and then pass the right hand below the left hand rather quickly giving the impression that the right hand has caught the coin though you seek to convey the idea that it is still in the left hand and is about to be vanished. The left fingers start a rubbing motion when suddenly you stop and look at the audience. Shaking your head you say, "That would be the wrong way to vanish anything. Certainly there'd be nothing magical if the coin was to disappear in that fashion. Please observe, the right hand is empty and the coin is still in the left hand. To make the effect truly mystifying we shall do it very slowly and with the proper precaution against any motion that might be classified as resembling the quickness of the hand!' Close the fingers over the coin, making sure that the edge of the coin is near the two middle finger tips when you've closed the hand. Now

turn the hand so the fingers face the floor and as you do so nudge the coin out of the closed fist and toward the wrist, holding it flat. Now droop the fist slightly and your chatter goes something like this, "I'm going to ask one of you to hold my wrist!' As you say this, your left hand turns back to its original position. The hand merely turns back without modifying the droop of the f i t , which prevents the spectators in front of you from getting a flash of the coin (see illustration) and your right hand

ROUNDABOUT

to brush up, you grab a pack and run through the tricks listed thereon.

A COIN VANISH

By CLIFF GREEN

With FRED BRAUE

MAX MALINI TRICK

CARD INDEX It isn't easy, when you're in the newspaper-columning business, to fiid time for anything else. Because you have so little time for card magic, you become seleotive. About six years ago, 1went through my files, tossing out all inferior card effects and listing only those which were sure-fire audience pleasers. How many? About 175. Well, that should be enough. Allow two minutes per trick, and you can do card tricks for about six hours, or until you've driven your spectators screaming into the street. Even if each and every trick is a guaranteed sensebuster. But how do you remember 175 tricks? I worked out a pretty good system, and you may like it. You type up lists of 10-12 tricks each. These you paste on either side of card cases. I have eight packs, with lists on either side. When you want

Max would have a spectator select a card, which the spectator looks at. Max then took the card, saying, "I didn't want you to see it," topchanging the card and tossing the indifferent card in the man's lap. Then Malini would force the first card, cautioning the spectator not to look at it. "Now, what card did you take the first time?" Malini would ask. m e n the card was named, Max would tell the spectator to look at the card he is holding. The fun came when, finding it was the card the spectator thought was in his lap, he makes a grab for that card and finds it an indifferent one. Max loved this stunt.

VARIATION Paul Rosini used a variation of this in 1946. He would bring a peeked card to the top, then have a second card peeked at and bring this to the top, too.

comes over and takes a grip on the wrist to illustrate the hold you want. The left hand is raised slightly and the coin is permitted to slide down the wrist where it will be stopped by the side of the right hand. This may seem precarious but in fact it isn't and after a little practise it won't be necessary to watch the slide. Your right hand now comes away leaving the coin on the wrist. Now looking to the right and gesturing with your open and empty right hand that, "I'd like the help of one of you gentlemen. Won't you come up and hold my wrist." Again your right hand takes hold of the wrist, illustrating the action, "like this," your right hand drops to waist level with coin finger palmed. and with fingers curled and palm exposed to audience, as the spectator takes over the grip on your left wrist. Your right hand now goes to his left shoulder which is nearest you as you ask him to come a little closer and stand with his right side to the audience. Leave the coin on his shoulder as your hand drops. Open the fingers of the left hand slowly, permitting the audience to observe that the coin they saw in your hand but a moment ago has evaporated into. . 0. Retrieve the coin in the same way that you put it there or you may, with your thumb guide the coin into the subject's outer breast pocket for a later effect of your own choosing.

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Then he'd show the first peeked card, claiming it was the second. The spectator would say no, it was the first card. In the meantime, Rosini would have topchanged and could now show that the card was indeed the second card. This kind of bewildered the spectator, got good laughs.

ROSINI SHOW For the record, the show Rosini used at the Bal Tab in 1941 was this: Egg bag. Card in Cigarette. Thumbtie, for the first show. On the second show. Five coin star. Four card routine (discovering four peeked cards, the last by shaking through a handkerchief. You wouldn't dream of using that oldie, would you? Well, you should have heard the roaring applause Rosini got as the fourth card popped from the bottom of the handkerchief.) Dissolving knot, punched by the "Rosini, you're wonderful," talk. Encore on the second show: Sucker egg and silk.

Huaard's MAGIC Monthlu

OUT O F M Y PROFONDE By ARTHUR LEROY SATURDAY AT DUCROTS DIRTY DUMP It was the end of May just seventeen years ago and Frank Ducrot had been buried. It was quiet at 304 West 34th Street for Ducrot. A monument had crumbled.. a unique period in the annals of Magic had ended. Yes, A1 Flosso would take over the premises. Yes, Magic would live where it had lived so grotesquely, so bizarrely, for so many years. The Hornmann, Mhrtinka Combo would go on. Flosso would pick up where Ducrot had left off. But times had changed, and Frank's death was a symbolical finish to an era which could never exist again. A wistful, charming comedydrama had given its final performance, the curtain had fallen, and the cast had disbanded to be swallowed up by time, space, and the eternal silence which ends all debate, conversation, hate, affection. King Ducrot was gone and his court and courtiers were without a haven. "Ducrot's Dirty Dump" was a title of love and affection. If the place had been otherwise, half its color would never have existed and New York would have been far poorer in its treasure of magical lore. Saturday at Ducrot's was a thing apart. It had no parallel anywhere-before or after. The crowded tworoom premises played host each Saturday to the greatest parade of magical talent ever assembled in one spot, at one time. Some Saturdays the crowd would overflow the shop, cascade down the stairs, leak into Krist's Restaurant on the main floor, and from there into the Automat around the corner. In this restricted area (approx. 1.000 yards) each Saturday would see the birth of new magical tricks, acts, and even shows. In these thousand yards Magic was discussed, planned, and LOVED - LOVED - LOVED. There was the key word that typified and ornamented the amazing and fabulous Saturdays at Ducrot's. King Frank had been the editor of Mahatma, the pioneer of magical periodicals. At that time he was known as T. Francis Fritz, The Boy Magician. Down through the years his intimates always addressed him as Fritz. Fritz was a huge, balding man sealing in at close to 300. The eyes shiing through the thick, horn-rimmed glasses were full of joy and friendship; humor and laughter were his gifts to all

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who were a part of his charmed circle. You always knew when King Frank was on his way because the shuffle, shuffle, shuffle of his carpet slippers announced his entry, like a trumpeter for the approach of nobility. He hated his shoes; he said they squeezed his soul (or sole). At any rate, he enjoyed the pun. If Ducrot were to be depicted in symbols, a wand, a pair of slippers, and a flowing back artist's tie would sum him up. The flowing tie was his trade mark and it went with him to the grave. &Take no mistake, friend, this was not just the proprietor of a trick store. This was a great magical artiste. His club dates were numerous and his act was much in demand. The shop was his avocation-his vocation was performing. He was one of the great masters of the Thumb Tie, and his final production of a guinea pig from an egg bag after the usual routine had been performed, was a thing of beauty. In his earlier years he had created and marketed the Dye Tube for the color-change-through-hand. Then he created the method and effect for Twentieth Century Silks. With Billy Robinson (Chung Ling Soo) the Change Bag was originated. The original model was made of a church collection bag and a whip handle. Oh, yes, King Frank had contributed to Magic and there was much reason for the assemblage that paid him court. Come, spend the day with me at Ducrot's! It's Saturday again and the parade will start early. There will be much talk, many tricks, and camaraderie. Above all, there will be love and devotion for Magic as an Art. The secret is all and the devoted band is wary of outsiders. If a stranger enters as the festivities are progressing, a hush will fall like the cloak of night. Trade talk will cease and suspicion will be the prevailing emotion. I remember the day when a well dressed, opulent gentleman entered. The man had but one purpose. He wanted to buy some tricks for a party. No Magic, just jokes and the like. The crowd stared at him like a bunch of moonshiners casing a revenuer. John Eggers talkiig to Ted Annemann used the word "Pass!' Eddie Ackerson, the mind reader who played the Coney Island Circuit, froze Eggers with an icy stare and from the side of his mouth issued the words: "Ixnay ackingcray . . . umpcthay," meaning "Shut up! There's a chump amongst

us." Those Saturdays will never live again. The secrecy extended to the proprietor himself. If a customer wanted to buy a trick he had seen the night before, Ducrot would try to discourage him if he felt that the customer would butcher the item. Duke would pull a pack of Denver Plaids from beneath the counter. "Show me a Charlier!" he'd say. The customer would look bewildered if he were not "hep!' Ducrot would execute a Charlier and say: "See, you're not ready for the trick you want. You must creep before you can walk. Let me sell you the trick best suited to your skill. Then come back and soon you'l be ready for the trick you want. Don't waste your money! You'll only hate me!' Most of the time this would work. The devotees would watch thii transaction with the love and affection usually reserved for national heroes. One Saturday, Duke carried this approach to its final withering point. A sleek, mustached individual came in. He said he was in a hurry. Had to catch the 3:14 for Philadelphia. The guy looked OX., but no one knew him. He wanted a set of Chinese Rings. Duke looked him up and down. The rings were amongst his own best routin& and he di&t want to see the effect brutalized. 'Well," said Fritz, "that's a hard trick to do." It was the stranger's turn. His eyes became glassy, his neck bulged, his face crimsoned-he was good and mad. "Mr. Ducrot," he screamed, "I am Paul Rosini." A slow smile spread beneficently over Duke's countenance. "Well," he said, "you can't do any more harm with them than the rest of us." This disregard for profit extended into the mail order department. Orders would go unopened for months at a t i e and Duke would remain blissfully oblivious to requests for shipments. One day Ted Annemann rushed up the stairs breathlessly. "Fritz," he yelled, "Fritz, you are going to be decorated by the President of the American Medical Society. You have just saved the life of a guy who was pronounced dead." Ted continued: "This guy sent you an order for a sliding die box twenty years ago. Each morning he go6 up and checked his mail. No die box. Two days ago after all these years of waiting he lay dying. It was the end; his eyes fluttered, his heart stopped, the long wait had ended. The doorbell (Continued on page 442)

Huaard's MAGIC Munthlu

HANDS ACROSS THE SEA By PETER WARLOCK Some years back there was an effect marketed which in this country was called the ' k t Card!' It appealed greatly to those who prefer apparatus to skill for with the effect they were supplied with what looked like part of a sawn-off pin table. Ostensibly serving as a depository for a number of playing cards, it allowed the addition of a number of cards to a shuffled pack (a thing that could have been as easily obtained with the use of the normal palm), and which I call

"CHANCE IS A FINE THING" This little effect has the same plot, but the handling makes, in my own opinion, for a more mystifying effect. Thii is what the audience sees: On the magician's table stand three stemmed glasses and a pack of cards. From his pocket, the performer takes a piece of cardboard measuring approximately eight inches by six. On the side which is shown there is a large question mark. This piece of card is rested against the back of a chair and then the pack is picked up and offered to a spectator for shuffling. This completed, the magician makes a further request that nine cards only be counted off onto his left palm. This is done and, taking these nine cards, they are dealt three into the right hand glass, three into the center glass and three into the left hand glass. In the dealing the faces are shown to the audience, but in placing them in the glass they are turned backs towards the audience. One glass is then selected and the cards are taken from the remaining two and placed aside. Two of the three cards in the chosen glass are then removed, one being placed in each of the empty glasses. Again a choice is made, the two unwanted glasses and their contents being turned around so that the cards inside face the audience. Picking up the piece of cardboard with the question mark on it, the performer turns it around and shows on the other side a picture of a playing card, which for the sake of illustration we'll say is the Ace of diamonds. Turning around the glass holding the selected card, the performer shows that this too is the Ace of diamonds. Requirements: One pack of cards; three stemmed glasses capable of holding a playing card; a special card which is used to give the prediction. This last-named article is made of three pieces of thick cardboard meas-

uring 8" x 6" hinged in the manner of a draught screen as shown in accompanying illustration. On side No. 6 a large question mark is painted in India ink, whilst on side 1 is struck a playing card, say then the ten of clubs. On side 2, the words, "Your card will be" are printed in large letters also in India ink. Side 3 has another playing card stuck to it, say the Ace of diamonds whilst side 4 has a third card, say the four of hearts affixed. Finally, side 5 carries the words, "Your card will be."

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PANEL 3 IS REVERSE SIOE OF PANEL 2

Now, when the whole affair is dry and it is folded flat, to all intents and purposes it appears to be one piece of cardboard with a large question mark on one side and the Ace of diamonds on the back. If however the card is never turned around and it is opened booklike, one opening will reveal the words, "Your card will be" on the left hand side and a playing card on the right hand side. In this way the conjurer has complete control of three choices. Preparation: The three cards represented on the prediction card are removed from the pack and slipped into the performer's right hand pocket. The remainder of the pack is placed on the table together with the three stemmed glasses. The prediction card is slipped into an inside pocket. Presentation: The performer removes the prediction card from his pocket handling it casually but at the same time making certain that the back of it isn't glimpsed by a member of the audience. This card is then rested against a chair back or something similar that will allow it to be kept in view throughout the trick. The right hand casually goes to the pocket whilst the left picks up the pack from the table. Handing the cards to a spectator, he should be requested to shuffle and then count nine cards face down upon the performer's left hand. When the cards

have been counted, the right hand leaves the pocket with the three cards palmed backs towards the palm. The right hand comes across and takes the nine cards of the left hand, whilst the latter reaches forward to relieve the spectator of the remainder of the pack. (The palmed cards are still held in a palm position.) The balance of the pack is placed on the table and then the left hand comes across and, in taking the nine cards, reaches into the right palm taking the three palmed cards as well. The left hand turns the packet of cards that it is holding so that the faces of the cards are towards the spectators. The right hand comes in and with the words "I'll place three cards," the three cards are counted

UFVERSF S/DE OFMNGED CARDBOARD

off from the rear of the packet, their faces being shown. These three cards are, of course, the three that were added. The right hand then, in placing them onto the glass on the right hand side of the table, turns them backs outwards to the audience. The next three cards are similarly counted off and placed in the center glass. This leaves the conjurer with apparently three but actually six cards held in the left hand. The two rear cards are pushed off one at a time and taken with the left hand, the four remaining cards being shown as one and placed behind the other two. All six cards are then dropped into the left hand glass. At this point the conjurer comes to the seleciion of a glass and it is essential that the one to be chosen is the right hand glass containing the three known cards. An equivocation is used. "Please select two of these glasses." Lf the one containing the three cards is not chosen, the rest is plain sailing, the cards in the ahmen glasses being removed whilst the contents of the third glass are split amongst the three glasses. If however, the two glasses chosen contain the wanted glass, the conjurer adds the words, "And now will you please choose one for me?" According to the nature of the reply, the wanted glass (Continued on page 444)

ENCYCLOPEDIA OF IMPROMPTU TRICKS P F N C I L s t u n t s and Gags (Continued from last issue)

By MARTIN GARDNER it will not be noticeable. W e r s of course are unable to make the cardboard spin at all. This intriguing little toy is very old and descriptions are found in many old books and magazines. (28) A full size pencil may be taken from vest pocket simply by having a hole in pocket to accomodate the pencil. A tiny purse, also with hole in base, may be carried in pocket with end of pencil inside it, Take purse from vest pocket, concealing projecting pencil, then open it and take out pencil. Or pencil may be concealed in left hand. Right hand takes purse from pocket, shows it freely, then places it in left hand, the end of pencil' going up through the hole. Open purse and extract the long penoil.

(26) Several balancing stunts with pencils and pocket knives are illustrated in Fig. 761. (27) Mystery propeller. Notch the side of a pencil as shown (Fig. 762) and attach a small cardboard rectangle (3 by 3W) to eraser by means of a pin. To make the cardboard spin counterclockwise, run another pencil

LEFT THUMB i N FRONT. IN CRO7CH OF RIGHT THUMB PIVOT RICH7 HAND OVER BACK OFLER:

back and forth across the notches (Fig. 763). Tip of right thumb must slide along side of pencil, otherwise propeller will not spin. To reverse direction of spin, simply shift right hand slightly so that instead of thumb, the tip of right forefinger slides along pencil on the other side of the notches. With practice you can make propeller go first in one direction then the other, as commanded by spectators, without stopping the rubbing and with such a slight shift of right hand that

PuP;les

(29) Pencil is held in crotch of thtimbs (Fig. 764), then hands are twisted in a peculiar manner, bringing pencil to Fig. 765, Not easy for others to duplicate. Fig 766, A, B, show the moves. Reversing the moves brings pencil back to former position. In making these moves the pencil is gripped firmly at all times by crotch of right thumb while crotch of left thumb slides around it. Pencil rotates counterclockwise as you look down. Try bringing pencil up in this manner, then bring it down again not by reversing the same move, but by making a mirror-image of this move. In other words, the pencil rotates in a continuous counterclockwise motion as it moves up and then down. With practice the pencil can be shifted up and down, up and down, always rotating in the same direction in a continuous action that makes an effeetive bit of jugglery.

(30) "Find the gimmick" pencil. That was what Joe Berg called the pencil when he introduced it on the magic market more than twenty years ago. It has since become a staple novelty store item in many different forms. The trick can be performed impromptu with pencils of the type shown in Fig. 767. Moisten tips of finger and thumb, pull pencil almost out of case. By squeezing thumb and finger the rounded metal end of cap is made to shoot from the fingers like a cherry seed, snapping pencil back into the case as though pulled by invisible spring. Twist pencil back and forth each time before you make the snap, as though trying to catch it on this secret spring. Spectators are unable to "find the gimmick." (31) Pencil in buttonhole. Sam Loyd (the elder) claimed to have invented this puzzle and he may well have done so. Cut a groove around pencil below eraser, then fasten loop of string (Fig. 768). It can be looped quickly through a lapel buttonhole (Fig. 769). Victim is left with the difficult task of removing pencil without cutting string. PEPPER (1) Shake pepper into glass of water until entire surface is covered. With

Hwga~d'sMAGIC Monthly

and jerk your hand away quickly, causing him to slap his own hand on the pie.

P E M THROUGH

PIN (1) Right hand poises pin over back of left (Fig. 771). Spectators do not know that pin has been attached to right thumb by pushing it through a small bit of surface flesh. Move pin up and down a few times then appear to slap it into back of hand. This is done by opening right hand and slapping its palm on top of left. Right thumb extends toward you, hidden from spectators by your left hand. Without moving left hand, reach underneath it, bring thumb and forefinger together once more, pretend to extract pin from center of left

end of paper match, draw a cross on the surface. The pepper separates where it has been touched, leaving mark of a cross on the water. No mark results when others try. A bit of ear wax on end of match does the trick. (1) Weird sound effects are obtained by (a) Playing record backward (pianos sound exactly like organs!) (b) Attaching two needles to the arm so that one plays in a groove ahead of the other (c) Using an offcenter hole that you have bored in the record. (2) If needle is clenched in front teeth and held against spinning record, the music can be heard distinctly. (3) A record can be played without needle or machine. Stick a short pencil through the hole, then spin record (on eraser end) like a top. For a

"needle," use a small square of stiff paper folded diagonally and held as in Fig. 770. The music is faint but audible. (This and other stunts above are from "Gramaphone Tricks," Strand magazine, Vol. 49, p. 358, 1915).

PIE (1) Hold your hand over victim's piece of pie and say, "Feel that heat!" When he holds his hand over the pie, squash the pie by slapping his hand down on it. If victim knows this adolescent prank, he may try to slap your hand when you first pretend to feel the heat. Anticipate this

In similar fashion you can appear to slap pin into your forehead. In this case, pin must point in opposite direction from that shown in Fig. 771. Stand with left side toward audience. Pretend to slap pin into forehead, reach behind head and appear to extract it. (2) Pin is placed in crotch of arm as in Fig. 772, pointing either direction. Arm is closed suddenly, then opened. The skin is undamaged. Looks dangerous, but actually nothing happens at all. (3) See Annemann's Practical Mental Hfects, p. 22, for Dr. Jaks' use of a hat or corsage pin for an excellent pellet switch.

PING PONG BALL (1) A ping pong ball coated with rubber cement offers many possibilities. Pretend to balance it on tip of cane (also coated with cement), then do a walk-off with cane held horizontally, ball still sticking to the end. Jack Miller once got credit for some skillfull juglery by coating a ping pong ball with cement and also applying cement to side of his middle fingertip. Holding hand as in Fig. 773,

he was able to make ball apparently roll to tip of first finger, roil underneath, down crotch of thumb (as shown by arrow), then back up along the same path!

3ig. 773 Bill Nord suggests

ball

and one side of ping pong paddle with cement. Bounce ball in air a few times with unprepared side of paddle, swat it suddenly with prepared side. Ball seems to vanish in mid-air. Show both sides of paddle by using paddle move. Produce ball on paddle by reaching behind your back or under table.

(2) Ball is apparently rolled back and forth on small piece of rope held tautly (Fig. 774). Black thread is attached to each end of rope and kept a short distance from rope by the index fingers which are between rope and thread. When rope is tilted slightly, ball rolls along it. (3) Ball rolls mysteriously across table cloth, Accomplished by small ring of cardboard under the cloth. A thread attached to the ring runs away from you, down over far edge of table, then back toward you beneath the table. You pull thread with one hand while other hand gestures over the ball. Or thread can be operated by an assistant in various ways. (To be ccmtinued)

MAGIQUOTES The first rule to be borne in mind by the aspirant is this: Never tell your audience beforehand what you are going to do. If you do so, yqu at once give their vigilance the dlrection which it is most necessary to avoid and increase tenfold the chances of detection. -Hoffman in "Modern Magic"

Hugard's MAGIC Monthly

OK P

OFILES

by JOHN J. CRIMMINS, JR. ROUTINED MANIPULATIONS (Part I) by Lewis Ganson. A 118-page printed book with 53 line drawings and 105 photographic halftones. Published in soft board covers by Louis Tannen, 120 West 42nd St., New York. Price, $2.50. Those who were not fortunate enough to get a copy of this excellent book when it was first published in England in 1950 now have a n opportunity to rectify this mistake thanks to Lou Tannen who has produced an excellent reprint edition for the American trade. As you may know, this is one of the first of a series of finely illustrated books on pure manipulation by Lewis Ganson, and Book Two will shortly be coming along under the Tannen aegis to complete the first volume. As the title implies, the book deals entirely with expert manipulation of various articles from the Three Shell Game to a fine routine with the Linking Rings. As the author says in his Preface: the "object of the book is to set down, in permanent form, routines of the manipulative order which have been audience-tested and found to have appeal and real entertainment value. These routines have been accumulated over the years.. . many of them have been published in the 'Gen,' and in 'Abracadabra,' but all have been revised and brought up to date.. . and the text has been illustrated with plenty of photographs and the descriptions worded in a manner which, it is hoped, will give the reader the next best thing to personal instruction!' In keeping with the above promise, which the book certainly fulfills, is the professional background of the author whose choice of material is first rate and whose views on presentation offer considerable more value to the student of magic than is usually found in the average book of tricks. All the routines bear the authentic mark of the professional and carry out the belief Mr. Ganson expresses early in his introduction, i.e.: "It is my belief that two of the main secrets of successful manipulations are natural movements of the hands and simplicity of the manipulations themselves, so that the attention of the performer can be concentrated on the presentation of the mystery and not upon performing complicated hand contortions!' R 0 U T I N E D MANIPULATIONS (Part 1) opens with a fine, down-toearth essay on presentation running

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to 11 pages. He has divided this into three parts: 1. The Performer his dress, personality, behaviour, speech, make-up, and care of the hands. 2. Outside Aids covers stage settings, lighting, music, and apparatus. 3. Technical Ability which the remainder of the book consists of, with the reminder that from this wealth of material one should make up three different acts so as to be prepared at all times whether for intimate work, banquet, or full stage presentation. It's an excellent and very worthwhile chapter. From here on and through the next one hundred pages he teaches the following: "The Production of Lighted Cigarettes" complete with clear descriptions of all the necessary sleights plus a full-length routine. Next comes a card routine "How Right YOUAre," which utilizes a "rough and smooth" pack; then a full description of A1 Koran's "Torn and Restored Newspaper," which is followed by two fine chapters of giant Card Fans. From fans he swings to "The Multiplying Lighted Candles," then back to cards again with "The Invisible Riffle Pass," and a pet of his called "Gambler's Luck!' Next comes two complete explanations of "The Walnut Shells and Pea," and Ken Brooke's version of "The Cups and Balls!' "The Egg On Fan," "A Dice Routine," "The Smoking Clay Pipes," some coin sleights plus a coin routine, and a version of the paddle trick done with matches come in for attention. Interspersed between these are some very good card tricks and manipulations such as "Card Production Supreme," "Readapack," "My NameYour Name," "The Solo Aces," and "Thought Prescient!' And, as already mentioned, the final chapter deals with 'The Linking Rings!' Truly a remarkable collection of exceptional magic to suit all tastes, and to please any audience. It's all magic you'll like, and I heartily recommend the book.

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NICK'S TABLE TRIX by Nick K. Trost. An 11-page mimeographed pamphlet with 19 illustrations. Published in soft boards by the author, 540 Horton Ave., Tipp City, Ohio. Price, $1.00. Most readers will recognize the author, Nick Trost, as the contributor of the lead trick in the April issue of this magazine which bore the title "Fantasy Flight!' Of the nine effects given, seven are with

cards and the remaining two are concerned with matches and a ring and rope routine. All are for close-up presentation with the card tricks being quite a bit off the beaten path either in effect, presentation, or original routjnjng of some ingenious subtleties. Two of the card feats which particularly appealed to me were "Lost & Found," which is a clever card location, and another, which is a real gem, called "Anyone Card Control!' You'll eveq fool yourself with this one which infallibly lands the chosen card on top of the deck to be dealt with as needed. It's a sort of slop shuffle idea which works automatically, and it can also be used for causing the chosen card to reverse itself in the deck. This is a dandy and well worth the price of the manuscript. The booklet can be obtained either from the author or from your magic dealer. NEW TRICKS: Max Andrews has just issued Eddie Joseph's latest effect called "Mirage!' It's an extremely clean vanish of a card, a couple of coins or other small objects from the hands. Coming with the special gimmick is a 4-page manuscript describing two complete routines in Eddie Joseph's thorough style of presentation. Whiie the idea is not new, it's certainly practical and every magician should have one of these gimmicks for close-up work. Price is $2.00 and Holden's has a supply of them. Holden's also has another English import which is quite unusual called "The Pincushion Balloons!' In this you run a long hatpin thru an inflated balloon (honest, you do), yet when the spectator tries it he only succeeds in bursting the balloon. It's a real novelty and sells for $1.75. Stanfield of "Colorfusing Knife" fame has just released a new trick called the "Linking Coat Hangers." Don't know the price, but the effect, of course, is the Chiiese Liking Rings done with coat hangers. Actually the coat hangers are not as clwnsy to handle as one might imagine and for the fellow who wants something different these may be just the thing. A complete routine is given in an accompanying booklet of 7 pages with 26 illustrations. The "key" hanger in this case is so cleverly faked that the slit is not noticeable even a foot away, and a person might actually handle it without discovering the gimmick. I do think, though, that the coat hangers might well have been supplied in natural steel color for greater visibility rather than in the Japanned(Continued on page 444)

Hugnrd's MAGlC Monthly

CHRISTOPHER'S COLUMN Some time ago Tannen made up the giant can opener which Robert Orben mentioned in one of his patter books. The performer, after remarks about his "big opener," produces the huge implement from a foulard or thin air. You can add to the effect if you solder a Bingo shooting device to the handle of the can opener. After the initial laugh say: "I always get a bang out of that." Release the catch on the shooting device and the resultant explosion adds to the amusement.

BLACKJACK PUZZLER During his close-up demonstration in Havana at the recent Society of American Magicians' conference, Johnny Platt used this clever blackjack stunt. He dealt a card face down to a spectator, then one to himself. As usual the next card was dealt face up. The spectator got a 10; Johnny got a 6. When the spectator peeked at his hole card he had another 10. Naturally he refused any more cards. So,too, did Johnny. He didn't admit defeat however, instead he announced he would win. To any hardened blackjack player this seemed to be impossible. Johnny flipped over his hole card. It was the 15 of diamonds. Fifteen and six are twenty-one! Most magic dealers sell the 15 spot cards. This will cause considerable consternation among your blackjack playing ,friends before you reveal your hole card.

ESP. SOLUTION The best method submitted to date in the E.S.P. contest comes from John P. Hamilton of Manchester, N.H. I quote his letter in full: "In the May issue of Hugard's R W I C Monthly magazine you ask for methods of performing an E.S.P. effect. As you have outlined it I think it would work if you arranged the cards in pairs, i.e. a square and a cross, a triangle and a circle, etc. I would have the back of one and the face of the other roughened a la Brainwave Deck so they would stay together during an overhand shuffle. Then if the sender showed a square you would know the next one would be a cross, if he showed a triangle the next one would be a circle, etc. The sender would sit opposite the magician and competitor. The sender would shuffle the cards overhand and place the deck face down and then turn the cards up one at a time so that he would not see

the face of but one card at a time to enable him to send it better. The competitor would try to get it and then he would hold up a card of the design he receives then the sender would hold up the card with the design he was sending and they would both turn them around and see if they matched. The magician would note the card the sender was holding and thus know what the next card would be as all cards as explained are in pairs. The cards would be printed on a stock heavier than a playing card so that they would not bend easily thus doing away with the possibility of a riffle shuffle. It would be best to use all different designs so that the spectators might not catch on by the necessary repetition of the pairs." COMMENT John Hamilton's idea has possibilities, but I, for one, would hesitate having the spectator shuffle the rough and smooth pairs. Again the matter of him separating the pairs when he lifts off the cards would have me worried. CLOSE-UP MAGIC Most magicians when they perform close-up magic simply improvise as they go along. One trick follows another as they think of it. Sometimes the intimate show builds to a climax. More usually the last trick is the least impressive of d l , and is the last because it happens to be the last trick the performer thinks of. The magician who wishes to create a strong impression will arrange his intimate exhibitions with as much care as an elaborate stage performance. His

first trick will be dazzler, one that captures interest immediately. His last trick definitely will be the best -the most effective f e a t he performs. Admittedly it is fun to improvise, to haphazardly do magic with any objects that happen to be at hand. But if you intend to do impressive magic -magic that your audiences will remember- even your apparently impromptu shows will be well thought out, carefully planned. Those who do not plan their closeup routines will invariably do a number of feats with the same general plot. Methods will be repeated and there will be an abundance of the "take a card" type of tricks. Think about the problem a few minutes and you will see the logic of planning in advance. Almost every magician carries a few pet close-up props. The sponge balls, thimbles and the color-changing knife are some of the objects most usually carried by those who entertain their friends. Sit down and jot down a list of ten tricks for a close-up show. Arrange the tricks so that you can build to a dramatic finish. Here and there you can include an unplanned trick with a glass, a salt cellar or a beer cap, by way of illustration, but establish a foundation act first. Once you have the program mapped out, gather the props you will need. You will soon find that you can distribute the props in your various pockets so that you can get them immediately and, more importantly, so that the props for one feat aren't in the way of the props for another. Now go through the routine, trick by trick. Even your first time through the routine will enable you to learn by the doing several points which you may have overlooked before. The next step is to get a story line for your routine. Don't memorize the exact words you will use-just the general idea. Unless you're a professional, that is. If you're a professional, you'll memorize not only the various moves but the words that go with them. Matter of fact even the parttime performer can help his performance by following this rule. By storyline I don't mean you must tell a fairy tale with every trick. Far from it. You should have conversational patter; funny if you are a comedian; interesting whether you're a comedian or not. Resist the temptation to do too many tricks. Leave your audience, (Continued on next page)

Hugard's MAGIC Monthly

MEXICO'S BUSHING CLOWN May 30, 1956 Mr. Jean Hugard, 2634 East 19th S t , Brooklyn 35, N.Y, U S A Dear sir: In the April issue of HugardYsMAGIC Monthly and under the title "South of the Border," Mr. Ben Dalgin writes about his peculiar experience in Magic while traveling thru Mexico. The object of this letter is to try to complete Mr. Dalgin's article as I believe he missed the best part. In the following I don't intend to offend in any form to Mr. Dalgin, who deserves my sincere sympathy. The beautifully dressed clown performing in a main street in Mexico City (Av. Juarez), was undoubtedly FIRULAIS, the professional name of Sr. Federico Ckhoa y Ochoa. He is member of one of the oldest and richest families in this part of the country and a former student of dramatic art of an Institute in USA.; speaks fluently both English and French beside his own language-Spanish.

PATTER Collected by CLIFF GREEN Propaganda is baloney disguised as food for thought

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Sr. Ochoa was a member of the IBM until some months ago and his ability as a Magician is great and Mr. Dalgin had a chance to appreciate it. Now, as far as passing his hat for a liberal collection of "Pesos and centavos" is concerned, in Sr. Ochoa's case, he lives not of his family and relatives wealth, but of this "hat collections," really liberal (and possibly the envy of many a stage Magician), and it is his pride that thru Magic he can make an honest living. It is a pity Mr. Dalgin does not speak enough Spanish nor he knew FIRULAIS or Sr. Ochoa spoke English as he missed the oppostunity to interview him and write a big article "EXCENTRK! MILLIONAIRE THAT IN HIS DEVOTION FOR ART, SUICLDES TO BECOME F I R W S THE CLOWN STREET MAGICLAN." Sr. Ochoa was born at Guadalajara and is a member of the former Circulo MQgico (now, Circulo MQgico Tlacanahualli) which we intend to turn in an IBM Ring. We take advantage of this opporEavesdropped: "I told her I was a gogetter but she was looking for an already-gotter" . . . A pessimist is an optimist on his way home from the races . . . Sign in a florist shop: "Every Bloomin' Thing". . . The best thing to save for your old age is yourself.

Figures don't lie but girdles condense the truth.

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A man should work eight hours a day and sleep eight hours. . . but not the same hours.

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With proper care, the human body will last a lifetime.

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The clever guy makes hay with the grass that grows under other men's feet.

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Nothing reminds a woman of all that needs to be done around the house like a husband who is taking it easy.

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A race track is the only place you'll find windows that clean people.

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It takes will power for a man to quit his bad habits but a lot of wives have that will power.

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Tossed salad: ,She was wearing a low cut gown with ample reasons.. .

CHRISTOPHER (Continued from previous page) even if your audience consists of only one or two people, wanting more. Don't overdo it. A few sparkling tricks can make you the life of the party. A long program can ruin the evening. Better offer a bright five minutes than a boring hour. If you wish to acquire perfection don't vary your program. Get a good routine and continue doing it until it is polished and second-nature. After you have a first-rate basic routine you can add a new trick from time to time. When you do, however, see that the new trick is in its proper place. Make sure you maintain your pace and build to that sure-fire fiish.

tunity to invite Magicians touring thru Mexico to visit our circle, you will be sure to receive a heartly welcome from our members. Yours in Magic, Miguel G. Almeida

OUT OF M Y PROFONDE (Continued from page 436) rings. It is the postman with the die box. The poor dead man is shocked into action, he jumps out of bed, borrows a hat, opens both doors, sighs contentedly and falls back into bed. He died in peace, Dukie, he died in peace!' Duke said: "Hmph," and shuffled into the back room. The Great Nicola, owner of the world's largest illusion show, visited whenever his schedule brought him into New York. He would always seek out Fritz for information and advice on the small tricks which were used in his colossal show. He would stand around and watch the regulars swapping card tricks. He much admired Annemann, Vernon, and Sam Horowitz and would always wind up fooled, and saying: 'Well, I can't make any money here," and off he'd go. Roland Travers who had one of the fastest and flashiest illusion acts in vaudeville felt the same way. He'd watch the passing parade of card tricks, sit in a corner, and mutter: "What does it get them, what does it get them?" This attitude had its reversals too. Like the day Howard Thurston appeared on the scene. The Master of the Mighty, who owned hundreds of tons of illusion show was obviously upset. He was very nervous. "Duke," said the Master Illusionist, "help me. I have a spot in the show and I can't resolve it." 'What's the trouble?" "Jane has to vanish a handkerchief. She's in evening dress, tight, no pockets, no jacket. What can she do?" "Here," and Duke handed the Great Howard Thurston -whose illusion show carried 35 assistants, horses, mules, lions, elephants, and 100 tom of props-- a Stillwell Hank Ball. "What do I owe you?" "Forget it! I can't have Jane on the stage with no way to get rid of a hanky." (To be continued)

Huaard's MAGIC Monthly

BACKSTAGE

got a write-up and two photos in a recent Inland Printer. Russell Swann played the Smuggler's Lair DeLage and Shirley in Bermuda. Gali repeated at the N. Y. Palace. Gali the Henry Grady Hotel Atlanta.. Jay Marshall and Ballantine repeating on the Garry Moore show.

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(Continued from page 434) newspaper reporters and magicians and generally abetting the visiting wizards. Meyer Silberstein was hospitalized early during the convention, made a quick recovery and attended the final events.. Roy Tatroe's guns were held by the customs men until his departure. . Many saw their first bigtime gambling operation in the Nacional Hotel's casino and watched avidly as the dealers shuffled, the wheels spun and the dice rolled.. Surprise attraction was Del Ray in the National's Parisian Room. His ultra-modern magic deThe lighted those who saw him. Cuban Tourist Commission rates Concheers for their fine work. vention programs appeared several days late. Most shows were at least half an hour late. Once you got in the maiiana mood, though, it didn't matter. For hospitality, colorful surroundings, and exotic atmosphere you can't beat Havana.

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DUN'NINGER Dunninger's first two shows of the -mer season on ABC-TV were botched by some of the worst direction in years on a network show. As variety said: 'what they saw on fie preem program must have given them

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NEWS AND NOTES Sorcar closed after four weeks in London and, it is rumored, is on his way back to India.. "The Men with the X-Rays Eyes" is the title of John A. Keel's half-baked article on blindfold methods in the July Man's Magazine. . James Reneaux due on the The Garry Moore Show, June 14. Great Raymond (what, another one!) did an underwater escape on ABCTVs "Going Places" from Miami. The F.A.M.E. boys put on a good show Sunday, June 3 on the Mall in Central Park. Jack Foley performed at the 43rd National Safety

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JOHNNY PAUL for his hilarious and technically perfect act on the Big show presented at the Radiocentro Theatre during the First International Convention of the Society of American Magicians held in Havana's Hotel Nacional, May 29th through June 1st. 1956. His close up Magic, particulady his handling of the Cups and Balls, is something that must be seen to be appreciated and his comical presentation and patter enhance every effect. His is the perfect blend of comedy

CARIBBEAN ASSEMBLY

With a special mention of Compeers Jose Sousa and "Squarey" Pelayo Riera for the wonderful and warm hospitality extended to the members of the First International Convention of the Society of American Magicians held from May 29th through June 1st at the Hotel Nacional in Havana. This Convention marks the first one to be held of the S.A.M. outside its Continental boundaries. A milestone, indeed! Their great efforts and good humor were instrumental in assuring the success of the ConiUn mill6n de gracias, ami-

old vibrant self $this season. He's working without punch. Most of the feats are still plenty baffling to the uninitiated. They won't be for long if he keeps repeating the stuff he used last year. In the most recent show Dunninger repeated the prediction in sealed envelope and, so help me, just as last year, there was Bob Dunn on the screen to do the same task he performed before. This time it was even more obvious. It's noteworthy that Joe has changed the wording of his challenge this year. Now the announcer says that Dunninger offers $10,000 if anyone can prove he uses professional confederates or assistants.. Jack Gould in The New York Times devoted his entire column to criticizing the program for its bad taste in using the U.S. Army in an undignified way (Thursday, May 31 paper). . On the brighter side TV Guide of June 9 carried a boosting article and two photographs. You might be interested in this quote: "I really read thoughts, my friend. Because of my gift, I can see into your mind, provided that you cooperate with me through concentration."

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NIILBOURNE CHRISTOPHER for his -to quote the local paper "spectacular divination" of the number which was awarded the First Prize of $100,000 in the National Lottery drawn in Havana on Saturday, June Znd, 1956. This stunt, coupled with his sensational, blindfolded ride through Havana's "Malec6n" traffic from the Hotel Nacional to the Presidential Palace garnered unprecedented publicity for Magic, the Convention and

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the shudders. . for if ever a show needed a shakedown, this was it. Dunninger's commercial potential was all but destroyed by some of the most inept direction and cueing seen in many a day. To add to the faulty direction, the mentalist himself must have had a case of jitters, for he stumbled over a half-dozen sentences and oft-times left his subjects with their mouths agape by passing on to something else." Billboard noted, "hitial show was dull, humorless and hampered by the usual first night 'hexes"'. . By the time the third show rolled around either they got a new director or the old one snapped out of it. Technically the show was on the road. Dunninger is not his

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ROSSKAM Very funny letter in from Charley RossKam telling of his adventures looking up the word "mulled" in his unabridged dictionary. I used the word in reference to the rumor he was being considered for a new IBM post. Wish I had space to print it. He says the rumor isn't true. When he retires as IBM president, he is really retiring from all IBM official activity, he says.

Dealers must submit trick or book

HANDS ACROSS THE SEA,

ndorsed Dealers Offerings :~O::p~e::nrep~;d~ vertising

COPT

must be in by first of month of pnbiicatlon.

pald.

Mbimnm: 3 lines,

$1.00

(Continued from page 437) is either for the performer or the spectator. Now in this manner the selection seems fair enough, and to force this point home when it comes to the choice of one card in one glass, the performer asks that the choice be made in exactly the same manner. By this means, two of the glasses are eliminated. It doesn't matter which. These two glasses are turned around displaying the faces of the cards inside. Now, according to the value of the card left unshown, the prediction card is picked up. If it is the Ace of diamonds it is just turned around to reveal a duplicate of that card on the back of the display card. If the ten of clubs, or the four of hearts, it is opened booklike to reveal either card.

BOOK PROFILES (Continued from page 440) black style. They can be obtained from John Stanfield, 514 Maple St., East Point, Georgia and also from your local magic dealer.

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MARGINALIA: The magazine "True Weird" for May 1956 has a six-page story about Daniel Dunglass Home, the medium, and his European exploits. The title of the article is "The Man Who Floated In The Air." The Bridey Murphy craze has brought on a rash of advertising of all things hypnotic and psychic not only by the magic dealers but also by the public press and publishers. The Wolfe & Rosenthal book, "Hypnotism h m e s Of Age," has just been reprinted in a pocket edition at 354 by the Berkley Publishing Corp., 245 West 57th St., New York 19, and the latest Signet Key Book being advertised as "The Truth About Extra-Sensory Perception" is the Eric Dingwall and John Langdon-Davies book, "The Unknown-Is It Nearer?" This is also a 354 pocket edition published by The New American Library of World Literature, Inc., 501 Madison Ave., New York 22. You'll find them both in the bookracks in your local book stores, drug stores and stationary stores. BOOKS FOR should be sent to John J. Crimmins Jr., 265 Park Hill Avenue Yonkers 5, New York.

Don't Miss Tlris Great Trlck! Anothcr Horowitz Classic MORE MOHAMMED BEY BOUT'INES WITH THE OKITO COIN BOX re's more brilliant magic to be done with the ssk Okito Box. New transpositions, new moves N subtleties; a complete routine of 6 sman ects that will make any audience's eyes pop e climax with a silver half dollar and ax glish penny visibly penetrating thru the bol 1 a card case set atop a glass is magnificen' .pic. New book (series #2) .............. $2.01 :TRA OKITO COIN BOXES, each ...... $1.5( Y'S ROUTINE #I (incl. box) ......... $3.01 IY'S ROUTINES #l and #2 (incl. box) $5.0( EDDIE JOSEPH'S MIRAGE startllng vanish of two corns, or a card, fron ? very finger tips of your hands, and right un the spectator's wllectlve noses. . $2.01 N-CUSHION BALLOONS (just out) .... $I.?! :D TAPE THUMB TIE (The Best Yet) 2.M 'E DICTIONARY TEST (It's Tops!) .... 7.51 [READING THE NEEDLE reat at) ....... 6.51 PROVED POP-EYE PIPS CARD ....... 4.51 IE BEST IN MAGIC (Bruce Elliott) .... 3.51 :ETTY SNEAKY (by Don Alan) ........ 2.01 NARAMA OF PRESTIDIGITATORS .... 2.01 iR LATEST CATALOGUE $17 . . . . . . . . 1.51 HOLDEN'S MAGIC SHOP Herman Hanson, Manager "Always First With The Burt" 120 Boyiston Street, Boston 16, Mass.

MAGICANA in HAVANA Souvenirs the First International Conventim the Society of American Magician! "ograms .............................................. 50( Silk pennants, silk screened in colors ................ $1.00 adges .................................................... 25( Order from Blanca Lopez 22-14 Fortieth Avenue Long Island City 1, N. Y. STANFIELD'S New, Unique

LINKING COAT HANGERS refreshing modern verdon of the olassical link g rings.

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trick with a new "flavor" new glmnlwk new moves. new effects. by hanger locks closed In such a way that ~t ! actlcally indetectlble, even in spectator's hanL )mplete routute in 6% printed pages with 2 ap-by-step illustrations. le newest and most completely different effec I the market. $5.6 le Linking Coat Hangers

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STANFIELD'S 14 Maple St., East Point, Ga. (MIDA Hugard's MAGIC Monthly A

monthly publication devoted solely to the interests of magic and magicians. JEAN HUGARD Editor and Publisher a634 East 19th Street Brooklyn 30. N. Y. Subscription ~ a t d : 1 year, 12 issues, $5.00 ( 6 issues for $2.50)

BACK AGAIN BY POPULAR DEMAND ROUTINED AMANIPULATIONPART 1 (GANSON) Out of print for many years. The first edition sold out so fast many magicians didn't even see it. 60 here it Is, one of the best books of all time. Cigarettes, cards, candles, coins. eta., all routined and illustrated with Photos. Soft boards. 118 pages. 176 fllustratlons. .......A low $2.50 ADD-A-NO. (HENK VERMEYDEN) YOUpredict the total of a column of flgures before the spectators even write them down. A fabulous gimmick does the whole trick for you. This is destined to be an all time seller. You all1 Positively be craw about the automatic action that does the trick for you. Mindreading a t Its best. ................................Price $8.50 SYMPATHETIC SELECTIONS (WARLOCK) The oard a spectator selects matches the one you sealed in an envelope previous to his selection. No forcing, the spectator's choice Is absolutely fair. A knockout effect. .... Price $3.00 MINIATURE TELE-FRAME (DURKIN) A vest pocket size card between glass!! A miniature of the card a spectator selects appears between two pieces of glass in a frame, instantly and visibly, without covering. Frame is just 2 inches square. A real outie. ........ Price $1.00 STRANGER IN PARADISE (WARLOCK) Spectotor places a deck In Na pocket then freely selects a card from another deck. He counts the cards in the deck from his pocket, there are only 51 cards! The card he selected from the other deck is the one missing and on turning i t over it has the same color back! Sensational, only 2 decks used. ........................ price $3.50. PLEASE MENTION HMM IN YOUR ORDERS LOUIS TANNEN New Pork 36, N. Y. Phone: Longacre 5-0555

120 West 4Znd Street,

"IT'S FLENINGS F O B MAGIC BOOKS" "Prettr Sneaky" (Don Alan), 48 pages, just

Published

...............................$2.00

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SLEIGHT OF HAND PERFORMERS interested in forming lodges of the International Guild of Restldlgltators nlay obtain further information by writing JULIE ATTERBURY, 119 NO. LIMA STREET SIERRA MADRE, CALIF. THE INVISIBLE PASS Special Sale .................. $1.50 Cloth-bound book beautifully illustrated, originally published a t $3.00. JEAN HUGARD 2634 East 19th St., Brooklyn 35, N. Y.

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GIG Monthly

Hugard's

D E V O T E D S O L E L Y TO T H E I N T E R E S T S OF M A G I C A N D M A G I C I A N S VOL. XN, No. 2

JULY, 1956

50 CENTS

AND & SILK PRODUCTION Magicians today have almost wholly discarded the use of the wand. In general it i s used only for special occasions, such as the coin producing one for catching money from the air, the apparent disappearance of the wand after wrapping it in paper, and so on. This is to be regretted, for the wand has always been the legendary weapon of the magician. Graceful use of the wand also helps in covering the fact that some small object is concealed in the hand.

PEODUCTION OF A WAND At one end of the wand, fix a small metal ring. To the ring fasten a black thread, the same length as the wand. Fasten both ends of the thread inside your sleeve near the elbow, and push wand into sleeve for its full length. To produce the wand pretend, on making your entrance, to be searching for something and explain, "I find I've forgotten my wand. I can't do a thing without it so I'll have to make it come to me." At this moment, reach out in the air with your right hand as if trying to catch it in that hand. Instantly, turn half right and swing your left hand outwards and upwards, causing the wand to fly out of the left sleeve the full length of the thread. Close left hand on the inner end of the wand and it will appear that you have actually caught the wand in midair. Grasp the free end with your right hand and break the thread as you release the wand from your left hand. Rap the wand on your table to prove that it is solid. PREPARATION OF SILKS Prepare the required number of silks by making them into a ball by means of the Fitch Cheney gimmick* (Illustrations.) The silks should be graduated in size from 12" square up to 18" and the winding process should begin with the smallest in size with the rest following in order.

* See "Hanky 1Ealler;'

HMM, Feb. 1949.

By JEAN HUGARD The silks, of course, should be of such different colors as will blend into a pleasing effect. Let us suppose that you wish to produce half a dozen silks from your bare hands. Take the first silk by one corner and let it hang down from your right hand. Hold the bent wire in your left hand with the loop uppermost. Pass the end of the handkerchief through the loop and allow it to protrude above for about one inch. Wind the handkerchief tightly around the wire, just below the loop until the lower diagonal comer is reached. Take

the second silk and twist one corner around the free corner of the first silk. Now, wind this second silk tightly around the first. Proceed in exactly the same way with the third silk and continue with the others in the same manner, thus forming a rough ball of the silks around the upper ends of the bent wire. Push the free corner of the last silk into one of the folds so that it is held securely. Hold the ball of silks in your left hand and, with the right hand, pull the wire out from the bottom of the ball of silk. The wire loop will pull the protruding corner of the first silk (Continued on page 451)

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Hugurd's MAGIC Month29

OUT OF M Y PROFONDE By ARTHUR LEROY

SATURDAY AT DUCROTS DIRTY DUMP (Continued from last issue) Horace Goldin would drop in whenever he wanted something special. In the basement Dukie had stored wondrous pieces of Magic which had been created by such masters as Chase, Bamberg, De Vere. These were the buried treasure of the establishment and amongst the pieces were a Revolving Aga, Lunette, Single Delivery Duck Tub, Dida and items of the same rarity. They were guarded and treasured like a pirate's buried hoard. To this day the whereabouts of these pieces remains a mystery. Perhaps they still lie in the cellar buried under an accumulation of dust. Goldin wanted some of the buried treasure but Dukie would never selL I remember the day that I walked into the back room and was stopped dead in my tracks. m e r e stood Harry Houdini, his brow laden with sweat and his silk shirt wringing wet. "NO, no, no!" screamed W i e . 'Your swing is too wide. Much too wide. Slower! Narrow down the arc? Houdini, great magical persondity that he was, struggled to please his Master like an obedient chi. Dumt was teaching Houdini the Ducrot Thumb Tie, and the more Duke berated him the harder he tried to please. As they finished the lesson a tiny man came in. He was Charles Prevett and Houdini greeted him with affection. "Caught your act at the American last night. Good idea, stick to it." Houdini was complimenting Prevett on hi new act "La Fantasie."It was an illusion act in revue style with singers, dancers, and show girls working in the illusions which followed a musical comedy approach. Today we read of illusionists who created the revue type for an illusion show. They are all about 25 years too late. Charles Prevett with "La Fantasie" beat them all to the punch and Houdini, covered with sweat, was telling him to stick to it. A flash of flash paper and a seedy little man stood in the doorway. He looked for all the world like a disinterred corpse. His clothing was tailored for a man twice his size, his eyes were wild and sunken, his face a death mask. "I am Ashereus, The Wandering Jew, heed my warning: Repent or

you shall be destroyed. Walk in the way of the right." Duke stuck his head out of the back room. "Hello, Welsh. Hungry? Go to Krist's. Have breakfast. Tell him I'll pay for it." Down the stairs to fill h i s constantly empty stomach went Welsh Miller. Only yesterday he had been one of the finest manipulation acts in the world. His coin act was rated by experts as more exciting than Downs or Shaw. He had been a standard attraction, then something inside that pitiful little man snapped. He believed himself to be many people, many personalities. All history ebbed and flowed within him. He would wander the streets of New York peddling his wondrous creations to those of the profession who would buy him a meal. Amongst his wonders was the original production of filled glases, a la billiard balls, rising and shooting wands, and it was Welsh who actually created the pneumatic stand for the Glass-Thru-Hat. He made these intables and stands. Others have followed him but Welsh created the gimmick. No one knows what happened. Perhaps he had a momentary approach to reality but one quiet day Welsh found an open window, high, high up. It must have seemed like a solution to his empty stomach. Perhaps he was tired of being so many tortured souls in one tiny, wasted body-he jumped. On sunny Saturdays, Pop Donar would sit in the store and hold court. Pop had been in Magic for more years than most of us had lived. Whenever he visited he would give vivid and accurate word pictures of the greats who had gone. Alexander Herrmann, Imro Fox, Kellar, paraded by as Pop spun his yarns. Then came that sad Saturday when Adelaide Herrmann passed away. Roland Travers brought all that remained of the Hermann show to Ducrot's to be disposed of as souvenirs and keepsakes. As he fondled the pieces, Pop told stories and wondrous Servais Le Roy joined in from time to time. Jean Hugard was there too, and it was he who told us what certain forgotten magical pieces were used for. It was a sad Saturday at Ducrot's, but a remarkable one for here were great professional performers and amateurs alike joined in a reverent ceremonial.

All present were kindred souls-they all loved Magic. If anyone was a store-steady it was John Eggers. Big, hulking John lived on a pension. He had little to do so he spent a good deal of time advising Ducrot on how to run his business. Duke was a patient man, but finally Eggers got on his nerves. "Eggers, why don't you get a job?" "What," answered Eggers, "and ruin my whole day?" This irked Eggers and, out of spite, he waited until Duke had gone into the back room. He walked over to the sign which hung above the counter. It had movable letters. A devilish gleam shone in John's eyes as he played with the sign which read:

WELCOME MlYRTINKA & CO. FRANK DUCROT, MANAGER For two weeks Duke couldn't figure out why people would laugh as he stood behind the counter, beneath the sign. Then one day he looked up! He was King heralded with WEL MOM FARTINA & MOE CRANK DUCROT DAMAGER I remember one Saturday when a stranger walked in and oddly enough in a few moments he was accepted. He was a young guy, very tall, with a strange halting way of using his body. He talked with a drawl which was most fascinating. He was in town to appear in a college show, Princeton Triangle4 think. Ted Annemann liked him, A1 Baker liked him, Dukie l i e d him. Duke sold him a couple of small tricks to be used in the routine he was doing in the show. He was featuring a strait jacket escape. After his purchase he performed a four-ace location which was new to all of us. It fooled the devil out of the regulars and when he had finished he left. Then the crowd started to beat out the method for that four-ace routine. Today after all these years that routine has become standard. Few people know that it was first shown at a Saturday Soiree at Ducrot's by a guy everyone liked. I never saw the guy in Dukie's again. He was too busy. Everywhere he went people liked him. They've liked him for years to the tune of many millions of dollars. Anyhow he created the routine where the spectator repeatedly cuts the pack until he forms four piles and on top of each pile lies one of the aces. We all remembered the name of the tall guy with the funny diction. It was Jimmy Stewart. (To be concluded)

Hugard's MAGIC Monthb

THE GAMBLERS' PALM By CHARLES ASTE The Gambler's Palm is a most valuable sleight especially for close-up work. It has one drawback and that is, that the angle of the onlooker must be kept in mind very carefully. The addition I have made to the sleight overcomes this difficulty, the palmed card being completely concealed from all angles, even when viewed from the back. To execute the Gambler's Palm hold the deck in the mechanic's grip in the left hand, press the tip of the second finger on the outer corner of the bottom card of the deck, buckling it slightly this will bring the bottom card in palm position. (Fig. 1) Remove the remainder of the cards with your right hand retaining the bottom card in the palmed position. The lower corner protrude$ slightly and is, of course, a little tricky to conceal. (Fig. 2)

To overcome the left hand across the table hand is brought

CARD CORNER

The effect of an indifferent card changing to a chosen card under the foot of a spectator is a standard trick in which either a double lift or the throw change is used. The double lift is used too often and the throw change requires uncalled for motion. Here is a much cleaner method for performing this beautiful trick using the Gambler's Palm described above. Effect: A spectator having freely chosen a card, replaces it and the deck having been thoroughly shuffled, the magician removes a card, shows it and claims that it is the selected card. The spectator denies this, the card is placed face down on the floor and the spectator place his foot on it. After the usual hocus-pocus, the spectator finds that the card under his foot has changed to his chosen card. Procedure: Have a spectator freely select a card from the deck, note it and replace it. Control the chosen card to the position second from the bottom. Hold deck in your left hand and with left little finger secure a break above second card from the bottom, the chosen card. With your right hand take away all the cards above the break and turn left hand over thus showing face of

THE ILLUSIVE PIP By JEAN HUGARD Nate Leipzig made very effective use of the color change. After having forced the 4A on a spectator, replaced it in the deck and the deck shuffled, he would produce the 5 4 at the face of the deck and claim that it was the chosen card. When the spectator denied this and maintained his position although Leipzig pretended to argue that he must be making a mistake, he would remark with a smile: "After all, what is one pip amongst friends?" He would then draw his right hand over the 5 4 and -thus depositing the 4 6 which he had previously palmed he would let the tip of his middle finger rest against the 4 4 apparently covering the center pip. He would then pretend to rub the pip off the card and thus show the chosen 4 4 . In Leipzig's hands, this handling was most effective.

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this difficulty, slide containing the card an inch or so as the down to rest on the

table. Allow the left corner of the card to strike the table and to be folded back under the palm. You can now open the left fingers widely and the card cannot be seen from the front or either side. (Fig. 3) Of course, this technique in no way changes or interferes with any other uses of this fine palm.

THE CARD UNDER SPECTATOR'S FOOT the indifferent card which was at bottom of the deck and claim that it is the chosen card. The spectator denies this. Execute the Gambler's Palm, palming thaindifferent card and pushing off the card above it, the chosen card. Place the card face down on the floor and have the spectator put his foot on it. Replace the deck in your left hand so that palmed card again becomes the bottom card of the deck. Have the spectator name the card he chose and, using whatever spell or incantation you may prefer, order the card under spectator's foot to change to his selected card. The spectator himself picks up the card from the floor and finds that the mysterious change has been accomplished. This is a simple, hard hitting method for this great effect. I have never seen this idea of the double lift off the bottom of deck used and it is so simple if some goof just does not have to make a move out of it. Just separate the two bottom cards with your left little finger and keep its tip pressed against the side of the pack, then lift the rest of the deck away from the two cards. Another difficult move has thus been eliminated and the final effect enhanced in the process.

Eugard's MAGIC MonthIv

BACKSTAGE with FRANK JOGLAR

Reports from Miami Beach tell of the big attendance at the 1,B.M. Convention. Almost 650 registered. Cogia Pasha attracted much attention in his colorful Indian costume. Ken Brooke, from England, made many friends with his entertaining hocus pocus both on and off stage. Fine reports in on Hernan Hanson and on the Ganson lecture. Chauncey M. Sheridan is the new I.B.M. prexy.

NEWS AND NOTES Col. Ganson, Ken Brooke and Harry Stanley visited the Dixie Magic Table prior to sailing back to Fhgland. They appeared in Chicago and Buffalo after the Florida convention. . . Arnold Furst in town on his way back to the coast. His next stop after that -Alaska. . . Nicolls and Rene played the N.Y. Palace again and Variety reported: "Nicolls and Rene dish out some magico tomfoolery in the deuce as they whip up some strange culinary concoctions. It's a breezy eight-minute affair that mixes up yocks and prestidigitation for good results. Nicolls does most of the work, but Rene helps him with her looks as well as a few choice tricks.". . . Another repeat at the Palaceithe fine black art act of Dolincff and the Raya Sisters. . . June 24 the Johnstones, of Chicago, hopped off on a tour of one-nighters with Elvis Presley, the bobbysoxers' delight who mixes sleight of leg work with vocal manipulations and guitar dexterity. . . Dick Richards, past prexy of the Magicians Guild, has the Disappearing Bird and Cage he described in these pages on view in the window of the Franklin Society oi?N. Y., at 217 Broadway, for six weeks starting July 12. Here's how Variety sized up Virgil's "Magicana" at the Empire theatre in Glasgow, June 14: "Virgil, US. magician from Boston Harbor, Washington appeals to family audiences with pleasantly entertaining mixture of magic in large number of scenes. For good glamor measure he features his partner, Julie, in series of illusions and in mental telepathy bit, plus eight chorines from the Ehglish Marie de Vere Stable. Show has good musical backing from resident orc under baton of J. Marvyn Phillips, longtime manager with Cecil Lyle and Horace Goldin. Indian market, Tibetan and jungle scenes are set off with appropriate musical score for atmosphere. Items range from tricks with ropes to condensing of milk portions, and Virgil

also brings up to date the old classic of sawing a woman in half in a scene titled 'Vivisection.' Quick-change routines include the pre-interval act where Virgil and Julie change places in briefest space of time and find spot where, after being "ired' from cannon, Julie reappears in miniature trunk inside a series of larger trunks. Comedy is stressed in a seance bit, with customers participating as witnesses, and in a guillotine item, with boy stooge as victim. Outfronters participate in many scenes, thus adding a friendly family nature of the magic fodder on offer. Pre-finale is billed as 'Virgil's Magic Circus,' all illusions being costume and other links with the sawdust ring. Solid mitting for Julie's own identification spot, in which she reels off in correct order articles chalked on backboard after being named by customers, doing stint blindfolded." DUNNINGER With several weeks under his belt, Dunninger is back in shape as a TV showman. Productionwise the show has progressed greatly since the first few badly putogether episodes. Philip Minoff in the June 9 Cue tells precisely what happened when he had a date with Dunninger and how Richard Himber later duplicated Dunninger's feats on request. When Minoff asked Himber "How many other people are there who can do these same things?," Himber estimated "Oh, about 50,000 or so.". . . Joe fared better in an impressive spread in the July 24 Look. The writer played the legitimate telepathy angle, mentioned that Houdini had willed Dunninger his illusion books. (This will be news to the Congressional Library.) New slants: The article said Dunninger was deeply religious and enjoys painting scenes in Central Park. The business of a letter being selected from a glass tank on the show and Dunninger attempting to project his thoughts to the sender has been scrapped. Current procedure is for a postcard to be selected before the show goes on the air. Last week Dunninger announced he would think of a capitol city of the

The opinions, criticisms and approvals which appear in this column have the full endorsement and are the sole responsibility of the editor and publisher, Jean Hugard.

HERMAN HANSON for his superb act at the I.B.M. Convention held in Miami June, Old timers will recall that Herman Hanson's act was for many years a standard act on the Big Time vaudeville stage. Herman retired some 16 years ago but his performance at the Convention proved that his hands have not lost any of their

world. The postcard writer must not have been watching for it was easy to see, by following the movement of his writing hand, that he was scrawling "Rome." This week, however, the postcard sender correctly said "Petunia" when Joe announced he would concentrate on a flower. Dunninger admitted he had trouble remembering how to spell the word as he wrote, but he got it right. TV TOPICS Myrus, who now wears glasses, guested on "Tonight!' He had trouble when someone stood up when initials were called. Myrus' answers were way off base. Finally a woman behind the person said that her daughter, who had the same initials, had written the information in question. This mishap built up Myrus's finale. A man said he wanted Myrus to answer not the question he had written but another he had in mind. Up he came to the stage and Myrus called off the correct data for an impressive finish. During the show, after Myrus had taken a folded question in hand, the camera obliginly turned its attention on the audience. Which shows how a little thinking can cover weak parts of a mental routine. Unfortunately Myrus still uses the questions and answers technique, which might lay him open to fortune-telling charges one of these days. . . Another night on the same show Kajar appeared. He stabbed a selected card, made a canary vanish from a paper bag and appear in an egg inside an orange, cut and restored the wire attached to a light bulb, etc.. . Gogia Pasha on the "Going Places" show from Florida featured his girl on three sword points illusion. Another day Howard Brooks turned up on this stanza in shorts and (Continued on page 455)

Hagad's MAGIC Monthly

CYCLOPEDIA OF IMPRMOPT TRICKS (Continued from last issue) PLATE (1) While waiting for waiter to bring food, remark that you are hungry enough to eat the plate. Pick up plate, bite the edge. A loud cracking sound is heard. Produced by a half-dollar in same manner as in bitting edge of glass (See GLASS, No. 10). (2) While someone at the table is talking excitedly, George Jason likes to hand him his plate, at same time looking him in the eye and nodding gravely. Victim sometimes keeps talking and holding plate for several minutes before he starts to wonder why he is holding it. (3) Place four objects on a plate. Announce that you and three others will be able each to take an object, but one will still be left on plate. You "take" the last object by picking up plate with object on it. (4) About a dozen half-dollars are stacked neatly in center of plate. Hold plate by rim, a few inches above table. It is possible to withdraw the plate quickly to one side, allowing stack of coins to fall on table without toppling over. (5) Victim is handed a plate but does not know that bottom has been covered with soot from a candle flame. You hold unprepared plate. Tell him you intend to hypnotize him. He must look into your eyes at all times and duplicate all your actions. Rub your fingertips on bottom of plate, then rub fingers across forehead. He does the same. Rub bottom of plate again, then rub fingers on nose, and so on. Victim of course blackens his face without realizing it. This stunt is so ancient and well known that an amusing switch can be based on it. The "victim" is in on the stunt. While your attention is distracted, he switches plates with a wink at audience. Go through usual routine and pretend to grow increasingly astonished at fact that victim's face is not becoming black. At same time you must act as if you are not aware that your own face is getting the soot. (6) Several bold methods for a quick vanish of a plate are explained by Sachs in Chapter 7 of his Sleight of Hand. In the standing method, left hand is held behind back. Right makes tossing motion, leaving plate in left hand, then left immediately produces it from inside someone's coat. Seated methods involve clipping plate between leg and thigh, or leaving it on the chair. See Sachs for details.

By MARTIN GARDNER (7) Innumerable effects may be devised in which one or more plates are turned upside down, then small balls of paper, bread, or sponge (or small objects such as sugar cubes, dice, etc.) are made to vanish, reappear, transpose, etc., as in cup and ball routines. An excellent impromptu routine using two plates and four small bread balls is described by Sachs (Sleight of Hand, Chapter 7) and worth careful study. (8) Tom Sellers (in Tricks that Work) gives this method of using a plate for the exchange of two small objects. Duplicate object is fastened to center of plate with wax, and plate is turned upside down on a coffee cup before starting trick. The object to be switched is apparently placed on the plate after left hand has turned the plate upright. However, as plate is lifted from cup by left hand, right hand drops object into cup. Right hand immediately is placed on duplicate object as left hand turns plate upright, leaving plate on top of cup with object resting on it. The plate of course hides the switch from audience. Sellers used this move for switching match boxes in a divination effect. There may be many uses for the move. For example, one might attach to the plate a balled-up flash bill. Borrowed bill is formed into ball, switched as described. Flash bill is ignited, then original bill is found inside the cup. (9) Grinding the knife. Although old, this is an amusing table diversion when properly performed. It was a favorite of Nate Leipzig, whose handling is described so well in The New Phoenix, No. 324 (March, 1955) that there is no need to repeat it here. The effect is that of spinning a plate on the knees, then using it like a grindstone for sharpening a table knife. The New Phoenix description is the only correct one I have seen of this striking illusion. Most descriptions fail to explain how the thumb of one hand is used to keep plate from toppling over as it is jiggled by the legs. PLATE, PAPER (1) Performer insists on absolute quiet while he tries to juggle three plates. He keeps dropping and breaking plates, then picking up new plates and trying again. He grows more and more furious at audience for laughing at him, until finally, in a burst of uncontrolled anger, he starts throwing plates at the audience. These of

course are harmless paper plates, but for a few seconds the spectators are understandably terrified. POKER CHIPS (1) Faro shuffle. 'I'wo equal stacks of poker chips are placed "side by side. With one hand they can be made to interlock alternately as in a faro card shuffle. If 16 chips are used, eight of one color and eight of another, the first shuffle will of course produce alternating colors. Second shuffle results in alternating pairs of color. Third shuffle brings the colors into groups of four, and fourth shuffle restores original form--one stack of one color and one of another. An ancient gambling stunt and very pretty to watch if done rapidly. For details on the finger positions, see my explanation in HMM, Jan., 1951. The shuffle can also be done with stacks of coins. (2) A number of mathematical effects have been published involving chips with numbers, letters, or designs drawn or pasted on the sides. Best known trick of thii type is Bob Hummer's "Poker Chip Trick." See my Math, Magic, and Mystery, 1956, for details.

(3) A dealer's method of stealing two poker chips while apparently paying off a bet works as follows. Suppose your bet is a stack of seven ohips and dealer is supposed to pay you same amount. He picks up a stack larger than yours, pushes it against your stack (Fig. 775). By holding his stack slightly above table, he pushes six of your chips off the bottom chip, which then becomes bottom chip of his stack. He cuts his stack even with yours, and unless you count the chips you do not realize that two are missing. Move can be indetectable. (4) Stand facing a wall. Someone hands you a chip which you take behind back in a closed fist. Turn to face audience. A tiny piece of palmed wax is attached to chip. Stick it on wall behind you. Pretend to concentrate, then turn and face wall, keeping both hands behind back, one closed in fist as though still holding chip. Name the color of chip (which (Continued on page 453)

Hugard's

MAGIC Monthly

BOOK PROFILES by JOHN J. CRIMMINS, JR. THE FIVE 0' FETSCH-by "Hen" Fetsch. A nine-page offset booklet with four illustrations. Published in soft board covers by Gene Gordon, 320 F'rankli St., Buffalo 2, N.Y. Price $3.00. This latest Fetsch offering bears the subtitle, "A quintette of card miracles," and as is usual with his tricks they are all embellished with new twists and clever bits of business. Actually there are seven tricks explained, plus a couple of variations, so that you get a very decided bonus in the way of card magic. Few sleights are required. Nost of the effects are selfworking in that they employ doubleface cards, double-back cards and a couple of gimmicked cards. These are enclosed with the booklet, and are made up to match regular red and blue-backed Fox Lake decks. All the tricks are built for effect, and in each instance the effect is a stunner. In the initial effect two cards are selected, the first one of which is inserted in a drinking glass with face of card towards the audience. The second card is returned to the deck which is fanned in the right hand. The left hand holds up the drinking glass while the right fans it. The glass is allowed to tip forward until it is upside down. When the glass is righted, the card in the glass has transformed into the second selected card, while the first one is found in the deck! In the second effect two decks are used, one red-backed, the other blue-backed. A card is chosen in each deck, whereupon the performer holds one deck in each hand. He slowly and deliberately exchanges the decks and hands them out. When they are ribbonspread on the table, the chosen redbacked card is found in the bluebacked deck, and the chosen blue card is found in the red-backed deck! In effect number 3 a card is selected, its face initialled, and it is replaced and lost in the deck. The deck is now handed to the spectator who, under cover of a handkerchief, takes the top card, reverses it and sticks it anywhere in the deck. Cards are ribbon-spread and the card below the reversed card proves to be the selected card. The effect is immediately repeated creating a doublebarrelled climax! The fourth effect is a triple coincidence trick in which the spectator cuts one deck into three piles to match three piles cut by the magician with another deck. The cards cut to by the spectator always match the cards cut to by the magician!

In the fifth effect a spectator selects a card from a red-backed deck, and replaces it face up in the facedown pack. Deck is now fanned face up, and spectator draws out any other card near the reversed one and lays it face up on the table. He h asked to blow on it whereupon it i s shown to have a blue back since he "blew" too hard. In fact the entire deck now has blue backs. The climax arrives when the face-up card -the first one selected- in the deck is shown to have a blue back as well! For a repeat of this trick, the deck becomes all red-backed again! The bonus tricks consist of "The Smith Myth," in which two spectators each select a card from a packet of cards. After the packet is shuffled by one of the spectators, the magician deals them face upwards into two piles until the spectators call out "Stop" when they sight their cards, and these always turn up together! The second bonus trick is a prelude to the Smith Myth. As you can see, the effects are all quite different yet simple of operation. For those interested in entertaining card magic, and not sleight-of-hand, these "Five 0' Fetsch" are recommended.

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SEALED VISION-by Will Dexter. A 66-page printed book with 29 illustrations. Published by George Armstrong, London. Cloth, $2.50. This book will be welcomed by everyone interested in mental magic and is, to my knowledge, the first comprehensive book compiled on blindfolds, faked or otherwise. In fact, were it written by another person except Will Dexter, I'm sure it would have been called an "encyclopedia." The book is divided into four parts, the first section dealing with fourteen different types of faked blindfolds including one of the author's called a "Friction Scarf Blindfold," which is a honey. Section Two covers methods using the "downward glimpse," and includes the "Reversed Crease Blindfold," "Blindfold Plus Pads," "Peter Warlock's Pad," "Surgical Plaster Blindfold," and tapers off with a description of various types of "reflectors." Section Three deals with subtleties such as the "One-Ahead System," stage setting, property plot, forcing, set-ups, memorizing, genuine blindfolds, and your psychological approach to the audience. The final chapter gives a wide variety of suggestions on building a program of blindfold

effects. He covers here the Blindfold Drive, a delivery of a letter, the Blindfold Cycle Ride, and an excellent program of simple but effective feats starting with a color matching stunt and ending with a Darts Game. In the Appendix he selects and lists a fine array of effects from Annernann's "Practical Mental Effects," Hilliard's "Greater Magic," and Warlock's "Pentagram Magazine," with further suggestions of feats from "The Phoenix," and from Hugard's MAGIC Monthly. In short, "Sealed Vision" is very worthwhile and should be on the book shelf of every mentalist and magician. Available at your favorite magic shop. HOW TO CALCULATE QUICKLYby Henry Sticker. A 256-page printed book published by Dover Publications, Inc., 920 Broadway, New York 10, N.Y. Price, $1.00. Those devotees of mathmagic, mathematical recreations, and even puzzles will find this book of exceptional interest for in its 9,000 short problems and their solutions you will be introduced to rapid methods of multiplication, addition, subtraction, dividing and calculating that are basic in themselves but are not taught in schools. It's a course in self-instructim dealing with "number sense9'--or the ability to recognize relations between numbers considered as whole quantities. As such it is a book that everyone can profitably read and study. The subject matter is limited to the four fundamental operations of arithmetic, plus the inclusion of fractions and decimals. The "short cuts" described will be invaluable to all who take time to study this book.

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MARGINALIA: Jean Hugard is offering a real bargain to those card men who act promptly. He is disposing of the last few copies of Hugard & Braue's famous book, "The Invisible Pass" for the ridiculously low price of $1.50 a copy. This is a large size, 8%" x ll", cloth bound book of 29 pages with 14 photographic illustrations plus 14 line drawings describing every move in detail. If you haven't got a copy better get one now at this bargain price; if you have a copy then get one for a friend of yours. Paul Rosini said: "Believe me when I tell you I do the pass fairly well, yet when I saw Fred Braue do it I said, 'He has reached the zenith.' Here is a pass where you can glue your eyes on the pack and watch the performer's hands, and see nothing. Anyone who gets this book will have a gem, a real treasure." An unusually clever pocket trick, "Phantom Thread" is now available at the magic shops. This is a release

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Hugad's MAGIC Monthly of a needle, threaded by a spectator, while the ends of the thread are being held by the spectator. The needle is so cleverly gimmicked it defies detection. Priced at $1.00, it's one of the best buys of the season. Those interested in the Ellis Ring and in the Okito Coin Box should make it a point to obtain the June issue of "M-U-M" Magazine. J. G. Thompson describes an excellent routine with the ring, while Ken Krenzel and Paul Parfrey give you a new effect with the box. Interested in used Magic Book Lists? Write to Bergs Magic Studio, 6560 Hollywood Blvd., Hollywood, Calif., and to Teral Garrett, P.O. Box 72, A3bany, Kentucky. And for a book list, plus a list of good used magic, write to Kirk the magician, % C. B. Kirk Co., Muncie, Indiana. Ed Mellon's "Mental-Wise," Vol. 2, No. 11, just in. You can get a free copy by writing to him at P.O. Box 54, Uniontown, Pennsylvania. Magic's only newspaper, "The Magnet'' makes an appearance again after a long absence. Vol. 2, No. 4 just arrived. This is a real novelty, all magic news and columnists. Subscriptions are 12 issues for $1.00. Write to the paper at P.O. Box 5993, Birmingham 9, Alabama. The April-May issue (No. 20) of "Lines From Lawton" has just reached me. Don will be glad to put you on his mailing list. One of the items he's pushing at the moment are his magic bookplates. These are very colorful and sell 15 for 50), or 36 for $1.00, A lot of you fellows showld be interested in these. Drop Don Lawton a line at 3713 Washington Blvd., St. Louis 8, Missouri. BOOKS FOR REVIEW should be sent to John J. Crimmins Jr., 265 Park Hill Avenue Yonkers 5, New York.

WAND 8 SILK PRODUCTION (Continued from page 445) through the others so that it will protrude from the opposite end of the balled silks. Disengage the wire and you will have a ball of silks which can be handled freely without fear of any of the silks coming apart. Place the ball of silks thus prepared under your vest, a little to the left of the middle line. PRODUCTION Procedure: With the wand in your

AGAIN THE 3 PAPER CLIPS AND A BILL By JESSE SCHIMMEL

Referring to the explanation of this trick by Elmer M. Applegit which appeared in our December 1955 issue, page 371, the following addition of two rubber bands will be found to make the trick even more effective: Slip thin rubber bands on two of the clips. Fasten one of these clips in the center position, that is to say, between the clips marked A and B in the illustration. Fasten the second clip with its rubber band at point B. Invite a spectator to clench his fingers and hold his thumbs upwards and

about six inches apart. Slip the rubber bands over his thumbs and instruct him to hold his hands still. Now grasp the bill at ends A and B and pull it out. The r e d t will be a chain consisting of a rubber band, three linked clips and another rubber band. The effect of the linking of the clips is thus brought into full view of all present, and the impact on the onlookers is always astonishing. Caution: The dips must be fastened exactly as shown in the illustration, otherwise they will not link.

left hand, bend your left arm so that the left hand rests quite near the spot where the ball of silks is concealed. Announce that you require several silk handkerchiefs and that you will produce them from your wand. Take the wand in your right hand and wrap it on your table, thus showing that it is quite solid. Take it again in the left hand so that again that hand rests near the vest. Run the right hand along the wand to the end of it and carry it away, closing the hand as if you had squeezed something out of the wand. As the right hand moves away, with the left fingers steal the ball of silks from under the vest and then move the hand a few inches outwards. Open your right hand and appear to be surprised that it contains nothing. Take hold of the end of the wand, clasped by the left hand and slide that end along the wand to the outer end. Grip the wand at that end with the left hand and, with the right thumb and fingers seize the protruding end of the smallest silk and pull it out so that it appears to come out of the end of the wand. Stroke this silk downwards with your left hand several times and, at the third stroke, with the right thumb

BRAIN TEASER By JOHN HAMILTON

Here is a dandy: A lady bought 4 articles in a grocery store. The clerk made the mistake of MULTIPLYING together the prices of the four arti'i cles instead of ADDING them. However, no mistake in the total was made, as he arrived at the same answer by multiplying the four as if I $ ) he had added them. The product, or total, of the 4 was $7.11. What was 1 the price of each? f i r;jf , i ~= .z4

A% and third finger, grip the protruding end of the second silk which has been pulled free in the production of the first. Again stroke the handkerchief with your left hand and pull the second silk into view. Grip this between your little and ring fingers so that it joins the first silk. / The production can be continued with the remaining silks or you can 4 pull the wand free from the left hand , by sliding it outwards and again -grasping it by the other end with the , left hand. Then, go ahead with your prouduction.

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Huga7dYsMAGIC Monthly

DS ACROSS THE SEA By PETER WARLOCK MINIATURE INSTO-TRANSPO Some long while ago I wrote up in the Pentagram an effect entitled "Insto-Transpo-Slates." In this effect two patterns, one drawn by the spectator and one by the performer on the two slates change places under apparently impossible conditions. When Dr. Stanley Jaks came over here some while ago to give an excellent lecture on close-up Magic, he included a version of thii effect using miniature slates. He was also kind enough, when he returned, to send me from America the type of slate that he used. The following routine which is, in effect, similar to the one originally described by me, makes a rather unusual effect of table Magic. The performer commences by showing two miniature slates. Handing a spectator a piece of chalk he asks him to draw a small geometrical design on one of the slates. On the other slate the performer draws an entirely different design-say a pentacle. Both slates having a design the performer asks for the spectator's initials and, taking the spectator's slate he turns it over and writes these on the back. This slate is placed in front of the spectator and he is asked to keep his

finger tightly upon it. The perfomer now takes his own slate, turns it over and places his own initials on the side opposite to the design, pointing out the fact that the spectator quite freely put a design of his own choosing on his slate which further has been marked with his initials whilst the performer drew on his slate a pentacle. He intends to show him a most peculiar happening. In other words he is going to try and make the two patterns change places. With his own slate held at the fingertips he makes a mark of the pentacle in the air over the slate held under the spectator's finger. The spectator is then asked to turn over the slate in front of h i and instead of finding the design that he drew he finds the performer's pentacle. "Part of the experiment has suceeded," says the performer, "but here is the final stage." And, slowly turning over the little slate he holds in his hands, he shows that the slate with his own initials bears the spectator's design! All that is necessarv are two miniature slates (one of Ghich has a flap) and a piece of chalk. Let it be stated that the flap when fitted should be common to both slates. On one slate

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der the table to pick up the pennies on the knee. "If I pass these two pennies through the table" -indicating left hand"how much money will I have in my right hand?" Paul slapped the table top with his left hand-no pennies. At the same time he clinked the coins in his right, brought them to the table top to show the nine cents.

With FRED BRAUE TABLE TRICK

On July 5,1941, Paul Rosini showed hi nickel and pennies trick, a small version of the Hang Ping Chien feat. He borrowed four pennies and a nickel, placing the nickel and two pennies in the right hand, and the remaining two pennies in the left. Rosini placed his right hand under the table, placing the two pennies on his right knee. "How much money do I have in my right hand?" he asked. That accent! "And how much in my left hand?" -which rested on table top. He brought the right hand, holding only the nickel, up onto the table. Then he used the slap-coin move-that is, he opened his left hand palm up, showing two pennies. As he turned this hand down, he threw the pennies to the right, so that they were picked up by the right hand as it slammed palm down on the table, thus presumably showing it held the nickel and other two pennies. These he picked up in the right hand, carrying them un-

BOTTLE PRODUCTION With a bottle in your right hip pocket, stand on spectator's left with hands on hip, grasping neck of bottle between right fingers. Grasp spectators left coat lapel with your left hand and open coat wide, peering in. Under cover of the screening coat, bring out right hand and grasp the coat with your right hand, which still holds the concealed bottle. Grasp spectator's right coat lapel with your left hand, lifting it away from his body and at the same time turning him so that his right side is to audience. Now the spectator's right coat lapel conceals your right hand, which moves forward to introduce the bottle to the right side of the coat, from which it is produced.

a pentacle is drawn and this is covered with a flap. The other slate is left clean and unsullied. Placing the slates and the chalk in front of him the performer addresses a spectator and asks him to think of a simple design. "On one of these slates I want you to draw that pattern whilst on the other (at this point the performer takes a slate with his finger tips and shows both of them back and front. The flapped slate is then placed in front of the spectator flap side up) I am going to draw a complicated design-a pentacle." The chalk is handed to the spectator and he draws on the flap the design he has in mind. To the timid let me say that the mere fact that the spectator has a slate in front of him and that he is allowed to make a drawing on it is proof in most people's mind that such a slate is unprepared. When the spectator has finished his drawing, the performer takes the chalk and on his own slate duplicates as nearly as possible the drawing of the pentacle that lies underneath the flap bearing the spectator's design. Turning to the spectator, the performer asks him for his initials and, taking his slate, picks it up with his right hand and turns it over placing it on his outstretched left hand. The flap bearing the spectator's design is naturally released. On the blank surface the initials of the spectator are now written. The right hand picks up the slate by the inner end and plaoes it in front of the spectator. At the same time, the left hand holding and concealing the +lap,turns palm down. The spectator is now asked to place his finger on the edge of the slate. Picking up his own slate and turning it pattern side down it is placed on the palm of the left hand, the left hand being turned up for this purpose. The flap already there is masked as the slate is slid into position. On the blank side of this slate the performer places his own initials. The chalk is put down and the right hand takes hold of slate and flap and, in bringing it up in front of him, the thumb of the right hand aligns the flap within the slate frame. The essential part of the trick is finished as the spectator now has a slate before him bearing the performer's design whilst the performer has covered his own design with the flap carrying the spectator's pattern. The trick, however, is played out by the sign of the pentacle being made over the spectator's slate. The spectator is now asked to turn over the slate in front of him and on it he finds the performer's design. Turning over the slate he holds, perfcrmer shows that he -on his slatehas the design drawn by spectator.

Hugazd's MAGIC Monthly

ENCYCLOPEDIA OF IMPROMPTU TRICKS (Continued from page 449) of course you can see stuck on wall). Spin around again to ask if you are right, retrieve chip from wall behiid your back, remove wax, and return chip.

POOL TABLE An English book, Fun on the Billiard Table by "Stancliffe," is supposed to contain 75 easy stunts, but I have not seen a copy. Most of the following tricks are from a chapter on pool table stunts in A. Frederick Collin's Mirth and Mystery, 1931. (1) Problem: Place tip of finger on ball and by pressing down, cause ball to shoot forward the length of table. Secret: Saliva on tip of finger.

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lem: Knock over match without moving one of the balls. Secret: Hit one of the balls with inside English.

(8) Coin rests on top of ball and chalk ring is drawn around ball (Fig. 780). Problem: Hit ball and knock coin out of ring. Secret: Either hit ball so hard that coin lands on cue ball and is carried away, or hit it so gently that it rolls over slowly, the coin riding with it.

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knocked aside. Cue ball goes in pocket and other two balls drop to table to occupy spots where the match covers formerly stood.

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(2) Problem: Hit ball A (Fig. 776) and send ball C into pocket. Ball B must not touch either of other two balls. Secret: Invert a glass over B. (3) Bet someone he can't turn around three times, pick up cue, make an easy shot. While he is turning, put saliva on tip of his cue. (4) If ball is spun on table, impossible to bring it to a dead stop by suddenly pressing tip of finger on it.

(5) Arrange balls as in Fig. 777. Appear to smack B with palm of right hand, causing it to travel across table and strike C. No one else can do it. Secret: Instead of hitting B with palm, hit A with thumb.

(6) Place a coin on edge against side of cushion (Fig. 778). Problem: Knock it over with cue ball. Secret: Aim ball slightly beyond coin so it strikes coin's farthest edge. (7) Wooden match stands upright between two balls (Fig. 779). Prob-

(14) Hang ball rack on cue (Fig. 786) and place glass of water on lower rim as shown. Rack can be spun around cue without spilling water.

(9) TO put ball B in hat (Fig. 781), use strong reverse English on cue ball. (10) Coin is placed flat on edge of cushion (Fig. 782). Aim cue ball as shown. It will strike cushion, flip coin into glass.

(11) Glass is placed on its side between ball and pocket (Fig. 783). To put ball in pocket, simply send it into glass. Glass somersaults over and ball continues in a straight line towards the pocket. (12) Arrange balls and cues as in Fig. 784. Send cue ball as shown. Cue A will knock ball B into pocket. Cue ball continues, sending other ball into other pocket. (13) Balance two balls on match box covers (Fig. 785). Drive ball toward pocket. Match covers will be

(15) If two cues and ball are placed as in Fig. 787, ball will appear to roll uphill in direction shown (actually, its center of gravity goes down. Without access at the moment to a pool table, I have not verified any of the above stunts. Will welcome comments, corrections, and additions from any pool-playing readers.

PULSE (1) Stopping puke at will. A small rubber ball or tightly knotted handkerchief under armpit does the trick. Spectator feels your pulse. When you wish to stop it, press arm against ball. Thii presses artery in armpit and cuts off pulse as long as pressure is applied. (To be continued)

Hugard's MAGIC Monthly

CHRISTOPHER'S COLUMN Two more entries in the E.S.P. competition (see the May, 1956 column) are presented this month. The first comes from John F. NIangan of Houston, Texas.

MANGAN METHOD "Received my copy of the May HMM today, and worked out a method for your E S P . effect, which, I believe, any magical performer can use. "Here it is: "In this method you have 20 of your 50 E S P . cards stacked in a known order and laid face up on your table. Two blindfolds (genuine) are laying on the table, one of them covering the face up stack. "The other 30 cards are in a card box, so placed that it will not be noticed that they do not fill the box. "This box is special, in that the flap has been cut off, and a large window has been cut out of the front. "At start of effect this window is facing the table top and the open (flap) end is to the rear. "Pick up the box and tilt the 30 cards into your hand and put the box back on the table. Let someone shuffle the cards as you get your committee to the stage, or up front. (It might be well to have large pictures of the five designs up where your competitor can study them and also to show the audience what the designs look like.) "Take back the cards and let your sender shuffle them, then pass them to your competitor to shuffle or cut. Take them back in the right hand and turn to table. Pick up the blindfold over the 20 stack with your left hand as the right hand puts the deck on the table, adding the 30 cards, face up, onto the stack. "Tell your audience that you like to use a blindfold -not that it makes

PATTER Collected by CLIFF GREEN Overheard at a perfume sales counter: "No more Arpege, please. He's acting like that already. All I want is just a dignified proposal of marriage!'

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Being a husband is like any other job. It helps if you like the boss.

your work any harder- but it really makes it easier for you to concentrate-by cutting out visual distractions. "However, before you are blindfolded, you want to give instructions to the sender, so you pick up the card case and invite the sender to pick up the cards and square them. (Watch that he doesn't disarrange the setup.) Then let him slip the cards in the case, with the back of the top card showing through the window. "Explain to him that he is to remove one card at a time from the top of the deck, concentrate on the design, and signal when he is ready. Tell him you use the box in this manner so that he will not see more than one card at a time and probably broadcast a confused picture. "Now have one of the committee blindfold you and, if he wishes, your contestant. Leave this up to him (the contestant). "Follow the effect as outlined in the original article. "Note: Have your stacked cards well powedered so they will not stick together when removing from box. "Well, there it is. It was hashed up in a hurry but I hope you like it." LAYNE METHOD Here are Peter Layne's thoughts on the subject: "I note in the May 1956 issue of Hugard's MAGIC Monthly that you are interested in E.S.P. presentations. The following may not be quite what you have in mind, but I have found it to be interesting to people: "Simply perform Dai Vernon's card trick "The Royal Marriages" using E.S.P. cards rather than the Kings and Queens as in the original effect. For example the two "0" cards would be used rather than say the KV and think-you never do anything we cai1 do together". . . The only lace in America where you can't have free speech is in a phone booth.. Love: The tenth word in a telegram. . . Nature is a wonderful thing. The fatter we get. the harder it is for us to get near the table. . . "He missed his wife's cooking-every chance he got."

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Experience is what causes a perscn to make new mistakes instead of the same old ones.

Tossed salad: There's one thing in favor of baldness: it's neat. Domestic chatter: Wife to husband: "All you ever want to do is sit around and

Women have now been placed at a disadvantage-man can now travel faster than sound.

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QV, the two "X" cards for K.F and Q.tr, and so on. The fifth design, the star, would not be used. The reference to this trick is "Select Secrets," page 11. MEMORY TEST PATTER Peter Layne, who lives in Toronto, was kind enough to enclose the following abstract from the December 31, 1955 Science News Letter. He suggests it would make a good theme for a memory test. "The average man can reinember accurately only seven items on a list heard for the first time, Dr. George A. Miller, an associate professor of psychology at Harvard University, rePo&. "In an attempt to break through man's "memory barrier,' Dr. Miller found men became confused when they try to tell the difference between seven different degrees of any simple magnitude, such as the brightness of light or the loudness of sound. "They make similar errors if they try to recall more than seven items on any list heard for the first time. "It is only coincidental, the Harvard psychologist suggests, that the memory limiting number is seven, but it may explain why the number seven appears so frequently in man's history. "He notes the seven days of the week, the seven deadly sins, the seven ages of man, the seven wonders of the world, the seven notes on the musical scale, and the seven seas. "Dr. Miller believes man's limited memory is caused by something 'built into us,' either by learning or the design of the nervous system. "To overcome the limitations, he suggests man organize 'bits' of information into 'chunks' of information. For the husband-shopper, this might mean remembering that he has to buy dairy products, meat and vegetables, and then recalling items like milk, eggs, and butter and pork chops and ham for each 'chunk! "Another outcome of the study carried out for the Office of Naval Research was finding that the chosen memory recording process may determine the kind of mistakes made. "Dr. Miller explains that, when we witness some event we want to remember, we make a description in words of it and then remember our word picture. When we recall the particular event, we recall the word recording we happen to have made. "This recording in one's own words, Dr. Miller states, depends on the person's whole life history!'

Hugard's MAGIC Monthly

THE CHAMELEON CHIP By KEN KRENZEL The following routine will enhance any color changing deck presentation. In addition, a stunning climax is provided which makes for a more "logical" color change of the pack. Effect: A blue deck of cards is removed from its case and the case is placed on the table. The magician patters about a gambler who left him a poker chip with unusual properties. This chip is casually shown to be blue on both sides and it is put on the table. The cards are fanned face upwards and a card is touched by a spectator. This card is placed in the right trousers pocket. Picking up the poker chip, the magician explains that, hy merely squeezing it, a strange series of occurences will take place. The chip's color changes from blue to red. Upon tapping the chip to both the card in the pocket and the deck, the color of the cards also changes from blue to red. At this point the effect is apparently terminated. The magician ruminates, "Well, if I only had a blue deck, I would show you something really marvelous." He picks up the blue case from which the cards were removed (and which has been in full view of the spectators at all times) and gestures at it magically. A deck of blue cards is then removed from the case! The magician may terminate the routine or continue with an effect utilizing both a red and a blue deck. Requirements and Preparation: A blue and a red deck. Put a bluebacked card on top of the red deck and replace it in the blue case. Place this in your right coat pocket. Place the blue deck in another blue case (with flap open). Put this case into your left coat pocket on its side with the back of the case outermost and the flap towards right. A red poker chip in right trousers pocket and a blue poker chip in right coat pocket completes the preparation. Presentation: Take the case from your right coat pocket and put it in your left hand. Open the flap and remove the "blue" cards and, with your right hand, put them on the Hugard's MAGIC Monthly 2634 East 19th Street Brooklyn 35. N. Y . 0

Subscription RaIC.: 1 year, 12 issues, $5.00 (6 Issues tor $2.50)

table face uppermost. Do not close flap of the blue case. Make your remarks (see effect) about the gambler's poker chip and simultaneously reach into both left and right coat pockets in search of the chip. Your left hand -when in p o c k e t drops its case and grasps the loaded case as right hand removes the blue poker chip from right coat pocket. Your right hand emerges with its chip a little before the left hand and you call attention to the chip as the loaded case is placed on the table in a calm, unhurried, manner. Important: Do not grope in your pocket as you switch the cases. The position of the loaded case in your pocket should be such that its position in your left hand will be identical to that of the unloaded case. (Remember: the flap is open.) Do not look at the loaded case as you put it on the table, back uppermost, so that the cards are not visible. Make the move as natural as possible! Pick up the pack and holding it face up execute the Hindu Shuffle. Occasionally flash the top, blue backed card as you tap the right hand packet against edges of the cards in your left hand. Leave the blue card at bottom of pack. Spread the cards face up and request the spectator to touch a card (be careful not to show its back) and drop face outward in your right trousers pocket. As you do this, fingerpalm the red poker chip. Pick up the blue chip and toss it into your left hand which closes around it. Open your hand and seem surprised to see that nothing has happened. As you apparently toss the chip again into your left hand, execute any coin switch move you do well. Squeeze the left fingers around the chip and then open them revealing the color change from blue to red. Remove the card from your pocket-- still face outward and, simultaneously, secretly drop the fingerpalmed blue chip. Touch the red chip first to the card and show that its back has changed color; then, touch the chip to the pack and demonstrate the color change of entire pack. As you fan the cards back upwards be careful not to reveal the only blue card (at the bottom). Pause a moment and make your remark about doing something more marvelous if you had a blue deck. Lift the case from the table and gesture magically at it. Reveal that the deck in the case has changed to blue and go into your next mystery.

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BACKSTAGE (Continued from page 448) tropical helmet, with the vanishing candle in candlestick gag, torn tissue strip, egg bag with glass of liquid fiish and other items.. Jack P a n on "Tonight" used the reel-wristwatch, circle to square, vanishing glass in paper bag and his burlesque girl in sack stabbing stunt.. "The Magic Clown" bowed out on Channel 5, but Shari Lewis reappeared, this time at 500 PM on Saturdays via Channel 11 with her magic and vent for youngRan& escaped from one of sters. Sidney Radner's Houdini straitjackets on "Today." RAND1 Speaking of Randi there's a story about his activities in the July True titled "How to Get Out of Anything." For the record he was born Randall Zwinge in Toronto, Canada, August 7, 1928. He's 5 feet 7 and a half inches tall, weighs 137 and wears a goatee. He saw Blackstone when he was 14, got his background in magic from Harry Smith, joined the Toronto Ring of the I.B.M. Ten interesting photos add visual interest to Richard Gehman's text in True.

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KEATJNG In January Fred Keating scored a triumph at the Phoenix theatre with Cornelia Otis Skiiner. The rave reviews were quoted in this column. Keatiig is now touring the summer theatres with Beatrice Lillie. This time Variety blasts him. "Attempting the sort of combined m.c. and alternate single that Reginald Gardiner provided in the previous show, Fred Keating is strictly limited on appeal, Allowing for the weeks of silo tour-

Hugard's MAGIC Monthly

ing coming up his intro patter can presumably be simplified, strengthened and smoothed. But even assuming that Keating were to become an acceptable conferencier, his longripened sleight-of-hand dodges like the bird-cage, threading the mouthful of needles, etc., are not only children's party stuff, but relentless killers of show pace.". This reviewer is not the same Variety man who covered the show at the Phoenix. Is it possible that Keating's act has changed so much in the few months since then? 1 think not.. . When a favorable review of Fred appears here I never hear from him, but when something

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like the above turns up, he usually writes if he sees it. So any day now a letter should be winging its way in this direction.

SORCAR Since Sorcar closed after a fourweek run at the Duke of York's theatre in London it has been reported that he and his company returned to India. It has also been said that only his company returned, that Sorcar is still in London. English publications quoted him as saying he was coming to the U.S.,but not when. The latest Sorcar publicity to reach these shores

Endorsed Dealers Offerings "Truly Wonderful! In A Word-It's Superb" says Xrv Weiner of Sam Horowitz Coin Classic MORE MOHAMMED BEY ROUTINES WITH THE OKITO COIN BOX Everyone agrees this new routine #2 using four coins and the Okito Coin Box is a gem. Eddie Clever says: "In my opinion this second routine surpasses the first and goes even beyond surpassing. Don't get me wrong, the first routine is good, but this second one is Super Good!" ~ l v t nPlough says: "You'll do thrilling things with this new routine. It's better than the first one, and that was excellent!" Complete routine in large printed book, only ......... $2.00 EXTRA OKITO COIN BOXES, each ..... $1.50 BEY'S ROUTINE #l (With box) ......... $3.00 BEY'S ROUTINES #I B #a (incl. box) $5.00 THE PHANTOM THREAD A honey of a close-up trick. Anyone threads a needle and holds both ends of the thread. You cover needle with a hank, reach under and remove the needle without damaging thread. $1.00 EDDIE JOSEPH'S "MIRAGE" (very good) $ 2.00 PIN-CUSHION BALLOONS (real novelty) 1.75 THE FIVE 0' FETSCH (card magic) .... 1.75 SEALED VISION (Will Dexter) .......... 2.50 THE HINDU CUPS (Eddie Joseph Book) 2.00 PASTEBOARD PARADE (Merlini) ...... 1.00 ENTERTAINING THE MODERN CHILD 1.00 RED TAPE THUMB TIE (the best) .... 1.00 ACE DICTIONARY TEST (excellent) .... 7.50 PRETTY SNEAKY (Don Allen) ........ 2.00 GRANT'S FLYING FISH (very good) ... 12.85 OUR LATEST CATALOGUE #17 ........ 1.50 HOLDEN'S MAGIC SHOP Herman Hanson, Manager "Always First With The Best" 120 Bo~lstonStreet, Boston 16, Mass.

MAGICANA in HAVANA Souvenirs of the First International Convention of the Society of American Magicians Programs ..............................................504 Silk pennants, silk screened in colors ................ $1.00 Badges .................................................... 254 Order from Blanca Lopez 22-14 Fortieth Avenue Long Island City 1, N. Y.

is a four-page folder illustrated with a photo in full color of Kalanag and Sorcar. This is an answer to Kalanag's blast when Sorcar opened in Paris.. Will Sorcar and Kalanag never learn? These attacks only lessen their prestige. They should spend their time building up competition with other attractions in today's highly competitive show business. This warfare among wizards cheapens magic. If they must battle and have facts to support their rival claims let them fight it out in courts of law, not in sarcastic broadsides.

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Dealers must submit trick or book with copy to Jean Hugard for approval. Advertising WPY must be in by first of month of publication. Material returned post paid. Minimum: three lines, $1.00.

BACK AGAIN BY POPULAR DEMAND ROUTINED MANIPULATION PART 1 (GANSON) Out of print for many years. The first edition sold out so fast many magicians didn't even see it. So here it is. one of the best books of all time. Cigarettes, cards, candies, coins, etc., a11 routined and illustrated with Photos. Soft boards. 118 pages, 176 illustrations. .......A low $2.50 ROUTINED MANWULATION PART 2 (GANSON) Out of print for many years. If you have Part I, you'll demand Part 2; if you haven't got Part 1, better order both. Contains effects with balls, thimbles, hanks. knives, ropes and cards--all completely explained and routined with every move, sleight and action photographed. Simply out of this world! 133 pages profusely fflustrated. ..............................Price $3.00 ADD-A-NO. (HENK VERMEYDEN) You predict the total of a column of figures before the spectators even write them down. A fabulous gimmick does the whole trick for you. This is destined to be an all time seller. You will positively be crazy about the automatic action that does the trick for you. Mindreading a t its best. ................................ price $8.50 SYMPATHETIC SELECTIONS (WARLOCK) The oard a spectator selects matches the one you sealed in an envelope previous to his selection. No forcing, the spectator's choice is absolutely fair. A knockout effect. .... Price $3.00 MINIATURE TELE-FRAME (DURKIN) A vest pocket size card between glass!! A miniature of the card a spectator selects appears between two pieces of glass in a frame, instantly and visibly, without covering. Frame is just 2 inches square. A real outie. ........ Price $1.00 STRANGER IN PARADISE (WARLOCK) Spectotor places a deck in his pocket then freely selects a card from another deck. He counts the cards in the deck from his pocket, there are only 51 cards! The card he selected from the other deck is the one missing and on turning i t over it has the same color back! Sensational, only 2 decks used. ........................Price $3.50.

GOOD BOOKS AT SMALL PRICES! "A Magician Explains" (Ganson) ........ $1.00 "Professional Magic for Amateurs" ........... 1.50 (Gibson) ................... . "Conjuring Trix" (Tricker), rings ....... 1.50 "Golf -Ball Routine" (Twinn) ............ 1.00 "Gagsterisms" (Ali) ...................... 1.00 "Card Miracles" (Annemann) ............ 1.00 "MY Best Card Trick" (Baron) .......... 1.00 "Thimble Manipulation" (Enochs) ....... 1.50 FLEMING BOOK COlKPANY 728 Madison Avenue. York, Pannsylvanh SLEIGHT OF HAND PERFORMERS interested in forming lodges of the Inkrnationsl Guild of Prestidigitators may obtain further information by writing JULIE ATTERBURY, 119 NO. LIMA STREET SIERRA MADRE, CALIF. BARGAIN Three-Month Trial Subsoription $1.00 Genii, the Conjuror's Magazine, official organ for the Academy of Magical Arts and Sciences. sells a t fifty cents per copy or $5.00 per year by subsmiption. However. lf you are now a subscriber, in order to acquaint you with the value of this leading magical monthly, we will send you a three-month subscription starting with the current issue for only one dollar. G E N I I The Conjaror's Magazine 929 So. Longwood Avenue, Los Angeles 19, Calif.

INSTRUCTION LESSONS in MAGIC for MAGIC LOVERS

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MAGIC

Monthly

D E V O T E D S O L E L Y T O T H E I N T E R E S T S OF M A G I C A N D M A G I C I A N S VOL. XN, No. 3

AUGUST, 1956

50 CENTS

THE SLYDINI ACES TO compile a list of all the tricks which have been devised with the four Aces would be a very arduous task. Probably the earliest Ace trick to appear in print is the Conus Ace Trick which was explained by Robert-Houdin in hi great textbook "Les Secrets de la Prestidigitation!' Conus was a famous French magician who flourished around the middle of last century. Since then, almost innumerable variations of the Four-Ace trick have appeared in magic books and magazines. The trick which follows as demonstrated to me by Slydini himself- forms a fitting climax. Effect: The magician openly removes the four Aces from any deck and lays them on the table in front of him, faces up. He then inserts the Aces in the center of the pack, one by one, holding the deck in his left hand and allowing the Aces to protrude for about one third of their length from the outer end of the deck. A spectator then pushes the Aces flush with the rest of the cards and immediately takes the deck in his own hands at the magician's request that he shuffle the cards. As he is about to comply, the magician produces the four Aces from under his arm. The Aces may be initialed at the start, if so desired. The trick has been devised for intimate performance while seated at a table and can be performed impromptu with any deck. Procedure: 1. Spread the deck face up and remove the four Aces laying them face up one by one on the table in front of you. At the same time, remark: "I shall use the four Aces for several reasons. They are the most easily recognized of all the cards in the deck.. In most card games they are the cards of highest value and they have certain mysterious powers which I shall demonstrate!' 2. Hold the deck in your left hand face down in position for the thumb count, that is to say, the tip of left thumb at outer left corner of the deck, the index finger doubled under the deck and the other three fingers pressed against the right side of deck.

By JEAN HUGARD

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Riffle off about one third of the deck and hold a break at that point with your left thumb. 3. With your right hand, pick up the first Ace, naming and displaying it, and insert it face down in the break for about two thirds of its length. 4. Fix your attention on the remaining Aces on the table and pick up the second Ace naming and displaying it, just like the first. While your right hand k thus occupied, allow one card to slip from under the tip of your left thumb and hold a new break under it. 5. Insert the second Ace in this new break placing it flush with the first Ace. 6. Proceed in exactly the same manner with the two remaining Aces. The position will then be that you have the four Aces protruding from the outer end of the deck and interwoven between them in the deck -at their lower ends- you have three indifferen cards. (Fig. 1). During this whole process the deck must be held in a vertical position on its side, backs towards spectators.

7. Cover the protruding cards with your right hand, make a rather sharp move downwards with the same hand, remove the hand half closed and follow it with your eyes as if executing some subtle move. Then, look at the spectators and say: "Let me show you that the four Aces are really in the deck" and, at the same time, make a gesture with your right hand letting it be seen empty. 8. Turn the pack with its face towards spectators and, with right hand, fan Aces slightly so that all can see they really are inserted in the deck. 9. Square the fanned Aces by placing the tip of your right thumb on the outer left corner of the packet and the base of your right little finger against the outer right corner. 10. While pretending to even up the Aces, support the deck momentarily with your right fingers and take a fresh grip on the pack with your left hand in the following manner: press your left thumb against left side of the deck near its center; forefinger (Continued on page 463)

CIuqard'cr MAGIC Monthly

OUT OF M Y PROFONDE By ARTHUR LEROY SATURDAY AT DUCROT'S DIRTY DUMP (Conclusion) Saturday after Saturday the tragical, comical, magical parade went on. Pop Krieger would drop in and tantalize us all with his cups and balls. One day he paralyzed the group by finishing the routine by loading red hot boiled potatoes under the cups. They were so hot we couldn't pick them up. One Saturday Max Malini was informal host and his routines with small objects were "the most." Malin'i proved beyond doubt that "it's not what you do, it's how you do it!' Then there was The Great Maurice. Maurice, like Malini, was a genius at making much out of little. For years he played the vaudeville circuits and played to perfection the part of a French Professor with a pack of "strippers" (the kind sold in all magic stores). These and his screwed up English were his only props. Dai Vernon was a regular and it was here that the rumor was started that he was amongst the greatest magical purists of all time. I believe that in those magical years Vernon produced his finest work. Every time he wandered in there was a new miracle to be pondered. Here, A1 Wheatley first burst into bloom. At the time, he was first assistant to Jean Hugard and he created several tricks sold by lhcrot induding the wonderful 'Watch Prediction." A1 changed his name to Tun Ping Soo and at present his act is known as Chop Chop & Charleneas fine a performer as ever graduated from Ducrot's Dirty Dump. These tricks that Ducrot sold -the original stuff brought in by the gang - were life savers for him. Because of his approach to financial matters Duke was constantly in trouble. The gang would dope out a new gag and Duke would sell it on share and share alike terms. A hit trick would pay the bills, and once more "the panic was on." meatley came up with the watch trick, a book test, a and self-rising deck of cards. Harry Dreilinger saved the day with his now standard "Shoe Lace Restoration" and "Color Changing Tie." Jimmy Shannon attached a spark plug cap to a piece of elastic and turned out a smash hit which put Duke way out front for a while. It was called the "Jim Dandy" van-

isher. He followed up with another winner titled "Smoke Prophecies," only trick I know of using mystical, ethereal incense as its "gimmick." I turned out a couple of books: "Futuristic Fantasies" and "Magic From A2Z" -they both helped keep the sheriff from the premises. Yeah, it was a happy family-and we did work to keep our Utopia alive. Saturday. . . Nate Leipzig.. . the greatest. . . the greatest. . . the greatest. Saturday. . . Fred Keating . . . the suave. . . the charming. . . the idealist. . . the unpredictable. Saturday. . . Dean Frederich Eugene Powell-the great old Master. Only yesterday he had owned one of the world's largest magic shows -100 pieces of baggage- a gigantic production. Mrs. Powell, alas, became a chronic invalid and the Powell show was at an end. The Great Powell spent the rest of his days at her side. The tours were over. The big show gone. Saturday. . . Carl Rosini who told stories of his colossal South America show and the wonderful i b i o n "Tavma!' Saturday. . . Dave Bamberg. A great magician in a colossal wondrous show, but the end of the road show had arrived in the U.S. Dave was going back to Latin America. Saturday. . . a tall, lanky kid from out of town. He sat around openmouthed, did a little vent, pretended to charm a snake, didn't thiik he'd ever amount to much. They called him Jay Marshall. Saturday. . . John Halliday, matinee idol, dramatic actor being trained by Dukie to appear as Chartrand, The Great in Fulton Oursler's play "The Spider" which had a smash Broadway run. Saturday. . . Amir Bux from India, a McCov Hindu ~erformer.He'd come to the U.S. with a troupe of five or six assistants. His act was a legitimate and authentic performance of oriental Magic. His specialty was the knobbed Hindu Cups and Balls but his act, which ran thirty minutes, featured the Basket Trick, Bunder Boat, Baby Chicks, Watch-In-Loaf. On the momentous Saturday in question, the place was loaded. A1 Baker, Ted Annemann, John Eggers, Harry Dreilinger, Sam Margules, and a flock of others were in session. Bux came in, watched A1 Baker do a card location, smiled, borrowed the deck, had a card selected and returned to

the pack. Then, he did a strange thing; something we had never seen before: He held the pack between fingers and thumb at the short end and began to strip the cards off in small bunches. From the right to the left hand they dropped and to all intents and purposes Bux had executed a style of shuffle which was unique to the Western World. Then he located the selected card and it was obvious that his clumsy, sloppy shuffle was a subtle means of controlling and locating a card. Lt w a s to answer the age-old question, "How can we get rid of The Pass?" the accepted method of control. From that one Saturday performance, "The Hindu Shuffle" spread like a plague. It went away with all those present. Soon it became known all over the wo~ldas "the sign of the American Card Man." It wasn't that at all. It was the sign of one poor little man who had brought a full company from India and could find no work in the U.S. Believe me, we should re-title the move "The Amir Bux Shuffle!' Business was bad again. Debts were mounting. It looked like curtains. I wrote a book to try to stave off the end. I titled it "Grand Finale." Guy Jarrett, illusion builder, stage mechanic who had built and created illusions for all the greats, built a new act of never-before-seen illusions. The S.A.M. convention was to be held in New York. It was 1939. "Grand Finale" was to be the seller at the convention, and Ducrot was to appear as the illusionist fronting Jarrett's wonderful new mysteries. About a month before the Convention Duke and Guy took the act to the Idle Hour Theatre in Long Island City for a tryout. It was full of novelties and those of us who were present were sure that Dukie was in at last. No more fifteen and twenty-five dollar club dates. A little fixing, a little polihing, some fresh costuming and Guy and Duke would be partnered in an illusion show good anywhere. Things would be O.K. The book "Grand Finale" would bring in the cash needed immediately and the illusion show would be the answer to all problems. We decided to call the act "Grand Finale," too. As the show was being loaded, Dukie complained of pains and weakness. The next day he was in French Hospital hoping to recover in time for the convention. Just as the convention -which was to solve all problems- was about to open, Dukie gave up the struggle. The fight which had covered so many (Continued on page 466)

Ht~gard'rMAGlC Monthly

CHRISTOPHER'S COLUMN Of interest to anyone who does mental magic is the program "It Could Be You," which the N.B.C. network offers at 12:30 in the afternoon. Bill Leyden, the master of ceremonies, leaves his Hollywood stage and strides down the aisle. "There is a beauty contest winner here. It might be you (he points to an elderly woman), it might be you (he points to a blond), but actually it's you" (he stops by a young brunette). Leyden tells the surprised girl that she won a beauty contest as a baby and that her picture was once on the cover of a Sears Roebuck catalogue. Again Leyden calls a name. Camera shows a close-up of a puzzled face. "You were driving with your husband and suddenly had the impulse to go swimming. There was no one around. You parked the car and you went swimming by moonlight. Right?" The woman, caught by the camera, admitted the facts were true and then added: "How in the world did you know?" The technique used in the early part of the show, as the above two examples clearly illustrate, could be used by a mentalist. This program, however, plays it straight. They admit they have a staff digging up information and there's no aura of mystery. Surprise and audience participation are the foundations of the show, which was devised by Ralph Edwards, whose "This Is Your Life" has been a popular television program for several years. See "The Amazing Dunninger," then tune to this daytime favorite, you'll be interested in seeing how the two very different presentations compare.

SUSPENSE One of the vital ingredients of good Magic is sadly missing from the programs of most modem performers. Houdini, the master showman, used this missing element in his sensational escapes. It was present when Chung Ling Soo, or Alexander Herrmann or Jean Hugard faced a squad of sharpshooters with their dramatic bulletcatching feats. How few among us today build suspense to dramatic proportions with our Magic. At least 90% of the most popular tricks of our time, popular in the ' sense that they are being performed, not in that the audience enjoys them, give any leeway for dramatic presentation. The mentalist fares far better than his fellow manipulators, illusionists and apparatus exhibitors in capturing attention and building pulse-

quickening climaxes. The muscle-reading tests of Brown, Bishop and others, if we can believe the reviews of their shows, were fascinating and frequently thrilling. Alexander's stage mentalism was dynamic and exciting. Today we applaud the dexterity of smooth manipulators, we chuckle at the comedy of those who use Magic as a vehicle for their humor, but we miss the dramatic art of Magic, the art of building suspense and creating excitement with mystery. Make a list of the tricks you do. How many offer even a slight possibility for a really powerful presentation? Many are quick and baffling, some few have surprising climaxes, but how many have the necessary elements for real suspense, for first class theatre?

CLOSE-UP MlRACLES I was talking recently with Jean Hugard about the effectiveness of intimate Magic. We agreed there was real mystery in Slydini's close-up conjurations with cigarettes and coins, we agreed that Johnny IJqul works miracles behind his bar or at a table. Today's close-up experts can, and do, perform astonishing things for small groups. Stage and club magicians, however dexterous or amusing they may be, seldom succeed in creating the magic atmosphere the intimate workers establish Yet even the best close-up man, when called upon to transfer his activities to a stage or the center of a night club floor, loses the impressive

magic touch he has at close quarters. There are few dramatic actors among our stage magicians today or, if they have dramatic talent, they give little evidence of it in their shows. Most performers one sees at gatherings of magicians simply demonstrate that the apparatus they use works, or offer their sleight-of-hand as a smooth display of juggling skill. Close-up, the feats speak for themselves. The wonders happen to the spectators. Balls appear in their hands, cards change under their feet, objects are produced and vanished a few inches from their eyes. The close-up performer benefits from the erroneous impression most laymen have that it is more difficult to deceive an audience close up than when the magician works at a distance. He benefits too from audience participation in its best sense. There are no stage waits while one or two of several hundred spectators come to a platform. At an intimate demonstration every spectator feels he is in the act from the start. INSTRUCTIONS Perhaps a dozen times during the past year I have seen performers give vague and misleading instructions to volunteers from the audience, then wonder why the spectators have not followed their directions. I have seen spectators, who were told to count cards on a table, count cards face up because they were not instructed to count them face down. I have seen spectators admit they did not remember the names of cards they had chosen because they were not told to remember the names. I have seen spectators write words on slates that were so small they couldn't be seen more than a few feet away because they were not told to write the words large. Most spectators, who come up to assist a magician, are ready and willing to help him. Certainly the performer should make sure his instructions to spectator are clear so that neither he nor assistant will be embarassed by a lack of understanding. The magician knows precisely what should be done, the spectator relies on the magician for exact instructions. You'll be doing yourself and your future assistants a favor if you go over the tricks where assistants are used and make sure that your patter covers explicitely every action you wish a volunteer to carry out. (Continued on page 465)

Hugard's MAGIC Monthlw

BACKSTAGE with FRANK JOGLAR

The July Genii reported that "Jay Palmer passed away last month!' The August Linking R i g added "It is reported without details that Jay Palmer died on a tour overseas." These reports, we are happy to say, are not true. A card from Jay dated July 23, mailed from Genova, Italy tells of his six-month tour in Turkey and the Middle East. After a week in Genova, he has dates in Sran Remo and Monte Carlo to follow.

NEWS AND NO!€'FS Roy Benson back at the Blue Angel for a repeat date with his sophisticated tomfoolery . . Al Sharpe has purchased Ade Duval's silk act and p h s to do it on ice skates . . . Old time wizard John Siems is taking the cure at Saranac Lake. A1 lKunroe, of Detroit, was also there recently . . . Dunninger will be on view via ABC until mid-October . . . No less than four magicians were pictured in the "Interesting People" section of the August American magazine, the last issue of that publication to be printed. Lt. Lee Allen Ektes, Karl Malden, Bob Gurtler and Dominic Cusatis were shown hocus-pocusing.. . Jack Kodell played the Palmer House in Chicago in July . . . The New England Convention of Magicians at the Statler in Boston, November 9-11, will feature legendary card man Walter Irving Scott.

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MYSTIC CRAIG Mystic Craig writes that the 1957 IBM Convention will be in Houston, Texas, with Frank Werner the guiding force. Craig is off for Europe again with England, Ireland, France, Belgium, and Germany on his itinerary. This effervescent IBM Ambassador of Good Will took colored movies of the Miami Convention and reports that the sorcery and sound came out fine. He plans to shoot the Brighton, England IBM Convention, then release the films through the IBM with the profits to go to his IBM Film Library Project.

FRED KEATING Uncle Koko, the Beantown Winchell, sends the Boston Traveller's review of Bea Lillie's "Beasop's Fables" at the New England Music Hall. It called Fred Keatiig "Miss Lillie's most able partner," then went on to say he "asks members of the audience to vouchsafe for his feats of magic. Of course, anybody knows that they're all frauds, but this one watched a birdcage with live bird disappear from her hands without knowing what happened. Mr.

Keating also does a number of other stupendous and magical turns. He pokes a scimitar through a basket containing a very fine young boy, and he threads a number of needles which he has apparently swallowed!' When the show played near New York recently Fred added a children's matinee of Magic on his own to the schedule. Joe Willner apeared the afternoon of July 24 on Charnel 13's "Club T'el Aviv" show. He changed the face of a card magically, did the card in cigarette and pulled dollars from the m.c.'s coat collar. His feature was an unusual stunt. After a card had been selected, he was blindfolded. He drew a line on a sheet of newspaper. The blindfold was removed. He showed the line went from an S (Spades) to a 2 in the newspaper's text. The chosen card was then shown to be the two of Spades. The m.c. announced this was a repeat show for Joe. Advertisements of his show in Israel formed a part of the setting for the program.

BITS AND PIECES Jack O'Brian, the New York Journal-American's T V editor sized up The Dunninger Show: "Another Summer go-around for this gaudy old fakir who says he reads thoughts and influences diversion. Maybe he does. But is it DeLage and entertainment?" Shirley played another repeat at the Gali Gali took his N. Y. Palace chicks to the Fontainebleau in Miami Beach. Variety said "Gali Gali hasn't been seen in these parts for a long time, and comes back with his birdful-bag of sleight-of-hand to score soundly. Fast patter, the baby chick popups from his voluminous garb and mirthful mixup with two tablers on the disappearing coins-bill tricks are spelled out in showmanly fashion to make for a solid turn." The same journal had these comments in a Palace review: 5'DeLage and Shirley do a good magic turn. Duo work expertly offering both large and small illusions. Major opus is an escape trick in which male presumably breaks out of a trunk

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The opinions, criticism$ and approvals which appear in this column have the full endorsement and are the sole responsibility of the editor and publisher, Jean Hugard.

and substitutes the femmq, in the box. Good for an excellent mitt!' . . . Ballantine played three dates on Faye Emerson's "Of All Things" in August. This is the summertime Garry Moore Back to Variety again: replacement The magico turn of Torrine & Phyllis comes up in the deuce (at the Palace). He has a couple of okay abracadabra stunts but he spends too much time with a sketching display on the drawing board. Phyllis covers a lot of ground getting the used props off the stage."

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At the 3rd annual "Gordon Beck Memorial Show" at the Mall in Central Park Shari Lewis introduced the acts. Dapper Dan, Bob Swanborg, F.A.M.E. Boys and Joey King, Jerry Layne, Joe Magic, Antoinette Deutsch, Georgie Green, Manfried, Paul Blake, Evelyn Krein, Otto Sanderson, Bob Olson, Jack Glickman and Lenore Grossman were on the program. Antoinette Deutsch is the supervisor of the Future American Magical Entertainers. NICK CARRADO "There is No Business Like Monkey Business" is the title of Bernard Levinsky's article about Nick Carrado in the June Courier magazine. Seventeen photographs of Nick and his chimp which can do tricks add eye appeal. Gleaned from the text: Nick is 25. Can do 1,000 card tricks. Played 6 Saturdays in the Utica, N. Y. Boston dept. store. His friends call him "King of Cards." Was in the Marines. Chimp's name is Cocomo. Exposed 14 card cheats while in the service. Nick, not the chimp, that is. Was to do box escape at Binghamton YMCA. Box didn't arrive. Nick in straitjacket jumped in pool. Escaped in a minute and a half. Chimp cost $1,500. Chimp does card sword, square circle production and picks pockets. Article ends 'What is that boy going to do next?" I wonder too. Irving Zimbalist, magician of Community Center 99, Bronx, appeared on "Read and Go Seek," the children's program via Channel 2 at the early hour of 8:30 A. M. The Magic was a quick stunt with a pea and three covers, as part of a guessing game. He also presided over a number of stunts executed by two youngsters announced as "Master Houdini" and That bow and arrow "Lady Odell" roudne used by Gogia Pasha in Miami appeared several years ago in HMM A subscriber sends in this definition of HMM: "Here's Marvelous Magic" . .

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(Continued on page 463)

tluaard's MAGIC MonthZu

ENCYCLOPEDIA OF IMPROMPTU TRI (Continued from last issue)

PURSE (1) Extracting an unexpected object of some sort (cigar, man's wallet, etc.) from a borrowed ladies' pocket book always gets a laugh. The object can be carried in sleeve and allowed to drop into purse as you reach inside. Loading one object while you remove another is a useful stratagem. For example, borrow purse and pretend to take from it a palmed half dollar that you have previously vanished. As you take out coin, load into the purse a larger object (piece of silverware, imitation egg, etc.) that is either palmed or in your sleeve. Close the pocket book and return it. After some time has elapsed, you borrow purse again, show hands unmistakably empty, then extract the large object. This always catches audience iu complete surprise, as any visitor to Johnny Paul's Magic Lounge in Chicago can testify.

RADISH (I) Cut radish in half. Make end slightly concave. It will act as suction cup strong enough to support a plate (Fig. 788).

RICE (1) The Hindu Trick in which a bowl of rice is suspended from a knife blade plunged into the rice, works exactly as Major L. H. Branson describes it in his Indian Conjuring, 1922. A round, squat bowl, much larger at the middle than the neck, works best but is not essential. The trick can be done with any bowl, bottle jar, or vase that has an opening smaller in circumference than the sides, yet large enough to accommodate the blade of, say, a table knife. Fill the jar completely with uncooked rice. Pack down the grains by pushing with the thumbs, adding more rice if necessary to keep jar filled. Start nlunging blade into the rice with short juick jabs only a few inches deep. You may have to keep doing this for some twenty or thirty times, as the jabs seem to settle and pack the grains.

By MARTIN GARDNER Then try plunging the knife down as far as you can. If it does not bind, continue with the short jabs. Eventually, a hard jab will cause knife to stick so firmly that when you lift it by the handle, the jar is lifted with it and may even be swung from side to side. Finish by giving knife a slight, imperceptible twist, then asking spectator to withdraw it. It will now lift out easily, making the effect mysterious indeed. Experiment with different brands of rice, as some seem to work better than others. RING Unless otherwise specified, the word "ring" in all that follows will refer to an ordinary finger ring. Tricks that require stage presentation, special apparatus, or elaborate preparation (e.g., ring in egg, catching rings on end of wand, Linking Rings, etc.) are of course not included. (1) Most common method of vanishing borrowed ring is to place it beneath hank, let spectator feel or hold it through the cloth. Hank is later shaken open and ring has vanished. Methods: A. Hank is prepared with duplicate ring in corner pocket, or is a double hank with ring inside. Spectator holds duplicate while ybu steal original. B. Similar to above except unprepared hank is used. A corner of hank, rolled into a tight cylinder and bent into circular form, is used to simulate the ring. C. Stooge is asked to reach under hank to make sure ring is still there. He steals it. D. Duplicate ring is attached to center of hank with short piece of thread. Spectator holds this ring through cloth, drops it into empty glass. Lift away hank by seizing its center. A good table presentation is to hold another glass (or hat) beneath table. When spectator drops ring he is holding, allow original ring to fall into glass you are holding, as though ring penetrated table. (2) Flying Ring. Borrowed ring is held in left fingers. Ask spectator to cover it with hank. As you direct him to place a rubber band around left wrist, to seal hank around hand, right hand makes circular gesture around left wrist. As it passes beneath left hand, ring is dropped into it (see COIN, No. 69 for details of this move). Right hand goes into trousers pocket (or it can be covered with another

hank and band). Command ring to go from hand to hand. Spectator removes hank from your left hand, finds ring gone. Take right hand from pocket with ring on finger. An excellent version using duplicate wedding ring, and the finger switch described below (No. 7) is given by Eddie Clever in M y Best, p. 224. Another effective version, using duplicate ring and an easily prepared sleeve pull (made with rubber band and safety pin) will be found in Conju-ring Trix, by Hans Trixer, 1955. Jean Hugard's Modem Magic Mmua1 gives an interesting method, not requiring a duplicate. A silk hank must be used. As left hand (holding ring) is covered, first and second fingers extend upward and clip center of cloth (to keep it from sliding later). Ring is extended to your right by left thumb and third finger. As right hand adjusts hank, its thumb and third finger grip the ring through the cloth by bringing tips of thumb and finger together inside the ring. Right hand moves away, sliding ring along underside of cloth until it comes free at the edge. Thus right hand is able to steal ring without going below hank. (3) Borrowed ring is vanished by any of above methods, then discovered in some unlikely spot. Traditional stage versions (finding ring in egg, potato, apple, loaf of bread, tied around rabbit's neck, in nest of boxes, etc.) do not lend themselves to impromptu work. Suggestions: tie a knot in another hank, later find ring in knot (see COIN, No. 72); discover ring on finger of your own hand after shaking open hank to show it has vanished. (4) Coin, ring, and hank. Half dollar is placed in center of silk hank. All four corners go through ring. Open hank flat and let two spectators hold opposite corners. Coin is of course firmly trapped by the ring in center of hank. Cover with another hank or piece of paper. It is possible to remove the coin (under cover of other hank) by tightly rolling one edge of silk until it reaches ring. Slip out ring and unroll. (5) Stewart Judah's beautiful version of above effect, making a real trick out of it rather than a puzzle, will be found on p. 55 of Bruce Elliott's The Best in Magic, 1956. The trick makes use of the coin penetration move (COIN, No. 75). Judah often places a rubber band around the (Continued on page 467)

Hugard's

MAGIC Monthly

BOOK PROFILES by JOHN J. CRIMMINS, JR. ROUTINED MANlPULATION, PART by Lewis Ganson. A 133-page 2 printed book with 161 fine halftones and 20 line cuts. Published in pictorial soft board covers by Louis Tannen, 120 W. 42nd St., New York 36, Price, $3.00. The prompt arrival of Part 2 of "Routined Manipulation" comes as a welcome surprise, for we've hardly had time to digest all the good things in Part 1 which I reviewed in the June issue. Part 2 carries on where the first book left off and provides another wonderful array of entertaining magic with coins, pocket knives, thimbles, cards,silks,rropes,dice, eggs and billiard balls. Each effect is illustrated with superb photography making it in many respects of "Stars Of Magic" quality. As the title implies, this is all magic of the manipulative type. It's the finest of EngIish magic in the style we Americans admire so much. This may surprise some of my readers since most, if not all, books produced in Great Britain up to about ten years ago were of the box, cabinet and apparatus school. The Will Goldston books are a good example of what one mostly expected in an English magic book, and they appealed primarily to those who were handy with jigsaws and paint. Generally speaking the only books from overseas that found favor with the average American magicians were those written by Stanley Collins, Edward Victor and E. Brian McCarthy whose presentations of magic were built on sleight-of-hand. Suddenly, however, with the Second World War we were introduced to some remarkably fine manipulative books, sans apparatus, by Lewis Ganson, Geoffrey Buckingham, and others. Whether our English confreres became Americanized, magically speaking, or they just got around to writing up the type of tricks we like over here I don't know, but we suddenly discovered there were a great number of English magicians with repertoires featuring exceptionallyfine manipulative magic. Lewis Ganson is one, and he apparently has had little difficulty in tapping the mother vein-as witnessed by the wealth of tiptop magic he so clearly presents in Part One and Part Two of "Routined Manipulation." Just to read the descriptions of the numerous tricks and to look at the fine photos makes you want to master them all. Soundly conceived, beautifully routined, audience-tested, entertaining, and clearly written and

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photographed they comprise some of the finest instruction to be found in magic today. Part Two of "Routined Manipulation" consists of 18 chapters. In the first you are introduced to two of the author's pet effecCMoney Attracts Money," a deceptive yet easy-to-do routine for the passing of four coins from one hand to the other. The second effect is a 9-page, 17 photo explanation d Ganson's routine for the Color Changing Knife, and a fine one it is. Then comes a complete lesson in the manipulation of thimbles with most of the complicated sleights eliminated, which runs to 16 pages with 28 illustrations. Next is offered the author's novel "Crystal Prism Trick" in which a miniature of a selected card suddenly appears optically embedded in the prism. Following this is his improved handling of "The Glide," and "A New Card Location" with two tricks using it: "The Card In Wallet," and "The Card On Ceiling!' Then a new deck switch, and finally a neat coin-card effect of German origin. Those who enjoyed Ken Brook's entertaining magic at the I.B.M. Miami Convention will surely find the next chapter a winner for it explains his "Cap & Pence Trick," and his mental masterpiece "A Clean Prediction" which makes use of Annemann's Billet Index, Next a splendid chapter detailing Ganson's handling of the small IEandkerchief, Changing Tube, plus 2 variations-a penetration and a vanish (6 pages, 8 illustrations). Following this is the author's routine for "The Paddle Trick," and his "Opening Card Routine"-the production of 14 fans of cards from the air. Chapter after chapter follow with a Rope & Silk effect, Hehry Hay's "Coins Up The Sleeve," a novel Dice Routine of four effects, Koran's splendid "Blindfold Card Act" of seven effects, effects, a "Syrnthen three good ~ a r d pathetic Silk" routine done with ropes, and a very well presented version of the "Sympathetic Coins" done with vari-cdored metal discs. Coin men should go for this one for the large enamelled spots on the discs not only make this a colorful table trick, but the assembling of the 4 coins under one card at the climax is truIy bewildering since the coins travel singly and in proper color rotation from cardboard square to cardboard square. This is Ganson's own routine as is the following one, "The Egg Bag." Sel-

dom does one find a more unusual presentation. I think it is one of the best I've seen for it not only combines the egg bag effect with the Sterling "Egg on Fan," but is so conceived that it's an act in itself. The last chapter, and a large one, of 40 pages and 72 photo-illustrations, is a comprehentive treatise on Modern Billiard Ball Manipulations. It's not only the highlight of the volume, but is worth the price of the book alone. Covered here are the necessary fundamentals for the proper presentation of this type of act in the following order: The type and size of ball to use, the half-shell, care and preparation of the hands, the palm proper, and the finger palm (of the type advocated by Roy Benson), simulation, exercises with the two palms described, five methods of vanishing the ball by sleight-of-hand, two methods of producing the ball at the finger tips, two more productions with the aid of the shell, and six acquitments for showing the hands empty without being obvious about it. Then several methods of manipulating the shell, .palming it, and acquitments with the shell, also various types of ball holders, and finally a discussion of the proper use of misdirection. Following this groundwork material, Ganson describes two finely worked out routines, plus five methods of color-changing the ball by substituting one for the other, and two methods using the half-shell. In conclusion he gives a complete routine for the production of eight balls. Yes, Part Two of "Routined Manipulation" is a winner! Everyone should have a copy and that goes double for Part One. Better get them both and be happy.

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by Jim PASTEBOARD PARADE Merlini. A 22-page printed and illustrated book published in soft board covers by George Armstrong, London. Price $1.00. Here is a routine of six excellent card effects based upon a single setup of the deck, and which automatically resets itself at the conclusion of each trick so that the cards are in proper sequence for the following trick. This is no mean trick in itself, and the author pays tribute to Jean Hugard for conceiving this stratagem and explaining it originally in an early issue of Hugards MAGIC Monthly under the title of "The Automatic Deck and Opening Routine." While the tricks in Merlini's routine are quite different from those employed by Mr. Hugard, they are extremely entertaining and effective. As (Continued on page 464)

THE SLYDlNl ACES (Continued from page 457) extends at face of deck; other fingers near lower right hand corner. Fig. 2. 11. Turn about a quarter of the way around to your left and grasp the upper left corner of the protruding cards between your right thumb and forefinger and pull them outwards for about two thirds of their length. In order to accomplish this easily and smoothly, raise the tip of your left thumb slightly during this action so that it does not hold back the Aces as you draw them out. At the same time press against the sides of the deck with lower portion of the ball of the tumb on the left and three fingers on the right side of the deck. The three indifferent, interlaced, cards will thus be pulled outwards for one third of their length. Figure 3. 12. Holding your right hand perfectly still, push your left hand in towards right palm. This motion will bring the top left corner of the packet to the joint of your right thumb in position for palming. 13. Without the slightest hesitation, move your bft hand away to the left carrying the deck with it. (Fig. 3).

BACKSTAGE (Continued from page 460) Remember Happy Harry Hayden? He's playing summer hotel dates with his wife in Pennsylvania using the billing Our Martin "The Magic Hour" . Gardner has a new book coming up, titled "Mathematics, Magic and Mystery." Dover will publish it . Walter B. Gibson has another trick tome due to appear before the first snow flurries via Doubleday.

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Simultaneously, move your right hand down until it rests naturally and completely along the edge of the table. These two moves will automatically strip the pack away from your right hand and leave the four Aces concealed in your right palm. It is essential that the movement of your left hand with the deck and that of your right hand with the palmed Aces be perfectly coordinated. Both hands must start and stop moving at the same t i e and while you are turning the better to focus your attention on the cards held in your left hand. The moves described in paragraphs 12 and 13 must be performed as one continuous movement. The effect is that you have squared the Aces and are now holding them up for all to see. 14. At the moment that your right hand comes to a total rest along the edge of the table, allow the Aces to

drop into your lap. Immediately gesture with both hands towards the spectator while looking at him attentively and say: "Now, what I want you to do is this..." 15. Holding the deck upright at the left edge with your left hand, thumb on face and fingers at back, push it towards spectator and, pointing at it with your right hand, rest the lower end of the pack squarely on the table (Fig. 4) and invite the spectator to push the Aces home himself. 16. Pick up the deck and hold it as if to square it. In fad, smooth the outer and inner edges of the cards with your right fingers as your left hand does the same to the sides. Make a false move with your left hand as if palming the top card and immediately drop the pack squarely on the table. Without any hesitation, throw up both hands palm outwards while looking at spectator and saying: "Now, will you shuffle once, please?" As you say this, lean back negligently against your chair allowing your hands to drop inertly to your lap thus recovering the four Aces. 17. As the spectator is about to comply with your request to shuffle the deck, produce the Aces from under your arm in whatever manner proves to your l i i i g and say: "Never mind, here are the Aces!" Superlatives have been so grossly misused in advertising and in descriptions of magic tricks that they have become practically meaningless. In this case, however, the word "startling" can be applied to this effect in its full meaning.

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CONVENTIONS So you missed Havana and Miami. There's still a chance, plenty of chance actually, to catch up with a few conventions. Abbott stages his Get-Together in Battle Creek with Gogia Pasha featured, the week of August 20 . August 24 and 25 the Southeastern boys whoop it up in Greensboro, North Carolina, then the T.A. O.M. lads hold open house in Austin, Texas, Aug. 31-Sept. 3. The same dates the German Magic Circle is meeting in Nurenberg. The British IBM Ring gathers in Brighton, September 12-16. The Houdini Club affair is slated for September 21-23 in Fond du Lac, Wisc. September 27-29 the Magicians Alliance of Eastern States brings fun and foolery to Asbury Park, N. J.

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MAGICANA At almost regular intervals, magicians become enamoured with a certaii trick, and everybody has to do it. At the turn of the century, it was the vanish of a card at the back of the hand. Every magician had to do that. After Ching Ling Foo, all magicians had to tear and restore a strip of tissue paper. Then there was the time

that every magician pushed white silks through a paper tube, bringing them out dyed until the trick itself died. Bouncing a wad of tissue paper on a fan until the wad changed into an egg had quite a run. In recent times probably there is not a single magician who has not continually cut and restored a piece of rope. The vogue of this trick seems to be ending. What will be the next craze?

Hugard's MAGIC Monthly

RISING CARD FROM CASE By EUGENE GUGLIELMO Effect: A card is freely selected from an ordinary deck of cards (borrowed deck may be used), is shuffled back into deck and deck is returned to card case. The case -with cards-is placed on end on the floor and held upright between magician's feet. The selected card is named and commanded to rise and, slowly, it comes up out of the case and soars up to magician's hand some 30 inches from the floor. The method is very simple. The selected card is brought to the top of the deck by your favorite method. In your right coat pocket have a 1 % " utility reel. This reel is thumb palmed when you remove card case. Incidentally, card case is placed in pocket at the begwhen cards are removed therefrom. Give the case to spectator on your left to examine. Be careful not to expose reel in same hand. While spectator examines the case, right hand with reel comes over deck in left hand. Take the reel from the thumb palm position with the second finger and thumb of your left hand. Turn your body slightly to the right and casually show right hand empty. Remark that a gentleman on your right also examines the case (reason enough for gesturing with your right hand). Reel is now hidden by the deck of cards in your left hand. Reverse the procedure and get reel back to thumb palm position. You are now facing audience. Place a waxed button on top center of card and press a little harder than when you do the hand rising card. Transfer deck to your right hand and, as you do so, take the case with your left hand and place therein. DO NOT CLOSE THE FLAP. Transfer cased deck to your left hand and, in so doing, press on the button through case with thumb of left hand. Place case on end on the floor with your left hand while the right hand, with reel, casually remains waist high. First and second fingers clip the silk thread and thus you have the slow rising out of case. Actually, you pull the card out of its case. Now, release the thread and card will shoot to your right hand. Show the card (after releasing button) and quickly pick up case with your left hand. Your right hand pushes the selected card back into center of deck and, automatically, the thumb palmed reel goes behind case; left thumb is there to hold it against case. Your right hand continues to remove deck from

case while left hand places case and reel in pocket (you can just drop reel and come back with case). You may now continue with your next card trick. This may be a pretty climax to your hand rising cards; i.e., first and second cards rise from deck to your hand and third card rises out of case. Another climax is to do your favorite 4-Ace routine and to further prove that the four aces are inseparable. Have one of the aces selected and shuffled back into deck. Place the cased deck on the floor and hold the three aces in your hand. Fourth ace rises out of case and joins the other three aces in your hand. This method is also adaptable to the rising cigarette out of pack. To use it for the rising cigarette: instead of the waxed button you can use a needle. Borrow a slightly used pack of cigarettes and push needle into one of them. Place pack on floor and a cigarette rises therefrom. Instead of the utility reel any other reel can be used. It is all much easier with the pocket reel. Try it.

PATTER Collected by CLIFF GREEN When a man has holes in his socks and buttons missing from his garments he should do one of two things --either get married or get divorced. We had a terrible dream. Dreamt that we were being chased by a beautiful girl. It was awful-we almost got away from her. Mothers-in-law are like seeds. You don't need them but they come with the tomato.

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We told a lady her stockings were wrinkled. Wish we hadn't-she wasn't wearing any.

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The animal most women like to bring out in men is mink. Well, so much for laughtovers.

BOOK PROFILES (Continued from page 462) a matter of note the author works in a version of A1 Baker's fine "TenCard Trick," and another based on Judah's "Circle Of Cards." The complete routine consists of "A Tale of Cards," "Siamese Coincidence," ''Spelling Extraordinary," "The Ten-Card Trick Again," "The Cards and Fate," and "Rapid Counting." Actually the only sleights required are the ability to do the Pass, and to do a capable Aerial Riffle Shuffle as described in Hugard's "Royal Road To Card Magic," page 45. The routine is well suited as an opening routine for close quarter work as it will stand the closest observation. If you've never done tricks with a setup deck, you'll be pleasantly surprised to find what stunning magic can be accomplished with but a simple setup. It's available at your magic dealer's. MARGINALIA: Other books now available at the magic shops are "Entertaining The Modern Child," by Clown Bertram. This is a must for all interested in this type of work for it contains a wealth of sound advice, gags, bits of business, humorous competitions and situations, magic and otherwise, by a man who for 16 years held court at one of England's famous seaside resorts. It's only $1.00. Then Tommy Windsor's "Presto Press Book," at $1.00 should be worth its weight in gold to the practicing magician. It's full of promotion ideas, advertising stunts, and press release suggestions that will go a long way towards keeping your show in the public eye. Last but not least is Eddie Joseph's "The Hindu Cups" which explains two of the author's routines for the Cups and Balls, and what is probably the first authentic description of the real Hindu Cups and Balls presentation. While the "balls" recommended by the author are rather odd, being actually nipples from nursing bottles, they do have the faculty of being easy to pinch-palm and because of their nature should be quite a novelty. The price of the book is $2.00. And for another $2.00 you may obtain a copy of Lewis Ganson's I.B.M. Convention lecture in printed book form at Holden's, Tannen's, Kanter's and other magic shops. Incidentally Holden's Boston Shop is celebrating its 20th Anniversary.

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BOOKS FOR REVIEMr should be sent to John J. Crimmins, Jr., 265 Park Hill Avenue, Yonkers 5, New York.

Hugarcl's MAGIC Monthty

HANDS ACROSS THE SEA

by allowing the first and fourth fingers tp ride pver .the end of the packet and grip it at the sides.

By PETER WARLOCK CARD CONTROL IN THE KELLY mANNEPt

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Few conjurors will disagree that the Kelly Replacement, when well executed, is one of the cleanest forms of card control that can be found. Watching card conjurors perform the sleight I have noticed, however, that in certain circumstances the performer is not angle-proof unless the pack is held at a very inclined angle. The following sleight which I have been using for some little time, whilst based upon the Kelly stratagem, is completely free from angle deffect. It achieves the object of apparently leaving a noted card in the center of deck, whilst in actuality it is passed to the bottom. Holding the pack in his left hand so that the thumb is on the left side of the deck while the fingers hold it

FIG. I

CHRISTOPHER (Continued from page 459)

E.S.P. CONTEST John Hamilton has a few more ideas on his version of the E.S.P. trick. I quote from hi letter: "I was pleased to read your comments in HIMM: re. the solution to the E.S.P. effect. I know that it would take somebody with the nerve and savvy of Punninger to present it but I still think it could be done. Here are some more of my thoughts on the subject for what they are worth. You say you would hesitate to hand out the deck for shuffling by the spectator. The only alternative here using the same principle of pairs would be to use a Svengali deck instead of a rough and smooth, i.e. every other card would be a short one and you could riffle shuffle the deck yourself without disturbing the pairs. Ako using this principle you would have no fear of the spectator picking up two cards instead of one as he well might with a rough and smooth deck. "I think the real objection to using the R & S deck is that the spectator

on the right side, the magician riffles the outer left hand corner with his thumb. At the same time he requests a spectator to stop him at any point. The riffling is carried out slowly, so that the spectator has plenty of time to make a decision. When the spectator says "Stop!" the performer stops riffling and the right hand comes in taking the cards above the thumb break at the inner end and fingers at the outer end. The face card of the packet is shown to the spectator and, with the accompanying remark, "That is the card you stopped me at, but I'd like you to remember that it could have been any of those above it," the right hand thumb slides along the back of the packet until the cards are held as in figure 1. Immediately that fingers and thumb are in this position, the packet of cards is fanned so that now the spectator has a view not only bf the card he chose but also all the cards above it. Just one word pertinent to the hold for the fanning position: as the right thumb slides down the back of the packet the fingers of the right hand press against their end of the packet so that there is no chance of the packet slipping from the hands. Additional assistance can be obtained would have trouble separating the cards. The only method I can think of to overcome this would be to place the cards in a card box that has a semi-circle cut out of one end. To remove cards from the box one would place his forefinger or middle finger at the end of the box with the semicircle cut out and his thumb on the back of the card and lift up. You will find that this way the cards do not stick together and are readily removed one by one. I would have two such cases fastened to a board. The cases themselves would be made of wood also. Across the lower part of each case, would be a narrow strip of wood also so that the board could be held up to display it without danger of the cards falling out. I would hand the board to the spectator to hold. I would then remove the deck and shuffle it as I explained what I wanted him to do. He is to remove the cards one at a time from the left hand case, think of its design, and try to communicate it to either the performer or the other participant. When he has finished with a card he deposits it in the right hand case. I would then hand

The right hand now moves downwards ,so that the backs of the cards are seen. At this point the fingers which are concealed travel the bottom card (i.e. the one noted by the spectator) across the face of the fan. The performer turns slightly left. The slightest pressure of the right hand forefinger against the selected card causes it to take up the position shown in figure 2. Now, the left hand apparently place the fanned cards on top of the packet still held by left hand. As this action is carried out, the left hand thumb presses down upon the top of the packet it is holding whilst the fingers come away from the side of the pack

FIG. 3

(Fig. 3). The right hand places the fan on top so that the projecting card underneath the fan goes under the packet in the left hand. The cards are then squared up and the chosen card is completely under the performer's control. the deck to the spectator and tell him to shuffle the cards a bit so that I wouldn't know what the bottom card is and then place the deck face out in the left hand case. At this point I have taken the board from him and am holding it, waiting for him to finish shuffling and place the cards in the case. This tends to hurry the spectator and assures a short shuffle. I keep my head slightly averted so that I cannot be accused of glimpsing a card. The spectator places the cards on the board, props the board up against some books on the table and the demonstration proceeds.

HugardBsMAGlC Monthly

T O R N & RESTORED PAPER SLIP By ROXY The method I am about to describe was suggested to me by Peter Warlock's "Sun and Won" trick which recently appeared in this magazine. Effect: The effect is the usual one. A strip of tissue paper being torn into small pieces and magically restored. Preparation: Two strips of tissue paper of the same length and width are required. Fold one slip in accordion pleats of about 1%" in length and roll it into a compact little ball. Impale this little ball on a pin fastened under the left lapel of your coat.

ROUNDABOUT With FRED BRAUE CHESBRO MOVE I don't know if you picked it up, but a good many years ago Verne Chesbro had a good double-lift Ambitious Card move in Genii. You've double-lifted, shown a card, and presumably buried it. Actually, it's at the top. Double-lift and turn the two top cards face up, holding them at the ends with the right hand. Push off the third, face down card. Clip this under the two face-up cards. Flip all three over, showing the face of the third card and turning the double-lifted cards face down. Now flip the top card face down. You've shown the first two cards, apparently, and neither is the Ambitious Card you buried. Now double lift, and there's the Ambitious Card. Turn the two cards face down, again presumably bury the Ambitious Card. Now show it back at top. COIN VANISH Hold a half-dollar between your left thumb and second finger tips. Hold a handkerchief midway on one side between your right thumb and forefinger. Draw it over the coin, which is held at about heart-height. As the right hand moves over the coin, clip it between the base of the thumb and right second fingertip. This is concealed by the kerchief. Draw the right hand backward toward the body as you continue to cover the coin. This brings the coin to the handkerchief pocket of your coat, into which you drop it by lifting the base of the thumb a little, thus avoiding any finger movement. After buildup, whip handkerchief away and show coin has vanished.

Place the duplicate slip of paper on your table together with a drinking glass which you turn bottom upwards. In your inner breast pocket, place a small fan. Working: Pick up the strip of paper from your table and display it by holding the ends between the tips of the thumbs and forefingers of each hand, separating the other fingers and holding the palms towards the audience. Do not make any mention of the hands being otherwise empty since this is plainly visible. Tear the strip in halves, place the pieces together and tear them. Continue in the same way until pieces are about 1" long. Squeeze these into a small, tight parcel. Place this little packet on the inverted glass on your table. With the right hand, take the fan from your inside breast pocket and at the same time, with your left hand, take the duplicate balled slip of paper from under your left lapel and finger-palm it. Place the fan on the table and, with the same hand, take the ball of torn pieces and make a motion of placing it in your left hand, really finger-palming it. Show the little packet in your left hand and close your fingers on it. Pick up the fan with your right hand, throw it open, and fan the left hand for a moment or two. Close the fan and replace it in your breast pocket, at the same time dropping the ball of torn pieces in your pocket. Open your left hand and, using the tips of the thumbs and fingers only, slowly draw out the strip of paper to its full extent. Display it thus for a few moments and, then, blow it away from you, letting it flutter to the floor.

OUT OF MY PROFONDE (Continued from page 458) years, so much creative energy, so much kindness, so much technical help to so many performers. Yeah, the end came and the Saturdays at Ducrot's Dirty Dump were over. From all over the world they came to the convention and they registered, and they took their tickets, and they opened their programs, and the greatest mystery of the year was the "ad" in the program. The "ad" which read: FRANK DUCROT WATCH FOR "GRAND FINALE"

CARD CORNER

THE KNECHT DECK SWITCH Mr. Larry Knecht contributed to The Linking Ring a very subtle deck switch. It appeared in the February 1956 issue in the "Hocus Pocus Parade" edited for so long and so ably by Eddie Clever. The switch is applicable only when two decks of different colored backs are in use. This, however, is not a drawback since there are so many fine tricks in which two decks are used as, for instance, the variations of the Do-As-I-Do trick. Beforehand, place the prepared blue-backed deck in a red case and put it on end in your outside right coat pocket. Have two other decks one red-backed and one blue-backed - in their respective cases. Use these two decks for your usual routine and take care to have each of them freely handled, shuffled and cut by onlookers. At the last trick of your routine and while talking to your audience, take the blue deck, insert it in the red case, close the flap and place the case in your outside right coat pocket on its side. Next, pick up the red deck and --as you are about to insert it in the blue c a s e pretend to notice your mistake. Lay this deck and case down, and take from your pocket the upright red case containing your prepared deck. Open this and remove the blue-backed deck and place it aside on the table. Place the red deck in red case and put it in your pocket. Pick up the blue deck and just as you are about to insert it in the blue case, recall that you have another trick which you would like to show. Then proceed with the little miracles made possible by the pre-arranged deck. This switch is so subtle that even the most observant spectator will not detect it. Thanks, &. Knecht. Hugard's MAGIC Monthly A

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ENCYCLOPEDIA OF IMPROMPTU TRICKS (Continued from page 461) hank in addition to the ring. Instead of loading palmed coin into the well as ring is handed forward, he first removes the band, places it on the outstretched hank, dropping coin into well as he does this. The hand then goes beneath hank again to remove ring. When hank is pulled flat, coin is found resting on the center as it should be. Consult Elliott's book for details. (6) This penetration effect, described in many old books, uses a small piece of wire bent into shape of ring. Ring is apparently placed under hank, but wire fake is substituted. Spectator holds hank firmly in hi fist, a few inches below what appears to be the ring. Under cover of another hank (or hat, piece of paper, or simply the hands), the wire is opened and pushed through the cloth. (Rubbing the spot a bit will remove the tiny hole.) The borrowed ring (which has been kept palmed) is then exhibited, apparently having been pulled through the hank. The classic description of this effect is in Sach's Sleight of Hand where it is used as a vanish instead of a penetration. (7) Borrowed ring rises and falls mysteriously on wand or pencil held vertically by magician. A thread attached to slit in eraser and running to button of coat does the trick. Finish by making ring jump into the air, catching it with other hand. Thread pulls out of eraser as you hand pencil forward for inspection. (8) Finger switch. One of oldest and best methods of switching borrowed ring for duplicate. Duplicate is on first finger, but this finger is bent down out of sight and middle finger is extended upward. Spectator places his ring on tip of your middle finger. In walking back to spot where you are performing, simply exchange fingers. Slide duplicate from first finger. Sachs credits this switch to Devant. (9) Wand or pencil switch. Ask spectator to put his ring on a pencil you are holding in right hand. Already on the pencil, but concealed in the hand, is duplicate. Take pencil in left hand, the hand going over borrowed ring and exposing duplicate. As Sach points out, both this method and the above can also be used for exchanging several borrowed rings at once. (10) Gags: to put yourself through a ring, write "yourself" on piece of paper and push it through. To poke a spectator's head (or any large object) through a ring, put your finger

through the ring and give his head a poke. "On and Off" Tricks Most ring tricks are those that seem to violate a principle of topologynamely, that two closed curves cannot be linked or unlinked without breaking apart one of the curves. The material to follow will be divided into four categories: finger, !h.ank>stick,and string. In many cases the moves are so complicated that we shall be forced to give only a reference to where a full description of the trick may be found. Finger (11) This old-timer requires duplicate rings, one faked, but the fake is easily prepared. Buy two dime store rings with large settiigs. Cut one ring as in Fig. 789. This half-ring i s placed on base of left third finger, on plam side of hand so it is not visible when back of hand is seen. Solid ring goes on same finger, with setting on back of hand.

Hold up left hand, its back to audience, and remove solid ring. Let audience examine. Take it back in right hand and pretend to slip it back on left finger, actually retaining it in a finger palm. At same time, turn palm of left hand toward audience so they see the fake. Right hand now grasps fake and holds it while left hand rotates, bringing half-ring to back of hand. Extend left hand, ~a1.mdown, asking spectator to seize tip of ring finger. Cover hand with hank. Reach beneath, leave solid ring on back of left hand (or slip it on a free finger). Remove half-ring from finger and carry it away in right hand as you take off the hank. Left third finger is clean, and ring on back of hand may be picked up immediately by spectator and examined. There are many slightly different handlings of this classic, one of which will be found in Greater Magic. The

trick was a favorite of Alexander Herrmann who reportedly placed the fake on spectator's finger then removed it using only his hands for cover. Instead of a half-ring, you can also use a ring that has simply been cut at one point. This ring can be freely shown from all sides after it is placed on left finger. It is removed by forcing it apart at the break; easily done with cheap rings. Handkerchiefs (12) Larsen and Wright's "Ghost Ring!' Hank is prepared beforehand as in Fig. 790. Ends A and B are tied in a false double knot (See HANDKERCHIEF, Nos. 37-41), while the ring and genuine knot remain concealed in folds of hank. Hank is then placed inside a hat. In doing this, pull apart fake knot. Duplicate ring is exhibited and also placed in hat, actually going under sweat band. Turn hat upside down. Hank falls out, ends still tied, and ring now on the hank. See Tarbell, Vol. 3, p. 306 for details. (13) Nelson Hahne's "Ring of Thoth." Performer succeeds in putting a ring on a hank that is held at both ends by spectator. Duplicate ring is used, but moves are subtle and well planned. See My Best, p. 167. (14) Hans Trixer's method of achieving same effect as above is described in his Conju-ring Trix, p. 29. No duplicate is used, which adds to the effect in some respects, detracts in others. (15) Fitch Cheney's release. Two hanks are tied together at their centers with a square knot. Borrowed ring is slipped on the hanks, and a knot tied to secure it. While spectators hold ends of hanks, performer releases both ring and knots. No duplicate ring used. See Magic from M.UM., 1954, edited by Milbourne Christopher, for this ingenious topological trick. (To be continued)

MAGICANA "I cannot do sleight-of-hand. My hands are too small." This complaint so often heard has no basis in fact. I have never met any man or any youth whose hands were so small that they would prevent him from performing sleights. Malini was a small man and his hands were small in proportion, yet his mastery of sleightof-hand aroused the admiration of all professional magicians.

Hugard'a

MAGIC Monthly

MAGICANA The magician who shows off, shows himself up.

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"Perfection is the enemy of the good." With regards to Magic, it has been well said that many a good trick has been ruined by improvements. A simple example will serve to illustrate this. Consider the magical production of a coin from a playing card. The necessary preliminaries are two only: 1) to show that the card is an ordinary playing card; 2) to show that the hands

are otherwise empty. This can be done with very simple actions. %e improver, however, is not satisfied with this. He will twist and turn the card in a dozen different ways and with his hands he will perform unnatural gyrations, spreading and closing the fingers, showing each hand in turn back and front, and so on. mtead of showing that his hands are empty, he is really telegraphing i o the onlookers that he is concealing an object and challenging them to deteat it. ' W h e n finally the coin is prod u b e d , there is no surprise and no Magic. A good trick has been ruined.

Endorsed Dealers Offerings NOW CELEBRATING THE 20th ANNIVERSARY OF OUR BOSTON SHOP! "This New Bey R b o t h e Is Better Than The First One, And That Was ExceIlent,'' snys Ahln Plough of Sam Horowite' New MORE MOHAMMED BEY RQUTINES WITH THE O K I M COIN BOX Preryone agrees this new routine #2 using four coins and the O k i b Coin Box is a gem. Eddie Clever says: "In my opinion this aecond routine surpasses the first and goes even beyond surpasslng. Don't get me wrong, the first routine is good. but this second one is Super Good!" Alvxn Plough says: "You'll do thrilling thlngs with this new routine. It's better than the first one, and that was excellent!" "It's Superb!" says Irv Weiner "Highly recommended. it picks up where the f m t routlne leaves off and adds more variety," says Dariel F~tzkee. Complete routine in large printed book, only $2.00 EXTRA OKITO COIN BOXES, each ..... $1.50, BEY'S ROUTINE #1 (with box) ......... $3.00 BEY'S ROUTINEG ftl & #2 (inC1. box) $5.00 THE PHANTOP THREAD A honey of a close-up trick. Anyone threads a needle and holds both ends of the thread. You cover needle with a hank, reach under and remove the needle without damaging thread. $1.00 GANSON'S "ROUTINED MANIPULATION" for .......... 5.50 Part 1 and Part 2-both GANSON'S I.B.M. LECTURE (book) .... 2.00 EDDIE JOSEPH'S "MIRAGE" (vem aood) S 3.00 PIN-CUSHION BALLOONS (rial novelty) ' THE FIVE 0' FETSCH (card magic) .... SEALED VISION (will Dexter) .......... THE HINDU CUPS (Eddie Joseph Book) PASTEBOARD PARADE (Merlini) ...... ENTERTAINING THE MODERN CHILD RED TAPE THUMB TIE (the best) .... 2.00 ACE DICTIONARY TEST (excellent) .... 7.50 GRANT'S FLYING FISH (very gocd) ... 12.85 OUR LATEST CATALOOUE #17 1.50

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I S M HUGAUD 2634 E. 19th Sf. Brooklyn $5, N. Y.

BACK AGAIN BY POPULAR DEMAND ROUTINED MANIPULATION PART 1 (GANSON) Out of print for many years. The first edition sold out so fast many magicians didn't even see it. So here i t is, one of the best books of all time. Cigarettes, cards, candles, coins, etc., all routined and illustrated with Photos. Soft boards. 118 pages, 116 illustrations. . . . . . ..A low $2.50 ROUTlNED MANIPULATION PART 2 (GANSON) OuL of print for many years. If you have Part I, you'll demand Part 2; if you haven't got Part 1, Better order both. Contains effects with balls, thimbles, hanks. knives, ropes and cards--all completely explained and routined with every move, sleight and action photographed. Simply out of this world! 133 pages profusely illustrnted. ........................ . .... Price $3.00 ADD-A-NO. (HENK VERMEYDEN) YOU predict the total of a column of figures before the spectators even write them down. A fabulous gimmick does the whole trick for you. This is aestined to be a n all time seller. You will ~ositively be crazy about th9 automatic action that does the trick for you. Mindreading a t its best. ....................... ..... Price $8.50 SYhIPATHETIC SELECTIONS (WARLOCK) The card a spectator selects matches the one you sealed in an envelope previous to his selection. No forcing, the spectator's choice is absolutely fair. A knockout effect. . . . . price $3.00 MINIATURE TELE-FRAME (DURKIN) A vest pocket size card between glass!! A minlature of the card a spectator selects appears between two pieces of glass in a frame, instantly and visibly, without covering. Frame is just 2 inches square. A real cutie. ........ Price $1.00 STRANGER IN PARADISE (WARLOCK) Spectotor places a deck in his pocket then free& selects a card from another deck. He counts the cards in the deck from his pocket, there are only 51 cards! The card he selected from the other deck is the one missing and on turning i t over i t has the same color back! Sensational, only 2 decks used. ........................ Price $3.50. PLEASE MENTION HMM IN YOUR ORDERS

Hu.nrd'a MAGIC Monthlr comprising Volumes I and I1 of the magazlne ha8 been SOLD OUT. Loose copies of these two volumes, complete wlth indexes and mailed flat are avallable a t $4.50 postpaid.

(Published in last issue) Dear Jean: Here is the answer to the Brain Teaser I sent you last month. If you remember it all boiled down to the equation A+B+C+D= AxBxCxD and they both equal $7.11. The answer is A=$3.16, B=$1.20, C=$1.25, D=$1.50. This is an interesting curiosity given to me by a man in his nineties and he stumped everyone with it in his younger days. Sincerely yours, John Hamilton

Dealers must submit trick or book with copy to Jaan Hugard for approval. Advertising copy musk be in by first of month of publication. Material returned post paid. Minimum: three lines, $1.00. "ARCAS" BOOKS SOON OUT OF PRINT! $3.00 "Testament of Ralph Hull" (Hall) 6'Masterpieces of Magic" (Craggs, Ed ) 2.00 "Expert Manip. of Playing Cards" (Ganson) 2.00 "Nothing I s Imposssible" (Hall) 2 00 “Con-Junior-hg" (Brearley) 2 00 "A.B.C. of Ventriloquism" (Craggs) 2.00 FLEMING BOOK COMPANY 7 s Madiaon Avenue, York. Penusylvanis SLEIGHT OF HAND PEIWORMERS interested in forming lodges of the International Guild of Prestidf i t a t o n may obtain further mfonnation by writing JULIE ATTERBURY, 11s NO. LIMA STREET SIERRA MADRE, CALIF.

MAGICANA in HAVANA Souvenirs of the First International Convention of the Society of American Magicians Programs ............................................ 506 Silk pennants, silk screened in colors $1.00 Badges ....................................................254 Order from Blanca Lopez 22-14 Fortieth Avenue Long Island City 1, N. Y.

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D E V O T E D S O L E L Y T O T H E I N T E R E S T S OF M A G I C A N D M A G I C I A N S VOL. XN, No. 4

S E P T E M B E R , 1956

ENVELOPED The first reference of a sealed envelope for the magical appearance of an article previously vanished will be found in Robert-Houdin's autobiography "Memoirs of a Conjurer." In his case, it was the reproduction -in a sealed envelope- of a letter. He did not reveal his method. In the trick which follows, a card freely chosen and marked by a spectator goes through certain evolutions, vanishes and is found in a sealed envelope. Requirements: An envelope of the type called "penny saver" in which one end is not pasted (as shown in illustration 1).Spread a coat of rubber cement on the outside edge of this flap and apply a similar coat to the inside of the corresponding parts of the envelope so that the two applications of rubber cement will coincide when the flap is pushed home. Now seal half of the regular flap as shown in the drawing, being careful not to seal the other half of the flap. The result will be that a playing card can be inserted in this envelope secretly and, when the flap is pushed home, the rubber cement-coated edges will adhere and the envelope will be perfectly sealed. With very little praotice, this process of inserting the card and pushing home the flap can be done in the act of taking the envelope from one's inside coat pocket. Place this prepared envelope in your inside breast pocket with address side of envelope against your chest so that the open end of the envelope is outwards. Procedure: With any deck of cards, invite a spectator to think of a card. Hand him the deck and ask him to remove from it the card he has thought of. Give him a pencil and ask him to place a mark on &e card by which he can later identify it. To allow him to do this, take the pack back and when he has marked his card, have it replaced in the deck and control it to the position of 2nd from the top. Let us assume, for clarity's sake, that the chosen card is the 2rfr. Make a false

By JEAN HUGARD shuffle, leaving the chosen card in this position and then say: "It is possible, of course, that in #e shuffle your card may have come to the top, Does this card happen to be the one you thought of?" Take off the top card with your right hand and show it. At the same moment, take a left little finger break under the 2.F. The spectator, of course, agrees thak the top card is not his. Replace it, face down, on the deck and square it with the chosen card. "By simply snapping the deck with my finger. . like this. . the card you thought of instantly comes to the top. What was the card you thought of?" Answer: "The two of clubs." Make a double l i i and turnover showing the 2.F then turn the two cards face down, slide off the top card (the indifferent card) and place it, face down on the table to your righrt.

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Make an overhand shuffle injogging the first card and shuffle off. Square the deck and take a left little finger break under the jogged card. Let the inner end of the bottom card of the top packet slip off from the tip of the right thumb and hold a break between it and the rest of the right hand packet.

With your left thumb, push off the top card of the packet in your left hand half way to the right. With the packet in your right hand, lever the 2 4 over so that it faUs face up on h e left hand packet. Pretend embarrassment at this reappearance of the chosen card and say "I will get rid of this card this time!' With the same action and with the right hand packet, lever the 2 4 face down onto the left hand packet and--at the same timeallow the bottom card of the right hand packet to fall on it. Push this indifferent card off the deck and place it face down besides the first card. Replace the right hand packet on the packet in your left hand, holding a break with your left little finger. With the tip of your right thumb, pick up the top card of the lower packet (2.F) and hold the break below it. Side cut one half of the lower packet and place the cards on top. Make a second side cut takiig all the cards below the break and place them on the top thus bringing the 2.F to the bottom of the deck. Tap the pack on the table to square the cards, holding

it so that the bottom card (2.F) directly faces the onlookers. Most certainly someone will call your attention to this and again you feign embarrassment. Holding the pack in your left hand ready for the glide, turn your left hand bringing the pack (Continued on page 474)

Hugard's MAGIC Monthly

ACKSTAGE with FRANK JOGLAR

3

Subway riders in New York have noted a photo billboard advertising the Daily News. A shirt-sleeved man, with wand in hand, is being distracted from the silk hat on his table by a spectacled house wife. She is looking up from her newspaper, obviously calling his attention to something she has read. A small boy, meanwhile, lifts the drape of the magic table to disclose a rabbit. Under the hat on the table is a Royal box of tricks. You can read the name clearly. It's a fine plug for Royal. The shirt-sleeved man is not identified, but we are told by a magic shop patron who knows him by sight that he is Richard H i i r .

Vallee fidgited, the announcer halfheartedly, with a big smile, picked up a fire axe. Eventually, after a few minutes, h n d i came through the curtains, hands free, wet, exhausted and staggering. Randi deserves credit for his hard work and obvious effort, but his performance lacked the spine-tingling showmanship of the late Houdini. Were I Randi I'd go on a high calory d i d and try to fill out the frame, and I'd shave off that goatee. I believe audiences, misled by the goatee, expect him not only to escape but also to produce a pair of rabbits and dove in the process.

RABBIT FlSH Morris Fox came up with a nice bit of publicity in Jim Hurley's sporting column in the Daily Mirror. Morris was fishing off Coney Island when an odd fish snapped at his bait. He hauled it in. Those aboard couldn't identify it, but back at Gerritsen Beach when the Fox craft docked, old timers pegged it as a rabbit fish. Fish of this sort are found, Hljlrley said, from Massachusetts to Brazil, but seldom north of Cape Hatteras. The only similarity between a rabbit fish and a rabbit is the pop-eyes of both. When a magician pulls out a rabbit, there's no news, but when he hauls out a rabbit fish, if he's lucky, there's a story in the Daily Mirror.

Quote from a British letter: "Virgil is going the rounds here with quite a fair success. Sorcar has departed. Neither in any way can compare with Richiardi, Jr., whose magic is timeless while Virgil's is of the past decade. . Genii corrects the Jay Palmer item. "It was Jack Palmer of Los Angeles," Bill, Jr. reports. . . Meanwhile Abracadabra picked up the original item. Any issue now Goodliffe will put it straight. . . Gov. Knight of California did a little party mental work with his wife during the Republican Convention in San Francisco. He would enter a room, shake hands with someone. Later his wife, who was out of the room at the time, would come in and identify the person. . . Paul Morris says that Leonard Hall, the Republican chairman, can do a few card tricks. . . Jerry Bergman and Mimi are playing the Versailles in N.Y.C.. . . Lucy and Eddy Roberts are sending thoughts at the Princess Hotel in Bermuda. . . Clarence Hunter, of East Orange, N.J. was turned over the grand jury in Toledo, Ohio, charged with pulling a $50 restaurant stickup, while passing through Toledo on his way to Peoria, Ill. to play a date. He works under the name "Chandu!' CHOP CHOP "The prestidigitation artistry of Chop Chop is again in evidence," says

One of the nights Rudy Vallee took over NEC-TV's "Tonight" show, Randi, the young Canadian escape artist, essayed the Milk Can Escape. Clad only in shorts, the thin, moustached and goateed escapologist made a strange appearance. Unprepossessing to say the least. The can was already filled with water when we first saw it. Randi jumped in, ducked his head out of sight to see how long he could stay under. It was only a few seconds. Out he came. There was some unintentional comedy. He had his hands cuffed, early in the spot, while still wearing a bath robe, then had to have one cuff unfastened so he could slip off the robe. Again both wrists were fastened and again he entered the can. This time the top was fastened by four padlocks and a curtained cabinet was shut around it. Vallee and an announcer stood by uthile a clock was superimposed on the screen. The hand ticked around.

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The opinions, criticisms and approvals which appear in this column have the full endorsement and are the sole responsibility of the editor and publisher, Jean Hugard.

Variety in covering the %tier Hotel, Los Angeles, "and with the aid of Charlene, as usual, he rifles through his bag of tricks to keep ringsiders constantly impressed. Opening night he had diffioulty with his rolling coin on a parasol windup, the result of an injured wrist. But the rest of his stuff, the multiplying cigarettes, disappearing chickens and fire-eating is as slick and as sock as ever to develop a fast 15 minutes!'

NOTES Harry Stanley in The Gen, writing about a visit to the home of Jerry Lukins says: " . ..a model of a bear holding a silver beaker.. . Jerry poured wine into the beaker and said 'good health'. . . whereupon the creature raised the beaker to his lips, and had a good 'drink.' Accompanied by a flow of conversation from Jerry. . . this occurred several times. A grand magical stunt with an ingenious mechanical figure". . . Just for the record, the drinking bear is an important part of Del Ray's very original night club act. To our knowledge he has never given anyone permission to use it.. Presto chango, Shari Lewis now has red hair. .. Jay Marshall in and out of New York on a quick trip . John Scarne has an autobiography in the works. . Senator Crandall is operating in Reno. . Jackie Floyo is back from Germany.

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MODESTY DEPT. "It doesn't matter whether you do a 15-minute act or a full evening show; you (and I do mean YOU) will become a better magician after you have read my book and put into practice what I tell you, regardless whether you are an oldtimer or a newcomer," John Hunniford in The Linking Ring, talking about a book he intends to write.

SORCAR Not a word of news, not a single flaming announcement of further triumphs from P. C. Sorcar since his show closed in London. We miss the exotic prose and pretty printed matter. His European publicity should stand him in good stead in his native country. What's up, P. C., and when do you plan to trek to the U.S.A.?

LEO lRBY Leo Irby gave a fast, impressive demonstration of the Thumb Tie on "You Asked For It." His performance had punch and power. His bold gestures, goad routining and silent showmanship added up to excellent entertainment.

Hugard's MAGIC Monthly

HANDS ACROSS THE SEA

top of those in left hand until spectator at iscalls placed, top!' back Thetocard audience, thu. stopped in left

By PETER WARLOCK

handlass. .TWO other spectators cooperate in a similar manner and, at this moment, left hand finger enlarges break and moves right in over selected card maintaining a more positive position between this and the cards above it. Remarking: "These three cards constitute your three guesses:' right hand removes the three cards from glass (keeping them aligned) turns them face up and places them on top of the left hand cards so that they overlap about 1". (Fig. 2.)

One of the really great classical card plots that seems to figure in few mode m conjurers' programs is "Everywhere and Nowhere." Many years back my friend, the late Edward Brown, produced a delightful version which he entitled "The Three Guesses." Designed with the thought of eliminating duplicate cards and the rather vulnerable top or bottom change, Brown's version was published in the "Sphinx" in the middle follties. Faults in editing failed to give the reader the punch effect of this routine. Brown who had faultless technique, and who in thought was comparable to Vernon, had a genius for extracting the maximum of mystery and subtlety from the most commonplace objects. His handling at all times was most natural and individual. Using the main Brown process of thought, but introducing a technique which I think covers any vulnerability for those less gifted than he, the following effect was evolved. I call it TEE GUESSING GAlVLE A card is freely selected by a spectator and lost in remainder of pack which is dropped into a glass. Removing a card at a time, without showing faces, conjurer asks a member of the audience to stop him when he wishes, the object being that spectator tries to stop him at selected card. The card stopped at is dropped, back to audience, into another glass. In like manner, two other spectators also have a "guess." The cards are then removed from glass and it is shown that not one of the three guesses is correct. Conjurer then shows that, had he been guessing, each and every guess would have produced the selected card and so each of the three cards is shown to be the selected card. The whole pack is then shown to consist of the same card. Pack is next shown to consist of every card except the selected card which, with due deliberation, is removed from conjureis note case.

FIGURE 1

Requirements: A pack of cards; two stemmed glasses each capable of holding a pack of cards; a pocket wallet or note case. Preparation: The wallet is opened out flat, outside upennost. With a sharp knife or razor blade, make a slit four inches long at position shown in figure 1. The best type of wdlet is one made of leather. Plastic is not ideal. Prior to presentation wallet (with its content of papers and currency) is placed in the inside right breast pocket, slit side nearest body. The ,two glasses, side by side, and the pack of cards are placed on table. Presentation: Deck is picked up, riffle shuffled and cut. Nodding to a spectator, conjurer requests that he choose a card in the fairest possible manner. With the cards held in his left hand, thumb riffles down side of pack and spectator is told to say "stop!" at any time. When this signal is given, conjurer does as he is told and fairly lifts the cards above break showing spectator the card at which he requested the conjurer to stop. For purpose of description we'll say it is the 54. The cards are dropped back upon the pack but, actually, using the sleight I described last month, selected card becomes bottom card of pack. The cards are then squared. With the words "Though you have selected a card from this pack which I hope you have remembered, I have little interest in it," the conjurer casually t u n s pack face up, (care W i g taken that it is tilted toward him so that no spectator can see the face card) and, with hi right hand, double undercuts the cards bringing selected card to top. Deck is then riffle shuffled without altering position of top card as conjurer adds, "What I wish to do is to allow three of you here to guess position of the chosen card in the pack." The pack is then dropped, back towards audience, into right hand glass. Nodding towards another member of the audience, conjurer asks, "as I remove the cards like this (top card of pack, the selected card, is taken from glass with fingers of right hand and placed on palm of left hand) I want you to say 'Stop!' whenever you wish." The conjurer takes the next card and places it on top of selected card. He, however, keeps a very slight flesh break between the two cards. Cards are removed one at a time and placed on

With the remark, "Any of you might have chosen one of these other cards:' those face-down cards above break and under face-up cards are withdrawn from left hand leaving the facedown selected card behind the three face-up cards. Coinciding with the withdrawal, left first finger pushes against the three face-up cards so that all four (three face up and one face down) are in alignment. The cards withdrawn by right hand are turned around, fanned and then placed in the glass together with remainder of pack. "Now," says the conjurer, "let us see whether any of you have guessed correctly!' Pointing to face-up card, which we'll suppose is the Q&, the cojurer asks first spectator, "Is this the card you chose?" The answer being "No," Q* is lifted off by right hand, turned face down and placed underneath the other three. The next two cards which are (say) the 94 and A 4 are also shown and they, too, are turned face down and placed beneath the others. This means that topmost face-down card in left hand is the selected card (54). "Well," says the conjurer, "I must say you're a pretty poor set of guessers. If I had been guessing I'd have bet the contents of this wallet on being correct the first time." As he says this, the cards (still (Continued on page 477)

Hugard's MAGIC Monthly

OUT OF

Y PROF0 By ARTHUR LEROY

lPNE BIG BFT In a few days, the 1956-57 theatrical season will be in full swing, and all over the country showmen will be betting their lives on what the showgoing populace will buy at the box office. For the past few years the smart money said, "Magicians are a dime a dozen, they simply won't sell." Sid Leipzig, cousin of Nat hipzig, and a busy booker of attractions told me, "Every guy who visits a magic shop ultimately gets the bug to do an act. He puts together the few tricks he has assembled and goes to see the agents. If you book the guy into a spot the adds are his act will be a bomb and another committee is soured on Magic. Then there is the gang who don't even bother to see an agent or join a union. These erstwhile Houdinis go out and book dates at times for free, and burn the field out for their brother magicians, without even collecting a fee." For twenty-five years my partner, Peggy Bridge, and I have specialized in producing shows for children, with our emphasis on marionettes and Magic. Our experience in this period has proven to us dollar-wise, that we can sell a marionette show in competition to a magic show at about a ratio of ten to one. In order to keep eating, we put more of our sales pitch marionette way. For the past five years we have operated a children's show series at the Brooklyn Academy of Music which we call, "Matinees For Moppetts." For our first three years we placed heavy emphasis on Magic and magicians. Our publicity was slanted in the direction of the magical performers who were our guest stars. As the third season moved on we began to see more and more of our 1,200 seats unoccupied. What was the answer? We decided to take the problem to our audience. We prepared a questionaire and distributed these to our audience. What do you most like about 'Matinees for Moppets'?" we asked. Then we listed our attractions so: 1. Puppets 6. Trained A n i i l s 2. Magicians 7. Prize Contests 3. Ballet 8. Souveniers 4. Clowns 9. Folk Dancing 5. Acrobats 10. Indians There were 10,000 votes cast. The tally placed Puppets 1; A n i i I s 2; Clowns 3. magic came in number

NINE--trailed only by Ballet. Obviously we were betting on a slow horse. The more we tried to push him the slower he got. There could only be one answer: change horses and stay in the race. We did. We played off our magical contracts and then made a complete shift of format. Puppets remained our number one item. I, myself, accounted for a tenminute magical specialty in each show, but there were no more guest magicians. We spent our money on circus attractions in the hope that they would assure a profit on our investment. Last season we watched our results box-office wise and here is our stoly: The new format had been the right bet. We opened our season in a blizzard. Bad weather is usually the finish for a children's show. Parents are afraid to expose the moppets to its inclemency. In spite of this miserable break, we ~ l a y e dto a turnaway. As the season advanced, we proved our point: our box office remained generally steady and we wound up with the best grosses we had ever registered. The result? Well, for the 56-57 season the Academy has dropped all other children's shows, and "Matinees For Moppets" will play an expanded series. In addition we shall present a second series in another theatre-The Henry St. Playhouse. We are also negotiating for a third series in still another theatre. What does this prove? Does it prove that we are finished with Magic and magicians? Does it prove that we should follow the lines of least resistance? It does NOT! Pi1 bet my life it doesn't. 1'11 bet every buck I made last season that 56-57 will see Magic alive at the box office. I'm lucky-because Peggy will go along with me and once more we are going to place our emphasis on MAG-

-IC;.

Why? The Portents, lad, the Portents. Number one: Each season we make a summer tour of spots where kids are kings. Each year we have offered these spots their choice of a rnarionette show or a magic show. The fee was the same, The choice was the customers'. Down through the years the ratio has been ten puppet to one magic show. This season, for the first time in our history, with no additional sales pitch,

the magic show and marionette show are running neck and neck. The why? Well: Bridey Murphy accounts for a great deal but bigger than Bridey is the new audience appeal revealed by Joe Dunninger in his TV series. Joe is gobbling up reams of publicity and his publicity is rubbing off to some degree on the rest of us. There must always be one man who tops our field, if the rest of us are to exist. Study the history of Magic in the U.S. and you will find that it has always been one performer who has kept the ball rolling and the rest of us in the game. So we're betting on Magic. This is being written in June. Regardless of what happens between now and September, we'll gamble our money on a magical audience pull. We are now contracting for magical performers to join us for the new season. We are featuring for the entire season "Birdie Murfee, The Mindreading Marionette." We hope to have Birdie kick up a little publicity by reading the thoughts of various civic dignitaries. We believe that she will even read Dunninger's mind if we can make the publicity mutually advantageous. We have written a new puppet play about a magician to open on our January 1957 season. For this show we are going to run a "Marvels of Magic" contest. The contest is open to all young magicians who feel that they have something to offer. We will give the young performer a chance to meet his first audience in a magnificent theatre. He will be working with a sympathetic group which knows his problems. The performer will be professionally lighted, and scored if he needs music. The contest will be judged by audience approval but performers of vast experience, such as Milbourne Christopher, will be present to assure a fair deal. The performer or performers who prove the value of their magical talents, will be booked to STAR during one of our shows at a professional fee, and with all the newspaper and magazine publicity that goes with such an engagement. The contest is open only to young performers, or performers who have never before appeared professionally. The performer will be presented with all theatrical advantages usually reserved for professional performers. The winning talent will be judged by the audience, made up of children and parents in about a ratio of 50150. If necessary, final judgement will be by profes(Continued on page 476)

CHRISTOPHER'S COLUMN If you have a club-size set of The Tubes of Tibet and a Town House rollon table you can add greatly to the effect of the tube feat. Needed for the additional impact are another tube to match the usual two tubes and a glass bowl filled with goldfish. The extra tube, with the fishbowl inside, rests on the lower shelf of the table. This is concealed from view, you will remember, as the table has a solid front. Inside of the usual business of capping the water section of the jar, supplied with the set, with a rubber or plastic cover and filling the other chamber with silk, I wind a long, silk foulard around the neck of the water section and tuck the end in the bulk of the silk to hold it in place. This does away with the business of turning the tubes and the metal jar after the silk production. It also saves you the trouble of stealing away the rubber or plastic cover. As the water section is never inverted, the cover isn't needed. At the start of the presentation the two regular tubes are side by side on the top of the table. The smaller tube hides the metal jar from view. The third tube is, as I mentioned earlier, on the lower shelf of the table, and it contains the bowl of goldfish. After the usual passing of one regular tube through the other and showing the tubes to be empty as you lift them, the two tubes are nested and the long, silk streamer is produced. Again the tubes are shown in the familiar manner. Eventually you try to pass the smaller tube through the larger but it won't go down, thanks to the secret device. The outer tube is lifted away to disclose the metal jar with the smaller tube resting on it. The outer tube is l i e d by the left hand, which drops to your side. As it is covered from the audience's view by the table, and all attention is focused on the metal jar, you quietly allow the tube to rest on the lower shelf of the table and grasp the other tube. As your fingers are inside the tube, they also hold the fishbowl in place. This switch must be practiced, but it can be made indetectibly. The right hand tries to force the smaller tube over the metal jar without success. Bring up the other tube and the fishbowl and put the tube beside the jar. Lift the smaller tube with your right hand, pick up the metal jar with your left hand, put the smaller tube back on the table and dip your right hand inside it. Let the water run from your hand to the

jar a few times to show that the jar is filled with water. Put the metal jar back on the table. Pick up the two tubes, one in each hand, and bring them forward to an undraped side stand. Again pass one through the other, showing the tubes empty as before. Finally nest them and lift both at once to produce the big bowl of goldfish. This last, unexpected, production, made on an undraped table adds a surprise punch which makes a fine trick even better. The goldfish bowl, by the way, should be similar in size and shape to the metal jar. It may take a bit of shopping around to find one, but the effort will be well repaid by the added sock to the trick. The two tube production is a master feat of magic in the hands of Kim, who in pre-war days was known as Kuma. His handling and method is quite different from that the Ourens Brothers sell as The Tubes of Tibet. The trick itself is hundreds of years old and a classic in the Orient. I have seen it described in early Japanese conjuring books. Though I have seen several other magicians perform with the tubes in Europe and in this country, none have approached Kim in his brilliant handling. He adds to the climax by producing a huge flag from the tubes. Two lines come down from above and are fastened to the upper corners of the flag, then it is hauled out to fill the stage. When Kim steps into view again from behind the flag he has made a complete change of costume. The oriental handling of the tubes

undoubtedly inspired the Organ Pipe production which was a standard trick 30 or 40 years ago. Madame Herrmann used it in one of her shows. Sihe produced a tablecloth and then the dishes and food for a full course dinner. Usually when you see the Organ Pipes today the presentation is an uninspired routine production of silks and foulards. The human interest, the conjuring up of a dinner, has been stripped away. Another example of the strange de-vitalizing trend among many modern performers.

ESP. CONTEST The E.S.P. Contest is drawing to a close. The best methods received have been published in this column. Just in case you've been putting off mailing your solution, turn back to the May, 1956 issue, read the problem and the methods printed to date. If you have a better way to accomplish the feat, rush it to me at 333 Central Park West, New York City 25, N.Y.

TOMMY WINDSOR'S CHALLENGE Recently Tommy Windsor came back into notice among dealers with two excellent items. One was a publicity portfolio, the other a press book, filled with practical advice. Co-incident with these releases he wrote a provocative article in the May Genii titled "Tommy Windsor Challenges the S.A.M. and I.B.M." His main point was that our two major societies are not doing enough for Magic. He believes they should run adds in national magazines telling how much fun and good entertainment Magic offers. He thinks they should have stock window cards, half sheets, brochures and folders made up and sold to magicians at cost so that they can advertise more effectively. He suggests that annual awards be given to the club which puts on the best window display plugging Magic as entertainment. He would have the organizations hire a press agent to send releases to newspapers throughout the country. He would have member magicians forbidden, under penalties, to do "charity" shows when someone could be paid for doing the same sort of job. All of these measures are designed to help the semi-pro and the professional. These are the men, he says, who keep Magic in the public eye, who inspire new generations of wizards. As yet neither of the societies has rushed in to second his motions and

(Continued on page 478)

Huqard's MAGIC Monthly

A "DIRECT" BOOK TEST By WILLARD S. SMITH Here is a simple and direct book and simplicity and directness test should be the norm for such a test. It uses a deck of cards, but in the most casual manner. Any book may be used. A three-way forcing deck is the number-getter. After all, some method has to be used! Let's say the force cards are the 5 4 , the 7.F and the lo+. The suits, of course, do not matter. Set the deck in groups of the three forcing cards so you have 5, 7, 10, 5, 7, 10, etc., all the way with an indifferent card on the face and another on the back of the deck. As you false shuffle (or not, as you wish), let the audience glimpse the bottom odd card, then the top one. A casual gesture using the top card could well be used. Memorize the fifth word in the first line of page 17 of the book. If you want to give a choice of top or bottom line also memorize the fifth word of the last line. If the word is one like "the" or ~ ~ memorize 1 1 the words each side of it; words too short lack the punch of longer words. With the deck in one hand and the book in the other, step into the audience - and keep down front! Hand the book to one person, then move away from him to have the cards selected. Hold the deck flat on your hand, or on a small tray, and ask a spectator to cut wherever he wishes. Take the top portion in your other hand and ask him to take the card where he cut. Keep this bottom part of the deck in plain sight on your open hand as you move away to a second spectator who takes the next card, then to a third person who takes the next. Thus the three force cards have been taken. You explain that this is the simplest and quickest way to have three cards selected, "and this isn't a card trick anyway." When the first cut is made a glimpse of the bottom card of the top (cutoff) portion will tell you the order of the cards taken. Thus you will know which of the spectators gets the 5 or "word" card. By picking spectators a little distance from each other the sequence in which you pick up the cards will arouse no suspicion. The thing to remember is that the 10 and the 7 must be picked up consecutively so you can, without any excuse for doing otherwise, add these two cards for the page number. So you ask the first person for his

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card. Let's say it is the 10 spot. Your patter could then run something like this: "The ten of diamonds? The ten is all we're interested in, you may keep the diamonds!" Take his card, casually show it and drop it on the deck. Because of the set-up you know the second drawer has the 5, the word card. Take no notice of him - now you see why you want a little distance between the three spectators. Go to the person who has the third card drawn, the 7. "You have, let's see, (take his card) a seven spot, the seven of clubs. Ten and seven are.. . well, you figure that out while I pick up this other card which is - a five spot, the five of spades if anyone cares, I don't. (Keep this card in your hand. Turn back to the person who has the 7.) Got your arithmetic lesson done? Ten and seven are-seventeen? Correct 100%; you must be a CPA. (Address spectator with the book.) Will you, sir, open the book to page seventeen? That seems to be the choice of these two gentlemen. Now count over, let's see, (look at the 5 in your hand, then replace it on the deck as you say) five words. Use either the top or bottom line, it makes no difference." Usually the top line will be selected but you can easily tell whether top or bottom is picked by watching to see where the person counts. Now reveal the word with all the showmanship you can put into it. If the first person cuts to, and so takes the 5 4 , (a glimpse of the 10 spot as the bottom card of the top portion will tell you this) he keeps it as the "word" card. Then the other two cards are added together without your asking what they are. Show them after the addition so the audience can check. If the first person cuts to and takes the 7 4 (you glimpse the 5 spot above it) you ask that this card and the next one chosen (10 spot) be added together. The third person keeps hi card as the "word" card. Make the whole business as casual as possible. Such, in fact, is the essence of the whole presentation and if casually done -it is a carefully studied casualness, to be sure- no suspicion will be aroused as to why you add the particular two cards you do.

4 v + *

The worst tumble a man can take is to trip over his own bluff.

ENVELOPED (Continued from page 469) to a horizontal position, execute the glide, pull out the next card and place it face down with the other two. At once, draw out the next card and, using it as a pointer, with it tap the three cards on the table counting, "One, two, three. . ." and then replace that card on the bottom of the deck. Hold the deck so that this card is seen by the onlookers and they will be convinced that the 2 4 has really been placed on the table. It is, of course, now the second card from the bottom of the deck. While still pretending to be confused and asserting that your trick is not developing "according to Hoyle," again overhand shuffle by pressing on the top and bottom cards with your left thumb and fingentips, pulling out all the rest of the cards and shuffle off freely until you reach the last card which you let fall on top of the deck. Square the deck, palm the top card in the act of turning the pack face upwards and with your right hand place the deck on the table face up. "I cannot account for what has happened but, luckily, I have the instructions on how to do this effeat right here in my pocket!' As you say these words, thrust you right hand into your breast pocket, seize the card between the tips of your thumb and fingers, and slide it into the envelope (the open flap serving as your guide). Push the flap into its regular position and bring out the envelope. "It was stupid of me not to study the instructions before attempting to do the effect. Evidently, something has gone wrong!' While you say this, turn the envelope about in your hands which gives you the opportunity of pressing the prepared edges together firmly. At the same time you are showing all sides of the envelope. Hand the envelope to the spectator who thought of the card and ask him to hold it for a moment. Turn the three face-down cards on the table one by one and then ribbonspread the deck, face up, widely. "Your card has vanished completely! Will you be good enough to open that envelope yourself? Perhaps the instructions will tell me how to find it." The spectator tears the envelope and finds, inside it, the card he thought of and which he himself initialed. Note: The actual insertion of the card will require a little practice.

Hqrazd'a MMAGIC Monthly -

ENCYCLOPEDIA OF IMPROMPTU TRICKS RING (Contiuned from last issue) Stick By "stick" is meant any rod-like object-wand, pencil, fountain pen, cane, spoon, swizzle stick, etc.-on which a finger ring can be placed. The trick is to put the ring on the stick or take it off while a spectator holds the ends. Readers interested in this effect should not fail to consult Dai Vernon's "The Ring on the Wand," 1950, in Stars of Magic, Series 6, No. 1, in which four excellent methods are clearly explained and illustrated. (16) It is often necessary in the tricks to follow to place secretly a palmed ring on stick during act of seizing stick. If pencil or fountain pen is used, this may be done as hand reaches for it in breast pocket. If longer stick is used, it may be held under one arm so that both hands are free until stick is brought into use. In taking stick from arm, ring is easily loaded on it by carrying ring in a conventional palm (center of hand), or in the finger palm shown in Fig. 791. Frank Taylor has pointed out (Bruce Elliott, The Best in Magic, p. 73) that the ring is easily brought to this palm by first carrying it on tip of thumb.

Another useful palm for loading ring on stick is shown in Fig. 792. Sol Stone calls my attention to fact that ring can be brought to this finger clip palm while apparently placing ring in left hand. Begin with ring lying flat on tip of first finger. As you pretend to drop it in left hand, right thumb aids in bringing it to clip position. (17) Borrowed ring is placed on stick, spectator holds ends. Under

By MARTIN GARDNER cover of hank, ring is removed. Method: a half-ring is sewn to one corner of hank. This half-ring goes over stick. Under cover of the cloth, left hand slides ring to left. Ask spectator to feel half-ring on stick with his right hand. As he does this, your left hand slides ring off left end of stick. Pinish as desired. (18) Spectator holds ends of stick and under cover of hank you place borrowed ring on stick. In this case, duplioate ring is sewn to corner of hank or concealed inside a double hank. Place ring under hank, but give duplicate to spectator to hold through the oloth. While he holds duplicate, you retain your grip on it, keeping borrowed ring in a finger palm. Other hand pushes stick under hank, passing it through borrowed ring. Spectator lets go of duplicate to seize ends of stick. Whip hank free, causing borrowed ring to spin on sitck. (C. Lang Neil, The Modern Conjuror, 1902. p. 273.) Sachs (Sleight of Hand, Ch. 3) gives this procedure. Place borrowed ring under hank and allow spectator to hold dup1ica)t.e through cloth as before. Your hands come free of hank with ring palmed. Load ring on stick (See No. 16 above) and allow two other spectators to hold the ends while your hand remains at center of stick concealing ring. Drape the hank (still held by f i s t spectator) over stick and finish as before. (19) Ring is apparently placed in center of hank and held through the cloth. Actually it is brought outside of hank by the familiar coin-throughhank move (COIN, No. 75), from which position it is secretly loaded on stick. For details of two different handlings, see Jack Olten's version (JBNM, Nov., 1947) and Bill Simon's well-planned moves in Sleightly Sensational, 1954. (20) Ring is held in left hand, covered with hank, and rubber band placed around hank and wrist. In doing this, ring is stolen by right hand (see No. 2 above). Right hand takes stick from under left arm, secretly loading ring, then offers ends of stick to spectator. Left hand (still covered with hank and presumably holding ring) grasps center of stick as right hand moves away. When left hand is lifted, ring is on stick. See Johnny Phtt's description, The Sphinx, July, 1946.

(21) Stick is under left arm. Hold ring in left hand. A s you cover it with hank, right fingers clip ring at edge of hank. As you draw hank toward you to bring center of cloth over left fingers, the clipped ring is brought to end of stick where it is easily loaded on stick and left there. Right hand gestures spectator forward, showing hand to be empty, then gives h i stick to hold. A subtle variation of this procedure, using a different move for stealing ring, was worked out by Paquette and may be found in Bruce Elliott's The Best in Magic, p. 68. (22) Ring is held by right hand and covered with hank. Under cover of cloth, place ring on tip of thumb. Apparently seize ring through cloth with left hand. Right hand emerges from hank with ring concealed on thumb. As you stroke hank downward, left thumb clips ring in back of hank. Right hand takes stick, placing it behind hank and through the ring. Or if you prefer, ring can remain on right thumb while you pretend to seize ring through cloth with both hands, then roll hank into a tight ball with ring apparently inside. Ball is held in left hand while right takes stick from under left arm, loading ring on it. Spectator holds ends of stick. Tap center of stick with hank ball and reveal ring on stick. (23) A bit of wax on center of stick enables you to stick ring momentarily to underside of stick-a useful stratagem in many ring and stick effects. For example, in No. 17 you can carry ring beneath hank and attach it to stick. Both hands now come free of hank under some pretext, and the fact that hands are empty and ring does not drop to floor creates impression it is still on stick. If fountain pen or mechanical pencil is used, the clip may take the place of wax. See John Derris' "Monte Cristo Rig," in Come a Little Closer, 1953, for an ingenious ring and stick effect making a bold use of the wax principle. (24) A cheap dime store ring is cut so that by forcing it open it can be placed on a stick or removed while ends are held. Duplicate ring is unprepared. Many handlings suggest themselves. For instance, unprepared ring is examined, switched for cut ring which is placed on stick. Under cover of hank, force it off stick then switch again for unprepared ring to be given for examination. In simfhr (Continued from page 479)

Hyla7d's MAGIC Monthly

BOOK PROFILES by JOHN J. CRIMMINS, JR.

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UNCONVENTIONAL MAGIC by Lewis Ganson. A 59-page printed book with 64 halftone and 31 linecut illustrations. Published in soft board covers by Harry Stanley, 14 Frith Street, London, England, W.1. at $2.00. Those who attended the I.B.M. Miami Convention and witnessed Lewis Ganson's lecture will need no urging to buy this book which explains, move for move, every trick he performed during his educational session. Those who did not obtain a copy of "Unconventional Magic" at that time may get one now from your magic dealer; and those who did not attend the convention would do well to get a copy before the supply is exhausted. Published in the same format as Ganson's other books, and profusely illustrated, it's a real buy at the price of $2.00. (Believe there is also a limited quantity of cloth bound copies at $2.50 available through Harry Stanley.) The book teaches some fourteen tricks most of which appeared during the past year and a half in "The Gen" magazine. If you're not a subscriber, that's all the more reason for getting this book. The first trick is a tiptop version of "Bank Night"; then a card gem by Cy Endfield entitled "Card Penetration And Change." Next comes an unusual version of the Cups & Balls called "Bags of Everything!' As the title implies the usual cups are supplanted by small, felt bags the construction and material of which affords the means for some delightfully unusual moves. This is followed by a bewitching "Zombie Card Rise," quite off the beaten path. Bert Millidge (of Jardine Ellis R i g fame) is next credited with three effects with rings, ribbons and silks. Then two fine tricks by Ken Brooke, one an original version of the "Vanishing Card Case And Cards," the other his method of undoing the knots for the "Sympathetic Silks" plus a simplified routine for same. A neat thimble routine follows, to be topped only by an exceptionally fine presentation of the author's for "The Diminishing and Expanding Cards." Card men will really go for this as it's a combination of methods by RobertHoudin, Charles Bertram and Lewis Ganson. The book concludes with an entertaining card trick, "The Cardboard Prisoner" by Peter Warlock which has fine stage possibilities; another unusual card trick "Front Page Cards,"

which are revealed by paper tearing, and the final item is a particularly impressive routine for the "Gypsy Thread Trick," credited to the Dutch magician Marconick. Those who have just been introduced to Mr. Ganson's books as reviewed in the last few issues of this magazine will, I'm sure, be interested in sofie of his other books which I believe are still available. These are "Routined Manipulation Finale," which costs $5.00 and is a big volume of 254 pages. Then there is "A Magician Explains," which sells for $1.00, and "Expert Manipulation of Playing Cards" at $2.50. And last but not least is Part One of Cy Endfield's "Entertaining Card Magic," which sells for $2.50. Part Two and Part Three of this fine book are promised for future publication and the three together will make up a book of approximately 200 pages of top flight card magic. However, the next Ganson effort announced by Harry Stanley for early publication is the Dai Vernon book, and that should be a winner! CRYPTANALYSIS-by Helen Fouchh Gaines. A 237-page book published in soft board covers by Dwer Publications, 920 Broadway, New York 19, N.Y. Price $1.95. W i l e this book is a bit out of my l i e it will certainly delight those interested in cryptography and ciphers and will be of real

OUT OF MY PROFONDE (Continued from page 472) sional magicians. (I doubt that this will be necessary. Audiences are the best judges.) If you feel you are magically talented and would like a chance to appear under the conditions outlined, write and tell us about yourself. "Matinees For Moppets" Brooklyn Academy of Music, 30 Lafayette Ave., Brooklyn 17, N.Y. We're betting on Magic. In spite of all we have learned through the years, we are ready to gamble time and money on the promotion and exploration of fresh magical talent. We hope we are right. If we're wrong, then in 57-58, you'll see: ACROBATS-ANIMALS-CLOWNS -FOLK DANCING, all at "Matinees for Moppets."

interest to those who are members of the American Cryptogram Association of whose existence I have just become aware. Many readers of this magazine are cryptography and puzzle fans and as such should f i d a wealth of basic and heretofore inaccessible information in this new book. It's advertised as a standard elementary and intermediate text giving complete coverage of the numerous cipher methods of concealment,substitution, transposition, etc. Many foreign methods are also included. In all some 167 specimen codes are given. The book is a reprint but an enlargement of "Elementary Cryptanalysis" in that it contains a large appendix giving the solutions to the various specimen codes as well as tables of final letters, sequence charts, digrams, trigram tables, frequencies of most common words in English, German, French, Italian, Spanish, Portuguese, etc. In all there are twenty three chapters. Recommended to all interested in this fascinating study.

MARGINNJA. Ted Annemann expressed the opinion on several o m sions that the smart magician would do well to concoct a fortune telling routine if one really wanted to be a popular performer. Whether Gerald Kosky was influenced by Ted in this respect, I do not know, but his ASTRO-QUESTION-CHART just released at $1.00 by Ed Mellon is a bang up fortune telling stunt that may be performed anytime and anywhere, preferably when ladies are present. Revealing and answering a person's secret question is a good magic trick in itself, but this routine is not offered as a trick but as real gypsy fortune telling. The person's surprise in getting a suitable and, I trust, a happy and promising answer to her secret wish or thought makes this Kosky stunt a real winner. Supplied with the instructions is an astrological chart 11"' x 14" in size, which folds compactly into the pocket, and two sets of 6 symbol cards. Actually it is a trick which works itself and requires neither skill nor memory work on the part of the performer. However, its simplicity is its strongest pointand its entertainment value is so great that, when properly presented as outlined by Gerald Kosky, it appears to be the real thing. Recommended to all as an "Ace In The Hole" for those times when someone always asks "Can You Tell Fortunes, too?" BOOKS FOE REVIEW should be sent to John 3. Crimmins, Jr., 265 Park Hill Avenue, Yonkers 5, New York.

Hugard'a MAGIC Monthly

HANDS ACROSS THE SEA (Continued from page 471) face down) are passed to right hand whilst left hand goes into breast pocket, removes wallet and places it slit side undermost on table to left of glasses. The cards are now passed back to left hand. "Just remember once again the cards you guessed at." The cards in left hand are turned face up. Bottom one ( A h ) is pushed off with left thumb and taken by right hand. Next card, the 9+ is also pushed off and taken so that it goes on top and overlaps it in fan form. Finally the twa ~emaining cards, Q& with selected 5 4 are taken as one card. This brings chosen card second from the back. As each card is taken, it is named by the con"Three guesses, three wrong jurer. cards." The fan of thee cards is shown from both sides. The cards are then squared up and held by left hand in dealing position. "Now, it's really very easy to always guess correctly if you have magic to help you. Just 'Hocus Pocus' and a tap on the back of first card!' Back of outermost card is tapped with second finger of right hand. Right hand then takes the packet at lower edge with second finger and thumb (Fig. 3), a triple lift is made, the three cards are turned over as one and face of selected card, 5 4 , shown. The conjurer has apparently turned over one card. This card is now apparently turned over. Actually all three are taken once more, but a small flesh break is held by heel of left thumb. Outermost card is now removed by right hand and placed beneath the packet. "It's the same with the second card," says the conjurer and, double lifting the two cards above the flesh break, these cards are turned over showing another 54! The two cards are now turned face down, the topmost being taken and placed under pack. Finally the actual top card which is the 5 4 is taken in a

similar manner, turned over, turned down, and placed beneath the other three. "Thus, you see, a magician never fails because all three cards are actually the same as the one chosen!'

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FIGURE 4

As this is said, right hand takes packet of cards from left hand by the long sides. Thumb presses against one side whilst second finger presses against the other. All other fingers are free. Packet is turned so that faces of cards are towards audience. With the words, "same as the one chosen," right hand moves into the left and first finger separates the rear card from the rest. As it reaches left hand, the first finger and thumb take hold of outer end of the card whilst right hand moves away. Face of card in left hand must, of course, not be shown. This is really a form of the strip cut but broadside instead of lengthwise action makes it far more deceptive. The next top card is similarly shown and taken by left hand after which two cards remain in right hand. These are of course shown as one and taken by left hand underneath the two already held. These four cards with chosen card on face are now placed in front of the pack which is in right hand glass. "Actually," says the conjurer, "every card in the pack is a five of spades. . (Here pack is removed from glass and a series of strip cuts are made so that bottom card of pack (54) is shown repeatedly. At the end of this series of cuts, conjurer should be left with one card only in his hand, namely the 5 4 and this is dropped on pack, care being taken that face card is not or are they?" he conglimpsed). tinues. Taking the pack and holding it at fingertips of right hand, performer blows upon it, takes it in left

.

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FIGURE 3

hand and then, using a pressure fan, shows that it is normal again. (As the 5 4 is the top card, its index is well hidden in heel of left hand). Pack is now closed and, in the action of squaring it, right hand -using a conventional or, preferably, a single hand palm- palms away the 54. With the remark, "Perhaps you, sir, would like to confirm that there is no 5 4 in the Conjurer takes pack with pack. left hand and hands it to spectator who choses the 54. "Actually, sir, the whole thing was a hallucination.. there never was a five of spades in the pack.. in fact, before I started I placed it in my wallet." As this is said, left hand picks up wallet from the table. Remember that it is slitside down. It is passed across to right hand which takes it, thumb on top, the wallet completely covering the card. Wallet is flipped open with left hand and performer makes a half turn to left. The wallet is now held as in figure 5. Letting the audience see that his left hand is completely empty, performer reaches into wallet; actually, his fingers go through the slit and

grip edge of card held by right hand. It is withdrawn and effect comes to an end with performer replacing the wallet inside his breast pocket.

MAGICANA Quotations from the patter of some magicians: "This is just one of them things." "This trick is different than any other." "I seen this trick somewheres else." "I want for you to do this." "The deck of cards are laying on the table." Slipshod, incorrect speech will k i i any act no matter how clever the tricks may be.

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By DR. ZACHABONA Hi, Magi! Did you ever see a "Busker"? Do you know what a "Busker" is, or rather, was? Not many true "Buskers" around today.. seldom seen anywhere. By "Busker" I mean a n itinerant performer who roamed the highways and byways, performing anywhere that an audience could be inwigled into watching his show for the ultimate purpose of passing the hat or collecting anything in the way of currency that might be tossed his way. "Buskers," by and large! They were exceptionally capable performers. . acrobats, vocalists, jugglers and particularly magicians. Incidentally, do not confuse the term "l3usker" with "pitchman." The latter usually worked solely with the idea of selling something, such as a Svengali deck. Not so the true "Busker." As a rule he sold nothing but entertainment. The "Busker," circa 1956! I suppose the nearest thing we see to a true "Busker" today is the [email protected] who works tables in night spots for tips. Although he, of course, is in a much better position from a performing and social point-of-view than the "Busker" who worked on street corners, race-courses back rooms of saloons and in bars when the bartender permitted a perfomnce. Whence came "busking"? It is generally agreed by authorities that the word "Busker" meaning the individual and the term "busking" referring to the profession (if it may be called such) came into usage because of the fact that Athenian tragic actors in ancient days wore a half-laced boot called a buskin. In any event, the origin of both terms is uncertain. What price "busking"? Well, from observation and from many a chat with typical "Buskers" it seems that lots of them made a good living. Theirs was a free and footloose life, some covering a vast amount of territory, others working within small areas. Many had regular "spots" on established routes which they played on particular dates. How about equipment? Most of them carried the old "Tripe and Keister" for open air performances but dispensed with these items when they worked indoors. Usually, they were very versatile, working with cards, coins, hanks and especially with their well-known guinea pig and large potato. If you consider the fact that they were always surrounded while performing you can imagine the skill necessary to mystify their audiences.

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They were, in fact, just had to be.. . masters of misdirection. The family gets into the act! One of the most astonishing and accomplished line-ups of "Buskers" ever observed was the Harry Ellis family. They played regular "spots" in small towns on a definite schedule. Their appearances were looked forward to, and they were greatIy appreciated by the people of the towns they played, including town officials. Due to the location of their "spots". . vacant lots, etc., they were always assured of a large audience. They worked for thirty minutes, five times a day, weather permitting. People came from miles around to see them perform. What did this "busking" family do? Harry Ellis weighed about two hundred and fifty pounds. He was an excellent magician, buck and wing dancer and a fine mimic, imitating most of the current headliners in vaudeville. He carried a small, portable harmonium or organ, which his wife played well, accompanying Harry for his mimicry and also for her own soprano solos of timely song hits; I particularly remember her rendition of Irving Berlin's number, "Always" (now that dates me). His oldest 'teenage daughter played a tip-top cornet while his younger daughter danced. Her forte, however, was passing a large, bright red, plush bag among the audience to garner the "necessary." Smart man, Harry Ellis, for who could deny a golden-haired little miss with a winning smile, a couple of coins, when faced with the bright red, plush bag. I'm happy to report, whether you saw them or not, that the Ellis family quit when Harry retired to a modest farm he had longed for right along. What a show! What a family! They were "Buskers" in excelsis! 'Bye now.

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CHRISTOPHER (Continued from page 473) carry out the plans he outlined. I doubt if they ever will. Here are a few thoughts on Tommy's suggestions. First about the printed matter. Speaking as a professional magician, I know it is to my advantage to have distinctive promotional matter. Show business L a highly competitive field. Those of us who do Magic compete

strong point for the individual it represents. If it's the same as that used by a dozen, or a hundred, other rnagicians it fails in its mission. As to the annual award for the best window display arranged by a club. If it's a club project it would feature many magicians who are members of the club. This is fine for the club, but a window display arranged by a semipro or pro, rather than a club, would do more towards getting dates for the man Tommy is crusading for. Again in the matter of a press agent, I feel this is more a matter concerning the individual performer than a club. I don't thing a full page of pictures in a national publication which shows a doctor who can do Magic, a salesman who can do Magic and a housewife who can do Magic builds box office for professional shows. About "charity" shows. The American Guild of Variety Artists, ta which the professionals who work theatres and clubs must belong, forbids them, without special permission of the union. I agree that the big business man, the wealthy amateur, who does his Magic at business clubs, country clubs and for other organizations to which he may belong, frequently does a working professional out of a job. There are, however, men in this category who do all in their power to see that their organizations hire outstanding professional magicians. I think, Tommy, that our big clubs can help the cause you have in mind by using the best talent possible on their shows. By attending in a body when a professional plays their city or town. By refraining from doing tricks in the lobbies of theatres where professionals are playing. Many clubs have an excellent score on these points. Let's face it: our big clubs are not unions, they are primarily social organizations. Dante, in one of his last talks with me shortly before he died, said i t would be a wonderful thing if one of the great societies sponsored a show such as hi, and bent their combined efforts to make it a continued commercial success. It would be a wonderful thing, but not one that is likely to take place. Actually the best promotion for Magic is ingenious, hardworking professionals in action. By giving good shows they create a demand for more Magic. By getting interesting stories and articles about their experiences in print they stimulate interest in the mysterious. By using first rate printed matter they inspire others to do likewise.

Hugard's MAGIC Monthly

ENCYCLOPEDIA OF IMPROMPTU TRICKS (Continued from page 475) fashion, cut ring can be placed on stick while ends are held, switched for other ring after you slide it off stick. There are innumerable possibilities here for subtle handlings. (25) The Adams switch. Left hand holds stick by center, concealing a ring on stick. Borrow a ring as much like duplicate as possible. To make sure it will fit over stick, hold stick vertically and drop ring over the end, allowing it to slide down into left fist. After a moment of hesitation, left fist allows duplicate to drop off lower end of stick into right hand. Since audience sees this ring only while in motion, it does not matter if rings are not exactly alike. Left hand now extends stick toward spectator who holds the ends. Finish as desired. For example, you can give duplicate ring to a spectator (not the owner of ring, of course) to hold while you drape a hank over the stick and remove lef% hand. Take back ring, apparently place it on stick under cover of hank. T. Nelson Downs, Art of Magic, 1909, credits this ring switch to one Elbert Adams. (26) An effective club or stage effed, using a stooge, is as follows. Borrow a ring, switching it on the stick as explained above or by any other method. Stooge is given stick to hold. He conceals borrowed ring in one of his hands. You stand several feet away and pretend to toss ring you are holding toward the stick, actually palmig it. At same instant, stooge snaps ring to center of stick with his thumb. If a cane that tapers toward one end is used, ring can be shot from the hand with considerable force. It will travel only so far, then stick suddenly, giving effect of a sudden appearance on center of stick. (27) Jack Miller's ring on stick, using duplicate ring, will be found in HMM, Dec., 1950. R i g is apparently placed on stick while ends are held and without use of hank. The moves are curious and deceptive. (28) The following effect, with sucker follow up, is from Sachs Sleight of Hand, Ch. 3. Hold stick in left hand and slide ring on it with right. Show ring on stick, then let it slide off again into right hand. Repeat, this time merely scraping ring along outside of stick. Retain grasp on center of stick with right hand, the ring concealed in fingers. As you ask specktor to come forward, left hand comes momentarily below right. Allow ring to drop from right hand into left. Aft-

er spectator has grasped ends, right hand leaves the stick to show ring has vanished. Left hand produces the ring. Or left hand can cover stick with hank, right hand emerges unmistakably empty, then both hands go below hank to remove the ring. Now for the follow up. Left hand secures a duplicate ring. Repeat the previous moves, this time actually sliding borrowed ring on stick but doing it in a suspicious manner. Hold left hand below right as though clumsily catching the ring, and let audience glimpse ring in left as you appear to be trying to conceal it. "Stoutly deny that the ring is in the left hand," Sachs advises, "which however you decline to open." After a bit of argument, admit defeat and show the ring. To retrieve your reputation you now proceed to put ring back on stick. Duplicate is of course palmed, and original ring is revealed on stick where it has been all along. For a streamlined version of this classic sucker effect, see Dai Vernon's "The Ring on the Wand," cited above. (29) In the first half of above trick, a borrowed ring is placed on stick without benefit of duplicate or handkerchief. To do this convincingly is one of the greatest challenges to the skill of an impromptu worker. I have seen Gali Gali, for example, repeat this effect several times using a different method each time and with steadily mounting audience interest. Many clever routines have been developed (one will be found in the Dai Vernon manuscript, op. cit.), of which the following seem to me of special interest. Tom Fitzgerald, in My Best, p. 165, describes an interesting move for secretly getting a ring on pencil. Ring is first held flat against center of pencil with the thumb of one hand. As other hand covers it, thumb secretly slides ring over end of pencil. A bold procedure is to borrow a ring, pretend to place it in left hand but actually retaining it in right. Right hand takes stick from under arm, loading ring on it. At this point, pretend to show ring in left hand to spectator nearest you. Actually, he sees nothing since you have nothing to show, but everyone else (sometimes the spectator too) assumes he saw the ring, otherwise why would you offer to show it to him? Hans Trixer, in Conju-ring Trix (a booklet devoted primarily to uses for the Jardine EKE ring and shell, but

also containing a number of impromptu ring and stick effects), gives an unusud series of moves on p. 21f. Right hand holds ring while left apparently pushes stick through it. Actually, stick goes beneath ring which is then stolen by left pinkie as left hand points to the two ends of stick. Trixer also describes a move in which a ring on stick is sleeved during the gesture of handing stick forward for ends to be held. It should be unnecessary to add that if spectator holding stick is a stooge, a borrowed ring can be placed on or removed from stick under conditions that appear miraculous. It is only necessary to work out moves by which stooge can assist you without his help being apparent to audience. String (30) The classic method of removing ring from string, while ends are held, makes use of duplicate ring. Under cover of hank, duplicate is attached to center of cord by pulling a loop through ring and passing it over ring to hold ring in place (Fig. 793). If preferred, a toothpick can be used to hold ring (Fig. 794). Taking this pick from your pocket gives you a chance to secure duplicate ring.

Left hand covers original ring and slides it to left. Right hand removes hank. All eyes, of course, are on duplicate ring attached to center of cord. If you wish, you may transfer hank to left hand where it helps conceal original ring. Several stratagems may now be adopted for getting original ring off string. (1) Point to loop at center of ring and ask spectator to lift it over ring while you hold left end of cord. As he does this, transfer end to right hand. Left hand places hank (and ring) in pocket. When loop is pulled over ring, it of course frees the ring. (2) Ask spectator to hold the cord a few inches on each side of ring. You take both ends to permit him to shift his grip, then come (Continued on page 480)

Hward's MAGIC Monthly

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sounds best when the basses are loaded.. A mud pack improves the appearance of some women-until they A chronic late arrival take it off to the boss: "I know I'm the last to arrive in the morning and the first to leave at nighlil don't want to be late twice in one day!"

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Collected by CLIFF GREEN "He has an impediment in his speech. Every time he opens his mouth, hi wife interrupts." The ladder of life is full of splinters and they always prick the hardest when we're sliding down.

Tossed salad: Did you ever come across junk that you've been keeping for years and decided to throw it away a couple of weeks before you need it?. "Sweet Adeline" still

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ENCYCLOPEDIA (Continued on page 479) away with palmed ring. (3) Take cord from spectator and exchange ,the ends so each hand holds the end previously held by other hand (Jack Miller). It is possible to handle all this without the use of hank, though nothing seems to be gaindl by it. The trick also can be done with a borrowed wedding ring if your duplicate is a close match. In this case, cord must be held by someone other than owner of ring. After ring is removed, it is switched for original which is returned to owner. (To be continued)

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D E V O T E D S O L E L Y T O T H E I N T E R E S T S OF M A G I C A N D M A G I C I A N S VOL. XIV, No. 5

PART I

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50 CENTS

OCTOBER, 1956

EXTRA SENSORY PERCEPTION ROUTINE SLEIGHTS

Close-Up Top Change I This sleight is used to switch a small number of cards. For purposes of illustration, let us use five cards. These are to be switched for the top five cards of the deck. The deck is held in the left hand with a little finger break under the top five cards. The deck is in dealing position but with the left thumb lying alongside the deck rather than on top of the cards. The packet to be changed is held in the right hand by the ends, the thumb at the right inside corner, the first finger on the left side of the packet and the second and third fingers on the far end. The back of the packet faces the palm and the little finger is free. The right hand holds its packet perpendicular to the deck and squares it by tapping the right side of the cards lengthwise on the deck. The right hand takes hold of the packet of cards above the break between the thumb and little finger. The left hand begins to turn over clockwise. As the deck turns, the original right hand packet is laid flat on the deck and the packet above the break pulled away by the right hand, which releases its hold on the original packet as it is picked up by the left hand. The left thumb is placed on top of the original cards to hold them on the pack and the right hand goes along with the left hand as it turns, pivoting counter-clockwise. As the original cards are pressed onto the deck, the switched cards are carried away by the right hand, and the left hand continues its movement until it is back up or has dropped to the side of the body. Both hands should lower as the sleight is executed. The turning of the hands provides almost complete cover except from the left. The change works best with several cards, not just one or two.

Close-up Top Change II By ARTHUR HASTINGS and DAVID BENDIX In this sleight all of a packet is switched except one card, which is face up. Again, let us use five cards, with the top card of the packet not to be switched and the four other cards to be changed for the four top cards of the deck. The deck is held in dealing position with the exception that the left thumb lies along the side of the cards. A left little fin& break is held below the

top four cards. The right hand holds the cards to be switched face down by the ends, the thumb at the center of the near end, the first finger about half an inch from the left corner, the fingers together so the last two fingers are past the side of the cards. The cards in the right hand are rested over the deck slightly to the left of center and the right thumb and fingers pick up the cards below the break and hold them by the ends below the original packet. The lower packet is thus stepped to the right about an inch, but this f a d is concealed by the fingers along the outer ends of the packets. The right hand remains still and the left hand (and deck) moves to the left away from the right hand packet. The top card of the right hand's top packet is slid off of the packet and turned face up by the left thumb and fingers. It is slid back on top of the packet face up and the right hand taps the left edge of the packet against the deck to square the cards of the top packet. A comment is made about the face up card and it is apparently pulled onto the top of the deck, but actually all the cards of the top packet are pulled onto the deck in this manner: The left hand brings the deck under the packets with left edges of the deck and top packet even. The left thumb presses the left side of the top packet against the left side of the deck and the left hand moves away, pulling the entire top packet onto the deck as one card. The lower packet remains held in the right hand because of the step. The face up card may be returned to the four cards in the right hand, which appear to be the original cards.

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PART n ROUTINE Effect: The mentalist introduces a full set of ESP symbols, five designs, each repeated five times, making 25 cards. A spectator cuts the set and thinks of the symbol he cut. The men(Continued on page 483)

Hugard's MAGIC Monthly

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with FRANK JOGLAR Saturday, November 24 Chicago magicians are staging a tribute to Dr. Tarbell. A gala public show will be part of the celebration. Send a wire or a letter of greetings to this genial gentleman who has done so much for the cause of magic. If every former Tarbell Course student sent a line the messages would be sky high. Sit right down and get your good wishes off now. Send them to Robert Parrish, 830 Bradley Place, Chicago, Ill. BLACKSTONE Harry Blackstone was scheduled for a visit on Ed Murrow's "Person to Person" video show Friday, October 12. Now we understand the date has been p~stponedto Friday, October 19. The cameras will pick up the old master at his Royalton Hotel apartment in New York. JAY MARSHALL Jay Marshall in for 10 days at the N. Y. Palace, jumped the next day after closing to the Radio City Music Hall where he filled in for Elliot Reid, who was on the sick list. Then he popped u p on "Circus Time," the new ABC Paul Winchell show. Variety reported on his Palace stand "The major strength comes from Jay Marshall, one of the reliables of this house. He's a witty citizen, briging in constantly fresh touches to what is a standard turn for him. Coming in the next-toclosing slot, he imparts a bigtime aura to the bill." MARVIN ROY Newly-married Marvin Roy is featured in the current ice show at the Shoreham Hotel in Washington. Magic is the motif for the production and Marv highlights his hocus pocus with stringing swallowed light bulbs. "He works slick and is well received" Variety noted. Soon he sails for a run at the Lido in Paris. MATINEES FOR MOPPETS "Dear Jog," writes Arthur Leroy, "Here's our schedule for this season. We are back on a magic kick with Correo, Albenice and a 'Magicians Jam Session' already scheduled. There's a possibility of Virgil doing a guest shot in the later shows. Our Henry St. Playhouse series opens October 13. The Brooklyn Academy of Music lineup is as follows: Oct. 27, Nov. 24, Jan. 19, Feb. 23, March 30 and April 27. All shows are at 3 P.M. Notice my new billing 'Leroy-Last of the Master Magicians!' Want to make something out of it?"

Sidney Radner who gave a close-up demonstration of methods used by gamblers when they cheat at cards.. Back as "The Magic Clown" on WABD Sunday morininis sometime between 10 A.M. and 11, Dick DuBois does magic for the youngsters. . The Amazing Dunning wound up his current series and October 15th will open for a limited engagement at the Huntington Hartford theatre. Just where this is the announcer didn't make clear. GRIM REAPER True Duval, Ade's lovely wife and excellent assistant, died September 8 in Portales, New Mexico. Her gracious manner and adroit work helped to make his performances memorable. Paul Heese reports that Ernest B. Marx, founder and mentor of the Pyramid Club and member of the Society of Osiris, died August 29 in Baltimore. He lent a helping hand to Hen Fetsch, Milbourne Christopher, Phil Thomas and more than a hundred other youngsters when they first were enamoured with the magic art.

NEWS From London Mystic Craig reports that Gerrie (Genii) Larsen and Art ("You Asked For It") Baker are engaged. Craig attended the British Ring convention at Brighton. In Ireland he was entertained by Albert Le Bas, Neil Phelan, Eustace Malcolm and Hubert Lambert. Next stop on his trip -Munich, Germany.. . "What's in the future, Doc" was the caption of a picture showing Dr. Jaks and his collection of crystal balls in the Sept. 30th Sunday News. Annoyed by magicians who have embarrassed him with thoughtless remarks before committees on his lecture dates, he recently resigned from all magic clubs.. . The Great De Lage did three-a-day at the Clinton Machine Co. booth at the Nztional Hardware Show in the New York Coliseum. He featured Sawing a 'Woman in Two with a Clinton saw. TV TRICKERY Lots of activity on the television front. Randi escaped while chained to a board on "Tonight," was encased in a cake of ice on the NBC "Today" show. Also on "Tonight" recently Del Ray with his wonderful drinking bear, birds from top hat to cage, assorted sleight of hand and flashes of fire. Also on "Tonight": Chan Canasta with a different handling of his book test and

to MAX KATZ for his fine lecture on Magic delivered at the Open House (S.A.M.) on September 21st. Mr. Katz has long been in the front rank of amateur magicians in New York and in his lecture he fully sustained the reputation that he has gained. His choice of the phases of Magic was excellent, and his execution of the tricks he chose with which to illustrate his points, perfect. He was greeted by a record attendance and everyone present felt that they had profited immensely and will long remember this lecture as the best t.hey have yet been privileged to hear. .+. *+.+

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MAIL BOX "Dear Jcglar: Re. Drinking Bear. I have just returned home from a trip through Western Europe also England. While in Paris about the middle of August I found the drinking bear for sale and was given to understand it was by no means a new item. Later on found it was for sale in Germany, again no new item. Understand the bear was not electronic controlled as you wound it up. I am all for Del Ray's being the first one to my knowledge to use it in a magic act and would hate to see anyone else use it in that way; however, knowing Jerry Lukins for the successful business man he is, I don't think there is any danger of him using the bear in any professional magic act. Tom Hawbecker." DRINKING BEAR Thanks, Tom, for your cordial letter. I have been informed that Jerry's bear is one of the wind-up clockwork toys you mention, and that Del Ray's is electronically controled. Jerry only uses his bear at home to entertain friends. He does not perform professionally. JOTTINGS Jarrow is in the French Hospital in New York. . . The Nicolls, George and Rene, with their magical cookery and Wally Dean, the comedian who used to do a magic act were on the Palace bill with Jay Marshall.. After his long run at the Prince of Wales in London Tommy Cooper took a holiday

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(Continued on page 490)

Hugard's MAGIC Monthly

EXTRA SENSORY PERCEPTION ROUTINE (Continued from page 481) talist receives this thought. A further test is suggested and one of each of the five symbols is laid face down on the table. A spectator looks at one and then mixes it face down with the others while the mentalist's back is tuned. Again, this thought is divined! Finally five cards are laid face down and the spectator looks at one of them. On turning the cards face up, all the cards are the same symbol except one, which is the one the spectator looked at! Method: A regular ESP deck is needed. Before presenting the experiment, place five cards of the same symbol at the top of the deck. Introduce the deck to your audience and explain what it is, calling the cards "symbols" and the deck a "set." For the first experiment ask a spectator to cut the cards "somewhere in the center" and to remember the face symbol of the cut. Demonstrate, cutting one or two cards above center and showing the face symbol of the top half. Complete the cut. You turn your back while the spectator cuts the deck and thinks of his symbol. Your cut has placed the force cards in the center and the chances are that the spectator will cut to one of the force symbols. You ask h i after he has cut the cards to cut them several more times. Turn around and pick up the set, asking your helper to visualize his design. Go through the cards, apparently looking for his symbol and while doing this place four cards of the same symbol at the top of the deck. These should not be the same as the first symbol used. In the process of getting these to the top, lay down on the table one card of each symbol. Turn the deck face down in the left hand and hold a break below the top four cards. Tell the spectator you will show him each of the symbols while he concentrates on his particular one. Lay the symbols face up on the face-

?=i L

:

down deck, starting with the symbol that is the same as the top four cards, and laying the rest on top in any order. Pick up all the cards above the break with the right hand. Square the packet, beveling it to the left so the side edge of the top card hides the edges of the rest of the cards in the packet. You now have five symbols face up with four similar symbols face down beneath them. Ask the spectator to concentrate on his particular symbol as you show him all five. With the left thumb, pull the top symbol off the packet and flip it face down on the deck, naming it as you do so. Continue with the others until you reach the last card, with the extra cards below it. Drop it face up on the deck, adding to four symbols, and then turn it face down on top. The top five cards are of the same design. Now you reflect briefly and say you get the impression that the spectator was concentrating on the "star," or whatever your force group may have been. Incidentally, this force has always been successful for me. If you are successful you move right on .to the next part of the routine, suggesting another test. If you should miss the symbol, explain that possibly some confusion was caused by looking at all the symbols, and that you will try the test in another way. So saying, take the top five cards from the deck and spread them out on the table faces down. These are all alike, but are apparently different symbols. Ekplain that while your back is turned, the spectator is to turn up one symbol, remember it and turn it face down, sliding all the cards together in one pile. While your back is turned and this is being done, get a left little finger break below the top four cards of the deck. Turn around and pick up the five cards with the right hand, keeping the faces towards yourself. Rearrange them slightly, in the event someone

DECK

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FIG*

VIEW FROM INNER END W

DECK

may be remembering the position of the card looked at. After your concentration remove one of the cards and lay it face down on the table with the left hand. The right hand holds the other four cards face down by the ends, in readiness for the CloseUp Toy, Change I. The packet is squared against the deck and the change performed. The left hand continues smoothly down to the card on the table and lifts it slightly, as though verifying your selection: "I believe I have your thought." The deck is laid down and the left hand turns up the remaining four symbols one at a time. Because of the switch they will be four different ones. Name each as you lay it down. "You the are not thinking of the plus? etc. "But you are thinksquare? ing of the circle!" The correct symbol is turned over as you name it. Thus you have shown the symbols to be all different before and after the test. NOWreplace the symbols on the deck and mix it with some cuts. Do not shuffle. "Let us try one more experiment. I will lay down some symbols, but I will not tell you what they are yet." Go through the deck, slipping four like symbols to the top, and laying five other like symbols face down on the table. Ask someone to look at one and remember it. You do not turn your back, to guard against someone's turning up more than one card, explaining, however, that it is not necessary for you to turn your back since the experiment is not one of thought reading. While the spectator is following your instructions get a left little finger break under the top four cards of the deck, the four like symbols. Slide the cards on the table together and mix them casually without looking. Pick them up and glance at them, moving one to the top. (They are all the same symbol.) Hold the cards in the right hand in the position for the Close-up Top Change 11. Rest the right hand cards over the deck and pick up the cards above the break in

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(Continued on page 485)

Hugard's MAGIC Monthly

OUT OF M Y PROF0 By ARTHUR LEROY I'WILLRmURN Eight years ago a fine, fine magician made a desperate effort to hit the top here in the U. S. The fight was fraught with dissappointment and heartbreak and, after a losing battle, he boarded the S.S. Brazil and returned to his home in Latin America. Richiardi Jr. has just returned to the U. S. after a long absence during which he played a flock of spots in South America and Europe. He is still brilliant, he is still a magnificent showman, and his appearances on the Sullivan Show have proven that Magic can never die, nor is any trick old, just so long as it is in the hands of a Master Magician. Eight years ago, when Aldo Richiardi first appeared here, I wrote the first review of his work to appear in print. In celebration, here is the review which appeared in "Grant's Inner Circle" for December 1948. It is still pertinent and true, for Aldo Richiardi is today even finer, even more charming and graceful than he was in 1948. He is the kind of magician that makes me happy to be a performer of Magic be I ever so humble.

CONJUROR'S CAROUSEL Come on, kids! Hop on the horses that go up and down, and round, and round. Let's ride to a merry tune, because that's MAGIC: its up, its down, its round and round, but perhaps on the next ride someone will catch the brass ring. Richiardi, Jr.-if anyone in present day Magic catches the brass ring in these United States here's the boy who should do it. As you read thii, Richiardi, Jr., the Argentinian Wonder Boy has either captured the fancy of the Wm. Morris Agency, or he has buried his dreams, and returned to the Pampas from whence he came, like a vivid flash of lightning on a warm, sultry day. Richiardi, Jr. is the twenty-five year old son of the late Richiardi, who prior to his death owned the most elaborate magic show in the western world. At his untimely death, Junior took the show over; a show so large, so elaborate, so staggering in its magnitude, that if all the equipment it carried were performed in sequence, a single performance would run seven and one half hours. A show that -in addition to all its equipment carried twentyfive assistants, one for each year of the life of the magnificent youngster who shouldered the burden of running this colossus.

Well sir, as I write this, the show is playing in a Spanish language theatre in New York City. Those of us who love Magic, pray that this will not be the last mile for this wonderful show. With Richiardi, Jr. we long to see his "Cavalcade of Magic" in a Broadway theatre, and a transcontinental tour to follow. As to the show: it's a magic show of staggering scope, but in addition it is a musical revue. Mind you, Junior, has not added Magic to Music, or Music to Magic-he's blended them. Each major illusion has a pantomime plot written around it. The Doll's House, Levitation, Houdin's Brooms, "Sub" Trunk, all have a reason for being, which gives them a Hollywoodian significance. Junior not only vanishes girls but he rolls his cabinets into the theatre's

center aisle and carries in his illusions in the midst of his audience. When Junior does the "Sub" Trunk he goes into the body of the theatre, is blindfolded, runs up a ramp, jumps in the trunk, up goes a cloth, down comes the cloth, Mrs. Junior is out, Mr. Junior is in the locked, roped, bagged, sealed, handcuffed trunk. And to think, I used to think the Great Raymond was fast. Well, knock me down and call me Tortoise! Junior sings like Crosby, dances like Astaire, looks like a young Boyer, does Magic like Thurston, Powell, DeKolta, Servais LeFby, Cardhi, Judson Cole, Van Hoven, and Valadon all rolled into one. Besides he speaks English with the Continental charm of Charles Trenet. If the United States does not take Richiardi, Jr. to its heart then the loss is not h i i i t is yours. It will mean that Magic in the United States is a lost art. It is up to us to accept the challenge and do all we can to keep such shows succesful here.

REVERSE TRANSFER By ROXY The flight of a chosen card from the magician's hand to his trousers pocket is a well worn effect in card magic. The reverse effect, that is to say, the passage of a card from the trousers' pocket back to the deck opens new ground. Effect: A card which has been freely chosen by a spectator passes invisibly from the pocket back on top of the deck without the performer touching the cards. Procedure: From any deck a spectator selects a card and this card is very openly placed in your right trousers' pocket. To do this first have the spectator shuffle the deck thorougly. Take the deck back and remark that you will use the card which has been brought to the top by the shuffle, make a double lift and show, let us say, the 104. Call attention to this card, turn the cards face down again and slide off the top card, an indifferent card, holding it with its face towards you and miscalling it as the 104, slide it into your right trousers' pocket leaving it at the top inner corner of the pocket and then pushing your hand down as if the card went to the bottom of the pocket. Make an overhand shuffle bringing the chosen card, 104, back to the top. Square the cards and in doing so, palm the top card, the chosen card. Or you can palm the top card by the

one-hand top card palm as you place the deck face down on the table. Invite the spectator to cut the deck and complete the cut. Have him then look at the top card and ask him to remember it. 'While the spectator is doing this, remark, "I am going to make a wager with you and I will allow you to name any odds that you please." As you say this, thrust your right hand under your coat, slide the palmed card into your wallet, bring out the wallet folded and place it on top of the deck. "Now, sir, I propose to attempt a really magical feat. Your card, the ten of Spades, will pass from my pocket on top of the deck without my touching the cards. Do you think that is possible?" The spectator, who has just looked at the top card of the deck, will be quite sure it is not possible for the chosen card to appear there. He will be willing to lay any odds against you provided that you do not touch the deck. You can have some fun with him deciding on the amount of the wager to be made. Finally offer to bet him the contents of your wallet against a nickel that his card will pass from your pocket "on top" of the deck. Pronounce your favorite incantation and then pull out your trousers' pocket showing it empty, the indifferent card remaining concealed at the top (Continued on page 492)

Hugard's MAGIC Monthly

DS ACROSS

SEA

3rd FINGER GRlP HERE

By PETER WARLOCK The classical trick wherein one or a number of cards fly from one heap to another has borne a variety of names. It has also appeared in many guises though whether versions using envelopes and/or cards with different colored backs have added anything to the overall effect of the classical versions is an interesting point for debate, a debate in which I would range myself on the side of older Magic in which the point so strongly stressed by the performer was that he never touched the cards. In the past decade magicians were given an entirely different slant on the effect. This difference came about through the late Edward Brown, his version calling for two packets of six cards, one thought-of-card passing from one packet to another. In printed form, it first saw light of day in the late Farelli's "Thanks to Leipzig." Farelli admitted to me that he had based the effect described through seeing Brown's effect. Latter the actual Brown version was published by Willane. This present article deals with the same effect, but introduces a move for the change of cards which, unlike the methods described to date, is completely angle proof. Effect. A spectator thinks of one card in a packet of six. This card vanishes from that heap to appear in another. Requirements: One pack of playing cards. Two stemmed glasses each capable of holding six cards. Presentation A member of the company is asked to deal twelve cards onto the magician's left hand; balance of the pack is then placed aside. Taking the cards with his right hand, they are slowly counted aloud back into the left hand, but as the tenth cards is reached the left little finger presses against the side of the cards and when the eleventh and twelfth cards are dealt a fleshbreak is made so that these two are separated from the remaining ten cards.

FIG. 1

With the remark that he is going to show a member of his audience six cards and he wishes them to think of one of them, he approaches someone in his audience: "I am going to show you, very slowly, six cards. Please think of one." Now, at this moment, the cards are brought up in front of the spectator's face, the left hand having them in the position shown in figure 1, the left thumb pushing the two cards above the flesh-break to the right a s one card; right thumb and second finger take the two cards as one and show them as the first card. As the cards are taken, performer says, "One." He then moves this card about a foot to the right holding a fixed position for about three seconds. His hand now returns to the packet held in the left hand where the tumb pushes off the next card which is taken underneath the first two. Saying "Two," he

FIG. 2

continues the holding, returning and taking sequence until he has reached "Five," so that actually at this point he holds six cards in his right hand, five of which the spectator has seen. At this point after saying "Five," he says to the spectator, "Have you thought of a card yet?" This is most

ESP ROUTINE (Continued fram page 483) readiness for the change. "I believe you looked at this symbol?" Turn the top card of the packet face up and perform the change. "Really, it was quite easy to find this design. You picked a square, and every one of the other symbols was a star!" You turn them all face up and spread them on the table. "You turned up the only square out of four stars." Comments: The sleights and moves are covered by misdirection and each maneuver is motivated. Even though the basic method is similar, it is used differently for each effect, and the resulting effect is different. In most of the routine, sthe mentalist is a step ahead in setting up the preparation for the next test.

FIG. 3

T

THUMB GRlP HERE

important for the choice made by the spectator must fall amongst these five looked-at cards. If at that moment, the spectator has left the choice late, with this question, the choice psychologically falls upon the fifth card. With the taking of the apparent sixth card comes the necessary move by which the trick is made or broken. As the right hand comes in to see&ingly take the sixth oard, Che left thumb pushes to the left all but the face card of the heap remaining in the left hand. In other words, five cards. This is a very easy push off and comes into play as the right hand moves in with its cards to take the sixth card. Figure 2 shows position of the cards in each hand. Right hand comes in to take what apparently is the sixth card. All the cards held by right thumb and second finger are pushed under the left thumb which holds them firmly whilst right thumb and third finger grip the outer corners of the five pushed-off cards (Fig. 3 shows exactly where packet of five cards is gripped) and with the word "Six," right hand moves to the right, holds the cards and then with the words, "These six cards, one of which you have thought of, I'll drop into this glass." The magician drops the packet of five cards into the right hand glass. "These other six cards" and at this point he turns the seven cards held by the left hand face down and false counts h e m as six, "I'll place in the other glass." The trick, at that point, is finished but the effect may be heightened just as Brown himself heightened it by delaying the passing of the card. In other words the attempt is made to pass the card, and then taking the five cards from the right hand glass and false counting them face down as six the magician appears to have failed. The cards are replaced and after another attempt, the spectators are allowed to remove the cards from the glasses and check the fact that one card has passed so that there are now seven in one heap and five in the other, Che clincher coming when it is proved that the card thought-of by the spectator is the new arrival. Try this switch and try it slowly. It is most deceptive and, as I stated earlier, it is free from angle trouble.

Rwmtd's MAGIC Monthlu

BOOK PROFILES

up this library today is to be envied, for not too many years ago suoh material was non-existent.

by JOHN J. CRIMMINS, JR. THE GREATER MAGIC LIBRARYby John Northern Hi11iard. A set of five volumes totaling 1,004 pages with over 1,100 illustrations by Harlan Tarbell. Edited by Carl W. Jones and Jean Hugard. Published by A. S. Barnes & Co., 232 Madison Avenue, New York 16, N Y. Price, $3.00 per volume. This monumental work on conjuring which in its original, single volume format, as published by Carl W Jones, went through over a half dozen impressions has now been ~ublishedin five, handy-sized volumes of 200 pages each. Certaiiy every magician should obtain a set of the new Barnes' edition for while the original volume is an excellent library reference tome, the smaller sized volumes are considerably easier to handle and are ideal to carry with one on a trip. As a standard textbook on magic it is without a peer. It is M y one of the great works on conjuring; in fact it is the greatest since old Professor Hoffmann electrified the magical world with his "Modern Magic" classic way back in 1876. While the Professor continued his writings until 1918, his last important contribution was "Later Magic" (1904) which completed his trilogy of basic magic instruction. No one will argue with the statement that "Greater Magic" complements the work started by Professor Hoffmann, for it does exactly that and brings magic up to date with all the wonderful improvements, subtleties, acquitments, flourishes, and new principles that are the trademark of the well informed magician of today. Thus "Greater Magic" marks an important epoch in conjuring literature. The quantity and quality of the material is staggering in scope, for it covers all branches of magic in the 700 or more tricks it teaches to those who are ready to learn. It is also the fulfillment of the dream John Northern Hilliard had of compiling such a gigantic book, ably abetted and posthumously completed by Jean Hugard and Harlan Tarbell with the financial encouragement of Carl W. Jones, plus, of course, the remarkable generosity of the world's keenest magicians who unselfishly gave of their best tricks to make this work the monument it was intended to be. Magicians everywhere will be forever grateful to Jean Hugard and Carl Jones for the exacting, professional manner in which they have quarried the riches from so many magical minds. Volumes 1, 2, and 3, with the ex-

ception of a chapter on silk magic at the end of the latter book, are devoted entirely to card tricks. But what tricks they are! Here's the best in magic from such men as Howard Albright, Ted Annemann, A1 Baker, Arthur Buckley, T. Nelson Downs, Dr. Elliott, Max Holden, Jean Hugard, Charles Jordan, Stewart Judah, Nate Leipzig, Tom Sellers, Dai Vernon, Luis Zingone, Joe Berg, Leo Horowitz, George Kaplan, Jack McMillen, Paul Rosini, Dr. Tarbell, Howard Thurston, Audley Walsh, Paul Curry, Dr. Daley, Bill Hilliar, Ralph Hull, Burling Hull, Bill McCaffrey, Mickey MkDougall, Billy O'Connor, John Scarne, all rounded out with some heretofore little known effects by Alexander Herrmann, David Devant, Robert-Houdin, J. N. Hofzinser and other earlier and justly famous magicians. These first three books cover the entire gamut of card magic for not only are tricks given in profusion, but the entire background of card manipulations is covered thoroughly and competently by the finest of essays on the pass, crimps, controls, and all the other devious sleights and acquitments dear to the heart of the true card enthusiast. Here is the mastery of card magic taught and explained as lucidly as though one were taking personal lessons from Jean Hugard himself. This is the master teacher at his best, teaching the master moves of the masters themselves! Volume 4 continues on with the best in magic with balls, coins, cigarettes, cigars, bills, ropes and The Linking Rings; and Volume 5 completes the series of volumes with selected tricks, mind reading, magic squares, stage presentations plus stage tricks and illusions, and contains the fine article on "Magicana" by the late Leo R u h a n which supplanted an article on "Old and New Apparatus" in the Charles H. Larsen collection which had appeared in the first edition of "Greater Magic." A new introduction has been added to the present set by Howard Thurston, which appears in Volume 1. Each volume contains H. Adrian Smith's excellent "Review of Chapters," and each volume is individually indexed. No magician's education could possibly be considered complete without studying this "Greater Magic Library," and since this is a "public" edition we can look forward to an increase in magic hobbyists without question. Truly the amateur who picks

ANDRUS DEALS YOU IN-by Jerry Andrus. A 190-page book with 370 illustrati~ns by the author, and published in soft board covers by the Star Magic Co., 31435 North Holman, Portland 11, Oregon. Price $5.00. Here is a very unusual card book and one, I believe, which will be the subject of considerable discussion for some years to come. While "The Greater Magic Library," reviewed above, contains the cream of the crop of the accepted card sleights as practiced today, this new Andrus book makes its appearance by introducing an entirely new series of methods which, while they appear to be unorthodox at first reading, prove to be perfectly sound and beautifully deceptive in operation. Actually the sleights are a new approach to card magic, being the methods worked out by the author who, I understand, developed and perfected them prior to his meeting and associating with magicians personally. Certainly they are different enough to throw most well-posted magicians off the track, and I know that every advanced card manipulator will find this new book an exciting adventure in basic card handling. I can't help but feel that Jerry Andrus must have had access to Erdnase at some period, for several of the moves and acquitments bear a marked resemblance to "The Expert At The Card Table" subterfuges, yet they are sufficiently different to win one's admiration. You will find, too, that they are not any easier to master than some of the Erdnase methods, but it's worth the effort for many of them are brilliant in conception and boldness. A majority of the moves, vanishes, spreads and palms are definitely for card table use only. However, let me add that this is not a criticism of their value, but purely a note on their limitations. In many respects, too, the Andrus material reminds me of Ted Annemann whose unconventional methods at one time took the magic world by storm. Here is a similar situation; new ideas to conjure with! Fortunately Mr. Andrus' ideas have gotten into print, for from time to time we hear of such innovators (Charlier is a good example) whose best originations never did reach the printed page. Only a few years ago Jean Hugard was hopeful of publishing some equally unusual card sleights developed by a cowboy who had invented and mastered his own moves with cards while riding the range, and (Continued on page 4%))

Htward's MAGIC Monthly

ENCYCLOPEDIA OF IMPROMPTU TRICKS By MARTIN GARDNER (Continued from last month) (31) Feke ring method. Best known of the gimmicked rings sold for above effect is the Brema nut. You can make your own feke by splitting a cheap ring so it can be forced open, or preparing a life saver as explained previously (LIFE SAVER, No. 2). Usual procedure is to have unprepared ring examined, switch for feke which is placed on string. Under cover of hank, feke is removed and palmed, original ring displayed. Or you may begin by having examined ring actually placed on cord. Under cover of hank, place feke on cord, then adopt one of the three stratagems in No. 30 above for getting unprepared ring off the string. Cover with hank once more and finish in usual manner. Frank Taylor's amusing follow-up in which your own finger ring, still on your finger, becomes mysteriously attached to cord, will be found in Bruce Elliott's Best in Magic, p. 73. (32) Destructable ring method. In this variation you thread on the cord an object that can be torn apart silently under cover of hank-paper or cardboard ring, visiting card, gum drop, match folder, etc. The handling is obvious.

(33) Ring is removed from double string looped over spectator's thumbs. This old-timer (Secret Out, p. 225) is still one of the best of tricks to teach a child. Left forefinger is placed on both strings (Fig. 795). Right hand seizes single cord at "A," loops it over spectator's right thumb. Slide ring to left as far as it will go. Pick up single cord at "B" and loop it over same thumb. Let your left forefinger retain its hold on cord throughout these moves. Now ask him to touch the tip of each thumb to the tip of each forefinger, to make sure no loops escape from his thumbs. Hold ring in right hand and remove left finger. Ring comes free. These moves can be reversed to put ring back on, but the effect is less interesting. (34) Audley Walsh's method. No duplicate is needed for thii brazen method of removing borrowed ring from single cord. Under cover of hank, fumble a bit with the ring, then slide it to left with left hand covering it. Pretend to seize ring through the cloth

with right hand, actually taking only the center of cord. Shake hank gently, then ask spectator to hold his right hand below the hank to catch the ring as it drops from cord. When he does this, your left hand (with ring) holds end of cord. Nothing happens of course. Look puzzled and explain that ring must have gotten stuck. He takes end of cord again while you go beneath hank with both hands and pretend to be doing something. Right hand takes ring through the cloth once more, this ;time actually doing so. Repeat previous request that he catch ring as it falls from string. Ring drops into his hand. (35) Use duplicate rings of fairly weighty variety. Thread one on cord and place cord flat on table-top or rug and cover ring with hank. Under cover of cloth, attach duplicate ring to center of cord as in Fig. 793, moving original ring to left edge of hank. Remove your hands and call attention to fact Chat both ends of cord have remained visible at all times. Fold back hank to left, exposing duplicate at center of string, the other ring remaining concealed under double fold of cloth. Seize the cord with both hands close to each side of ring and lift it from table. Weight of other ring keeps it beneath hank as cord slides free of hank. Give ends to spectator to hold. Pocket the hank (and ring) then proceed to remove ring from cord. If done on hard table top, keep ring from "talking" by pushing a fold of cloth under it as you fold hank to left. (36) Bob Hummer's ring and cord. Borrowed ring is placed on string and both ends held by someone. Announce you intend to remove it. Under cover of hank, pass a loop through ring (Fig. 796), then hold ring as in Fig. 797. Remove hank, displaying ring as shown, and explain that you are unable to remove ring because to do so it is necessary for one end of string to be drawn out of ring. Illustrate by seizing cord at "A" and pulling this end out of ring. Ring now appears free of cord, but actually is fastened to cord by two loops. "But," you continue, "putting it on the cord is much easier." Ends are held again and hank thrown over left hand and ring. When hank is removed, cord is found looped twice around ring. An equally curious variation: instead of pulling one end out of ring (after you reach Fig. 797), thread this

end through the ring once more. This appears to secure ring more firmly on the cord with a double loop, but actually the ring will now pull completely free of string. It i s of course removed under cover of hank. (37) Slave Bangle. Cord is tied to each of your wrists. You display in one hand a large ring (such as a dime store plastic bracelet), turn your back for a moment. When you face audience again, ring is on cord. What you do is simply drop the ring in breast pocket and slide a duplicate off your arm (where it has been concealed under sleeve) and on to cord. Moves can be reversed of course to take ring off again. M;any variations and elaborations have been proposed. One of the best is the following effect of Annemann's. Three duplicates are used, one of which has a break that permits it to open. Your wrists are tied in front of you as before, and a spectator's wrists are similarly tied, but behind him. Let a ring be examined, take it in hand, step behind spectator, pocket the ring, attach the split ring to his cord. This is effect No. 1. Second effect: step behind him again and attach split ring to both your cord and his. Third effect: remove feke, pocket it, slide duplicate down from your sleeve to show ring on your cord only. All may now be examined. (38) Chinese coin release. The sim(Continued on page 491)

Hugard'a MAGIC Monthly

MILBOURNE CHRlSTO This month a bit of variety.

SILK QUICREE The magician enters with a silk in one hand, a metal rod in the other. Instantly the silk vanishes from his outstreched hand. It appears knotted around the center of the rod in his other hand. %is is a quick one, good for tekvision, or an opening stage or club feat, or for a between-the-acts emcee stunt. A "pull" yanks the silk out of view when the wizard extends his hands. This is of the non-elastic type. It is fastened to the left wrist and runs up f i e coat sleeve, across his back and down the other sleeve. The silk is already tied to the far end. Parachute cord is excellent for this one. You needn't have the usual catgut loop on the end as the hand, holding the silk at its center in a natural position, hides the cord. The rod is one of Joe Karson's "Flash" silk devices. Most dealers carry it. The instructions tell how to operate it. The vanish and production should be synchronized.

BURMNG GLOBE Do you have one of the old fashioned Burning Globes? This was once a popular piece of apparatus, but it is seldom seen today except in the repertoires of old-timers or collectors. Here is a slightly different way to use it. Borrow a handkerchief, douse it with liquid from an unmarked can. Announce ,&at the liquid fireproofs the handkerchief. Strike a match and apply it to the handkerchief. To your obvious chagrin the handkerchief bursts into flame. Quickly stuff it in the Burning Globe and put on the top. After a moment or two, take off the top. Pull out the handkerchief. It is in terrible shape. The center is burnt out and there are charred marks here and there. Start to return it to its owner, then reconsider. Put it back in the Burning Globe. Say that perhaps you hadn't applied enough of the fire-proofing fluid. Pick up the can, shake some more in the Globe. Peer inside with an expectant look, then start to smile. Reach in and withdraw the handkerchief. It is whole again, without a trace of a smudge. Give it back to the now happy owner. Method: The liquid is lighter fuel.

If this is poured liberally on a piece of cloth and set afire it will blaze up but, if you snuff out the flame quickly, there will be no evidence of the burning. So, when you light the handkerchief and set it ablaze, quickly beat out the flame between your hands and put the handkerchief in the Globe. Give the base of the Globe a twist. This brings the secret part of the apparatus to the top. In it is a handkerchief which you have previously burned and scorched. Show this, then replace it. Pour in a little more lighter fuel. Twist the base in reverse. This brings the section containing the borrowed handkerchief to the top. Reach in, pull out cloth and show that your magic has indeed worked. SILK-TO-CANE COIL When, in 1953, I played the Palace Theatre in New York, I planned an act that would use no table. I would walk out, do my tricks and leave, without having the setting changed. It was difficult to think of a colorful closing trick which I could use under the circumstances. Finally I decided to use the production of paper ribbon from a sheeet of newspaper, which I could carry under my coat. To make this effective, I needed a long stick, or cane, to twirl the ribbon in the air as it came from the paper. One solution would have been to pick up the stick from the footlights. A better one developed. I used the Silk-to-Cane. This I carried, with ease,

OLUM in my side pocket. When the time came for the closing trick I was all set for a seemingly large production. A whirl of the silk in the air and it became a cane. Then, when I broke a hole in the paper, I used the cane to spin the ribbon as it emerged.

HOUDINI It's hard to believe, but this Halloween marks the 30th anniversary of Houdini's death. I hope that magicians across bhe country will once again celebrate National Magic Day by giving performances for orphans, the aged and those in hospitals. Just today I bought the October issue of a new magazine 'True Strange!' In it was an article "The Great Houdini's Last Escape." The author is Dr. W. D. Chesney. It is profusely illustrated. A card carrying three photographs, and the name Harry Haudyni is indentified as "A very young Houdini!- in the good old days- freeing himself of simple basic tricks with chains and ropes!' How Houdini wouId have roared had he seen this. Haudyni, who is shown with a moustache, was one of his German imitators. Ed Dart once gave me one of Haudyni's cards and commented how much he resembled Hitler in appearance. Another photograph showing Houdini in a metal box on the ledge of the Shelton Hotel pool is captioned "This got to be one of Houdini's favorite tricks getting into a box, with lid bolted, submerging in a tank and freeing himself in seconds!' Actually this was the box used for his underwater endurance test. It was one box that Houdini never escaped from. The main part of the article says that Mrs. Houdini actually received a spirit message from Houdini. It reproduces the letter she wrote Jan. 9th, 1929 saying that the message Arthur Ford gave her was the correct message Houdini had said he would send. The article says that just before she died Mrs. Houdini assured various peopIe she had told the truth in that letter and this had "almost ruined her stage career!' This letter and the one Mrs. Houdini wrote to Walter Winchell at the time has long been claimed by spiritualists as concrete evidence that the spirit of Houdini contacted her. In her later years, time and again, Mrs. Houdini denied she had had a spirit contact. She had been, ill, in bed, and seriously upset at the time of thc Ford seance and she did all that she (Continued on page 492)

Hugard's MAGIC Monthtw

BOOK PROFIILES (Continued from page 486) who had no association with any magicians whatsoever. What ever became of him is a question that will probably never be answered. "Andrus Deals You In" is divided into 8 chapters. In the first you are introduced to nine "changes" such as the Thumb Slip Change, the Swivel Change, Drop Change, Double Lift Change and others, including a truly beautiful sleight called bhe Roner Change. This last alone is worth the price of the book. Chapter 2 offers 5 new methods of reversing cards in the deck and they are all good. Chapter 3 explains six methods of controlling cards by means of the jog. Chapter 4 gives four new methods of palming cards. the Center Steal Palm, the Side Steal Palm, the Ribbon Palm, and Another Ribbon Palm. Chapter 5 offers a variety of miscellaneous sleights such as Andrus' method for the Double Lift (good), a Drop Jog (excellent), the Thumb Jog, a fine Half Pass, and a Utility Fan Move with which you can force, change, or secretly add another card atop of a chosen one. Chapter 6 gives seven original shuffles and cuts, while Chapter 7 details some 17 mighty unusual flourishes that will breathe life into any card routine. Here you'll find such unusual bits of jugglery as the Bounce Cut, the Rolling Deck, the Walking Deck, Contortionist's Turn Over, etc. And the final Chapter 8 gives a selection of some 20 card tricks and routines utilizing the various original sleights and flourishes outlimed in the earlier chapters. Some of these seem unduly long, but I understand from those who have seen Jerry Andrus work that his handling of the cards and his presentation is slick entertainment from start to finish so in actual practice they undoubtedly demand attention in their entirety. While "Andrus Deals You In" is not a book for the beginner or the bungler, it will delight the real cardician. So if you're looking for what's new in magic, get yourself a copy today. You'll be happy with it. Incidentally there is also a cloth edition available at $7.00.

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MARGINALIA: Hugard's "Modern Magic Manual" will soon be published in &gland. The London firm of Faber and Faber have just made arrangements with Harper & Bros. to issue an English edition. Grosset & Dunlap will shortly release a new Activity Book, "The Cut-Out Book Of Magic" for youngsters; and Arco Publishers are issuing a new book by Will Dex-

CARD LOCATION By JOE BERG FINGER

I have always been an ardent admirer of card magic, although I have never taken the time for serious and continuous practice, having always been a "watcher" instead of a "doer." In knowledge I have gained much by watching all of the greats of the "good old days" in my youth, and those experts of the present day and what amazes me the most is the endless parade of miracle card effects and sleights that continues to flow from ter, "Elverybody's Book of Magic," as well as a new one by Peter Warlock. I'll have reports on them in the next issue, as well as a report on a new Canadian magazine called "Ibidem" which its publisher, P. Howard Lyons, has just sent to me. It looks good, and has a fine list of contributors. I understand that all the solutions to the ciphers and secret codes which appear in the book, "Cryptanalysis" reviewed in this column last month were supplied to the pubisher by Max Katz, Past President of the Parent Assembly, S.A.M. Max is not only an expert magician, but is an expert on ciphers as well. BOOK FOI& REVIEW should be sent to John J. Crimmins, Jr., 265 Park Hill Avenue, Yonkers 5, New York.

the fertile minds of pasteboard prestidigitators. For nearly thirty years card magic has been my favorite subject and I hope that I have been instrumental throughout the many years in contributing a few of my own original secrets and ideas to the art which has given me so much. This is my first appearance in this Masterful Magazine and I hope that this subtle method for locating a selected card comes up to your liking. I know it has puzzled many of the best card men. Effect: Allow the deck to be shuffled and request that the spectator remove any card without showing it to you. Take the deck and square it up, extend the left hand holding the deck and have the spectator replace the chosen card on top of the deck, at the same time calling attention that you are handling the deck slowly so that nothing is done that the spectator could not see, the deck is squared up slowly and then cut a few times; last, the cards are thoroughly shuffled, squared up and again cut. Remark: "Does anyone have an idea of the position of the chosen card at this time?" Performer may produce the selected card without looking at the faces or backs of deck. Method: This location works best when an old deck is used, or at least a deck that has been used a while. It is not recommended for a brand new deck. You will note that when you square up the deck the right index finger rests loosely on the top card at the top edge of card. Apply a little pressure with finger nail (which should be short) of index finger on the edge of top card (selected card just replaced) as you square up the deck by running right hand fingers across the top edge of deck. This will cause a white line to appear on the top selected card, scratched by the index finger (specially if the deck is a used one and slightly soiled at the sides). The move is performed slowly and deliberately calling attention to what you are doing, as if merely squaring up the deck and then cut several times loosing the chosen card, etc. After shuffling the cards the deck is turned with the scratched card being towards you so that you can spot it and make the cut, bringing bhe chosen card on top or bottom, as you wish. From here you may disclose the card as you like.

Huga7d's MAGIC Monthly

Effect: From a blue back deck a spectator freely selects a card. The back of this card rnisteriously changes to red, the face of the card remaining the same. A second spectator chooses a card and the face of this card is magically transfered to the face of the red card. Requirements: A blue-backed deck of cards, and one red-backed card which, for the sake of clarity, we will assume is the 5 4 . Any red-backed card may be used. Preparation: Place the duplicate of the red-backed card -in this case the at the bottom of blue-backed 5 4 the deck, and on it place the redbacked card. Procedure: Set the scene by saying a few words regarding mirages, the optical illusions so often seen in desert countries. Explain that in certain conditions similar olptical illusions take place when dealing with playing cards. Inrtoduce your blue-backed deck, and spread it rather widely between your hands, showing the blue backs, but being careful not to expose the bottom red backed card. Turn the deck face u p and spread the cards again, showing the faces but do not separate the two bottom cards, the two 5 4 .

BACKSTAGE (Continued from page 482) in New York. David Nixon was on the vaude bill that followed Tommy at the P. of 'W.'s. CONVENTIONS Reports from the Abbott Get-together indicate the visiting tricksters had a great time.. . Ditto for the M.A.E.S. conclave in Asbury Park. Carlton King, Karell Fox and Gogia Pasha were the most talked-about performers at the latter. LAST MINUTE NEWS S.A.M. Family night at the Barbizon Plaza offered a wide range of conjurations. Many commented "It was as good as an Annual Public Show". . . John Scarne was interviewed by Hy Gardner on his NBC-TV program. John has an autobiography and a new game soon to be offered for sale.. Kajar is slated for a guest shot with "Captain Kangaroo.". . . Walter B. Gibson's new book is in the town's Gogia Pasha returns to bookshops. India after his appearance at the Canadian conclave.. .An announcer in top hat and tails has taken Jay Marshall's place on "Circus Time" as the magician.. "The Amazing Garcias," an elderly duo, gave out with one of the best telepathy routines in the business on Steve Allen's "Tonight."

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By JEAN HUGARD Explain to a spectator that you will shuffle the cards, and that he is to call "Stop" when ever he wishes, and the card, at that point, will be the card to be used in the experiment. Begin an overhand shuffle by dropping small packages of cards from the deck in your right hand into your left hand. When the spectator calls "Stop," tap the top card of the packet now in your left hand with the deck in your right hand as you say, "Right here?" This gesture is important as will be seen later. Move your left hand towards the spectator and have him take the top card of the packet in that hand, tell him to note and remember what card it is and also to note that it is just an ordinary playing card. Have him replace the card on the packet in your left hand and then, very openly, place the packet in your right hand on it, thus bringing the two original bottom cards on top of the selected card which we will suppose to be the QV. Place deck face down on table. This is done merely to convince the onlookers that no secret move of any kind is made by you. They should be thoroughly convinced that the cards have not been manipulated in anyway. Pull back both sleeves slightly, then take the pack and say to the spectator, "I will spread the cards, and I want you to call "Stop" when I reach your card. The mirage I told you about will let you know exactly when I come to your card." Spread the cards between your hands. one at a time, until you come to the redbacked card. Stop there, even if the spectator does not call "Stop." Place the cards in your right hand, below the cards that remain in your left hand, thus bringing the blue-backed 5 4 to the bottom of the deck. Point to the red-backed card and say to the spectator, "Believe it or not, that is the card you selected. Please name your card." The spectator does so, you make a double lift and turn over, and show this card, the Q Turn the cards face down, sliding off the red-backed card, the 5 4 , and place it aside face down. On it, put a coin or some small object. "The color illusion will not last long." As you say this, casually shuffle the deck overhand, thus bringing the blue-backed 5 4 to the top. In the meantime, let's try with another card." Address a second spectator, and ask him to call "Stop" whenever he pleases as you shuffle.

Begin your shuffle by dropping a small packet from the top of the deck into your left hand. As you bring the deck down over this packet to drop a second packet, press the tip of your right ring finger firmly against the outer end of the first packet, thus making its inner end press against the side of your right thumb. At the same time drop a second packet of cards into your left hand, and as you raise the right hand to continue the shuffle, carry away the first packet at the rear. Continue the shuffle and, when the spectator calls "Stop," tap the top card of the packet in the left hand with the cards remaining in the right hand, as you say "Stop here?" At the same moment release the packet held by ring finger so that it falls imperceptibly on the cards in the left hand. Have the second spectator take the top card of the packet in the left hand, the 5 4 which you have thus forced on him. Have him name the card, show it to everybody and then replace it in the deck. Point to the red-backed card on the table and say "I will try to show you a most remarkable effect. You will all agree that nobody has touched this Queen of Hearts since it was placed here on the table. This gentleman has just chosen the Five of Spades. I will transfer the face of the Five of Spades to the face of this Queen of Hearts. Will you, Sir, kindly turn the card over." He does so and it proves to be, as you said, the 5 4 . After a few moments to allow for the full effect of this amazing change to be appreciated, turn the 5 4 face down, drop the deck on it and then pick up all the cards. Square the deck with both hands and, in reaching over to your left, palm the bottom card in your left hand and spread the whole deck face down in a long line across the table. There is no red card visible and your climax is complete. Almost certainly someone will pick up the deck and run through it to find the two cards which were used in the trick. He will find them, and will also find them perfectly normal. Effects in which a card or cards appear to change color, suit and value spontaneously are perhaps the most astonishing tricks that can be performed with cards. This particular trick will be found to be easy of execution and to give surprising results.

MAGICANA Don't argue, discuss with "cussing." If you must disagree, disagree agreeably.

Hugard's MAGIC Monthly

. ENCYCLOPEDIA OF IMPROMPTU TRICKS (Continued from page 487) plest form of this old effect, which wouldn't fool anyone, is to loop cord through one Chinese coin as in Fig. 798, then thread a dozen or more coins in a stack above it. Ends are held by someone and under cover of hank all coins are removed. Bottom coin is released simply by pulling loop down over coin. Replace coin on cord after stack has been removed. Rings of course may be used instead of Chinese coins. (39) More deceptive version of above effect uses one split ring which is genuinely threaded on cord to support the stack of unprepared rings. Last ring of stack is secretly threaded on one cord only. Under cover of hank, split ring is removed and palmed. All rings come free except last one, which remains on cord and which audience thinks is the ring originally threaded. I t may of course be examined. This trick may be performed with life savers, using a life saver prepared as explained in LIFE SAVER No. 2. A good move to use in connection with last ring of stack is as follows. Appear to put it over both ends of cord, actually putting it over one only. Left hand slides it down to join the others, but palms it and immediately slides it back up cord as you seize the ends and display the stack as in Fig. 799. The stack now appears as it should. As soon as it is covered with hank, left hand carries ring back to top of stack. LAST R/NC;

(40) Two remarkable versions of the Chinese coin release will be found in Stanley Collins' Deceptive Conceptions in Magic. The first (p. 42) uses no feke. After the coins are threaded on a short piece of cord the ends are

tied and held as in Fig. 800. Hank is thrown over hand and a spectator holds the cord through the cloth. In covering the hand, however, entire stack is secretly turned upside-down, the knot preventing stack from dropping off. After coins are removed, threaded coin drops down into place. See book for details. Collins' second effect (p. 49) makes use of curtain rings, one of which is split. It also employs the upside-down principle. The ring first threaded on cord may be examined and marked for later identification. Split ring goes on top of stack, and because of the split, you are able to shift it later from both cords to only one. Ends of cord are tied as in previous effect and entire stack is secretly reversed as it is covered with hank. Before removing rings, you may lift cloth to show the stack, since it appears exactly as it should. After rings are released, marked ring drops down into place. Consult book for further details on this brilliantly thought-out version. (41) Scores of methods have been devised for removing a borrowed ring from rope or cord that has been secretly gimmicked in some way (e.g., cemented or waxed ends, extra piece of rope, fake knots, and so on.) Tom Sellers (in Magic Hits, 1937) was one of the first to suggest something along these lines. See also Tom Osborne's ring and rope effect, My Best, p. 261; Edward Victor's ring release, Methods for I\liracles, No. 2, edited by Willane, 1952; and U. F. Grant's "Zella Ring," Tarbell, Vol. 6, p. 173. (42) Gag: to take ring "off" string while ends are held, lift ring so it does not touch the cord. (43) As in ring and stick effects, many ring and cord releases can be performed under test conditions provided person holding ends of string is a stooge who secretly assists in the moves. (44) The Sefalaljia principle. "Sefalaljia" (phonetic spelling of "cephalalgia") was the title Stewart James gave to a group of effects first published in the Jinx, Dec. 2, 1939, later reprinted in Annemann's Practical Mental Effects. The routine was worked out during a period of James' recovery from carbon monoxide poisoning when he suffered splitting headaches, hence the title. One of the effects was a method of putting a borrowed ring on rope. It was not impromptu, for it involved a small cabinet, but it introduced a new tech-

nique. We can define this technique broadly as that of anchoring a portion of the cord in such a way that one end can be secretly drawn through the ring. The technique can be used either for putting on the ring or taking it off. However, in removing a ring one thinks immediately of drawing an end of the cord out of the ring, whereas it does not easily occur to one that the same move can be used for putting a ring on. The principle, therefore, is best adapted to putting on effects. After Sefalaljia, a series of impromptu versions appeared. L. Vosburgh Lyons' "Fourth Dimensional Sewing" (Jinx No. 100, 1940) involved a ring, ribbon, and hank-the ribbon being anchored by sewing it together. This was followed by "Sefalaljia Junior" in Phoenix, Oct. 30, 1942, and several effects in Tarbell Vol. 3 in which the anchoring is done by a safety pin. The spectator pins the rope or ribbon together to indicate where he wishes the penetration to take place. Ring is covered with hank and the move occurs as ribbon is pulled out from under the cloth by one end. "Sefalaljia 111," by Charles Nyquist, ran in the Phoenix, Jan. 8, 1943 and was reprinted in My Best. Nyquist further simplified the trick by tying a slip knot to hold the ring, and described a move that could be made without use of a hank. A similar version for the stage, using tape and large wooden ring, appeared in Tarbell Vnl. 5, p. 288. The same trick, but using a hank again to cover the move, was contributed by Tarbell to the Sphinx, March, 1953, and appears ako in Tarbell Vol. 6, p. 167. In the Tarbell version, the cord is first placed in a straight line on the table. Borrowed ring is placed near center of cord and covered with hank, the ends of cord remaining visible at all times. Reach beneath hank, draw a loop through ring and tie the slip knot. Left hand remains under hank with thumb going through the loop. Right hand seizes right end of cord and draws it out from under hank. This automatically pulls left end through ring. Spectator now holds both ends and when he pulls, knot slips out leaving ring on cord. A variation is as follows. After tying slip knot, both hands come out from hank. Left fingers apparently seize center of hank but actually pinch it together at a spot inside the loop of cord. Right hand then pulls out the cord as before, the pinching of fingers causing other end to be drawn through ring. Silk hank should be used. (To be continued)

Hugard's MAGIC Monthly

PATTER Collected by CLIFF GREEN Sometimes it's better to have loved and lost than to have to do homework for three kids.

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Flattery is like cologne: to be smelled, not swallowed.

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A salesman we know has been ap-

REVERSE TRANSFER (Continued from page 484) of the pocket. "So far, so good," you say. "The card has gone, as you see." The spectator will still be skeptical as to the arrival of the 1 0 4 "on top" since he had looked at the top card of the deck. You continue, "My wallet is on top of the deck, isn't it? Anything inside i t is also on top of the deck. That is correct, is it not?" The spectator must agree, so you instruct him to take the wallet and open it. Inside it he finds and removes the 104, the chosen card.

pointed to the police force. He says: "This is the best job I've ever had. The pay and the hours are O.K. and the customer is always wrong." Going through our desk the other day we realized that it was really a wastebasket with drawers. Tossed salad: She wore a gown that gave you the peeps. . . Erosion is a nine-year-old boy washing his hands ... Woman buying a fur coat: "I wish this fur wasn't called broadtail. My husband thinks he's a comedian.". Overheard in the subway: "Oh, that's too bad! I hope she didn't die of anything serious.". .. These days anybody and his money is soon parted.. . Newspaper headline: "Father of six children places blame on wife."

Direct from Torino's (Tony Kardno) own act comes this surprisingly beautiful "flash" production of a shimmering silk handkerchief from the atomic flame of a vanishing cigarette. A metamorphosis both startling and magical. If you use flash paper, this is for you. A professional prop routined for professionals. Complete . . $3.00 Don't Miss Sam Roc'owitz' Classic MORE MOHABEMED BEY ROUTINES WITlI TEE OKITY) COIN BOX Everyone's raving over the new moves, the perfect misdirection, the marvelous transpositions and penetrations of this grand routine .... $2.00 THE MYSTIC KEY-latest and best verdion of Annemann's 7 Keys To Baldpate $37.50 GUILLO CARD-Irv Weiner's latest. Card penetrates finger like guillotine ....... .I5 ADD-A-hTlMBER--Great mental stunt ... 8.50 PHANTOM CRICKET-Fine spirit trick . . 3.00 ORIENTAL FIREWATER TUBES (Massey) 5.00 ANDRUS DEALS YOU IN-New card book 5.00 ROUTINED MANIPULATION #1 & #2 . . 5.50 GANSON'S IBM LECTURE--Fine book .... 2.00 SEALED VISION-Blindfold expod ...... 2.50 THE FIVE-0-FETSCHSwell card magic 1.75 ENTERTAINING THE MODERN CHILD . . 1.00 OUR LATEST CATALOGUE #17 . . . . . . . . 1.50 HOLDEN'S MAGIC SHOP Herman Hanson, Manager "Always First With The Best'' 120 Boylrton Sreet, Boston 16, Mas&

monthly publication devoted solely to the interests of magic and mapicians. 0

SEAN HUGARD Editor and Publisher 2634 East 1Bth Street Brooklyn 35, N. Y. 0

Snbscrlption Rates: 1 year. 12 issues, $5.00 (6 issues for $2.50)

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The way you can tell a girl from a boy in the 15-year-old dungaree set is that the girl's feet are usually bigger.

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There's no better exercise for strengthening the heart than reaching down and lifting people up.

CHRISTOPHER (Continued from page 488) could do when she recovered her health to put the matter straight. Though many, many newspaper articles quoted her as she denied the spirit contact, those who write sensational articles persist in ingnoring them and emphasing the 1929 stories. The subtitle for "True Strange" magazine is "Incredible-Weird-and Factual." The first two statements are true.

Dealcrs must submit trick or bwk with copy to Jean Hucard for ap~roval. Advertising copy must be in by first of month of publication. Material returned post paid. Minimum: three lines, $1.09.

Endorsed Dealers Offerings Ma& In A Flash! Senor Torino's Sensational FLASH CIG-ON-SILK

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Send for FREE "CATALOG OF IMPORTED MAGIC" U. F. Grant Box 853, Hilltop Station Columbus 4, Ohio 'We will see you in the CARD ROOM, at the New England Convention" Walter I. Scott Eddie "Tex" McGuire Ed. Whitford SLEIGHT OF HAND PERJ?ORMERS interested in forming lodges of the International Guild of Prestidigitaton may obtain further information by writing JULIE ATTERBURY, 119 NO. LIMA STREET SIERRA MADRE, CALIF. BARGAIN Three-Month Trial Subscription 11.M)

Genii, the Conjuror's Magazine, official organ for thc Academy of Magical Arts and Sciences, sells a t fifty cents per copy or $5.00 per year by subscription. However, if you are now a subscriber, in order to acquaint you with the value of thir leading magical monthly, we will send you a three-month subscription starting with the current issue for only one dollar. Q E N I l The Conjuror's Magazine 9Z9 So. Longwood Avenue, Los Angeles 19, Calif.

SOME RECENT MAGIC BOOKS! "What's New in Magic" (Gibson), cloth. 100 feats, just published ............... $3.50 "Andrus Deals You In," (Andrus). original card sleights and routines, 190 pp., 370 ills.. regular ed.. $5.00; special edition 7.00 "The Emcee's Handbook" (Orben), 54 pages 3.00 ''Evewbody's Bwk on Magic" (Dexter), cloth, 183 pages ......................... 2.50 "Paper Magic" (Harbin), folding, cloth. 100 pages ................................ 2.00 "Magic with a Message" (Hoy), 73 pages. 56 illustrations .......................... 1.00 "Unconventional Magic" (Ganson), 15 festures, 60 pages .......................... 2.00 "Painting ~ 4 t hCloth" (Smith), rag-pictures, 47 pages .......................... 2.00 FLEMING BOOK COMP728 Mndiaon Avenue, York. Penlurlrraln

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D E V O T E D SOLELY T O THE INTERESTS O F MAGIC A N D M A G I C I A N S VOL XIV, No. 6

NOVEMBER, 1956

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CENTS

A CARD KNOCKOUT By NICK TROST Greatest non-sleight-of-hand card trick of the season. Every performer will be delighted with the seeming miracle that he can add to his repertoire. Effect: A spectator examines an ordinary pack finding all cards different, While the magician's back is etc.. turned he removes a group of cards from the top, turns them face up on top, and notes the card he cut to. He now reassembles the pack to its original position. He cuts the pack and shuffles it, yet magician can locate the card with ease and certainty. Magician never touches the cards which seem regular in every respect. Method is explained with two variations. Method and Presentation: Explain to the spectator that he is to take the deck and perform all the moves himself. He chooses a card in the fairest possible manner then puts the card behind his back and reverses a card in the middle. He finds he has reversed it next to the selected card, thus locating his card himself! Besides a deck of cards, you must have a double-backed card to match the deck. This double-backed card is on top of the pack. The card second from the bottom is reversed. Hand the spectator the cards saying, "Hold the deck face down, squared up in your hands while I turn my back.. Now will you cut off a group of cards from the top and turn face up on top?. . . Square it up! Please remember the card that is now facing you, concentrate on it and form a mental picture of it in your mind.. Now spread off the face-up cards and turn them over again back in their original order. Put the deck behind your back and take the bottom card and place it on top of the deck. "Now take the next card on the bottom, reverse it, turning it face up, and insert it somewhere near the middle. Square up the deck and bring it forward. Remember: a moment ago (Continued on page 503)

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Hugard's MAGIC Monthly

BACKSTAGE with

business had stayed at the same level and the theatre lost a couple of thousand bucks during the run.

FRANK JOGLAR

To date Richiardi, Jr. has made three appearances on the Ed Sullivan Show and, to date, he has racked up three triumphs. On his debut he presented the Broomstick Suspension. His grace, ballet-like movements about the stage and dramatic presentation caused Variety to peg it "strictly a major league item." On the second go round the Peruvian puzzler zipped through a dandy Brahmin Bowls and Water Can Combination. The rice in the bowls vanished and the water from the can took its place. Then came a beautiful version of the levitation. At the point where floating lady wobbles and many magicians get laughs instead of ahs, Richiardi gracefully waved his hands and her movements seemed synchronized with his control. Smart showmanship that. On the third try Aldo offered two dazzlers. A girl covered with a cloth vanished from her chair and appeared in a trunk on metal legs, which a moment before had been tipped over and shown empty. Later in the show he returned for the Sub. Trunk. A girl is put in a bag, handcuffed, the top of the bag is tied with a ribbon on which is the key to the cuffs. She is locked in the trunk, which is swifty roped. Richiardi is blindfolded, after removing his coat. He stands on top of the trunk. Assistants hold up a large cloth. He darts down. Instantly the girl's head pops into view. The cloth is taken away, the trunk is unroped, unlocked. The top of the bag inside is untied. There is Aldo, still blindfolded, now handcuffed. Welcome back to the U.S.A., Richiardi, Jr. We hear you've a long string of bookings as a result of your Sullivan successes and that in December New Yorkers will be able to see you in action at the Radio City Music Hall. BLACKSTONE Blackstone was a genial guest on "Person to Person" and Mrs. B. came across as a charming wife. Here's Arthur Leroy's burst of enthusiasm: "Congratulations to the master magician Harry Blackstone for his dignified, showmanly, and altogether charming performance on "Person to Person!' Blackstone gave magic a size and dimension, a dignity and punch it has been needing for oh so long. There was no 'you, too can do magic' approach here. This was an 'isn't it wonderful' kick, a glamour job that dignified a fine performer and a wonderful theatrical art. Some years back I wrote of Harry's art and called him 'Beautiful Blackstone! He visited me

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later at my theatre and while we were talking he kissed me on the forehead. 'That,' he said, 'is for calling me Beautiful Blackstone! O.K. Harry, after the Murrow show I change the quote. Now you are Magnificent Blackstone." Harry Lorayne has been busy in many avenues of magic. He has conjured close-up at the Little Club, appeared frequently on TV and amazed experts with his card tricks. Recently he wisely developed a new act. An act that couldn't be classified as "another magician." With his wife Renee he presents a zippy memory specialty. Display boards for giant cards and slate notations add size to his act. His new folder is a handsome piece of advertising. During the summer he was heavily booked in the Catskills, now he's playing club dates in and out of town. He has put aside his sleight of hand skill and emphasizes his sleight of mind. Early in 1957 Fredrick Fell will publish a book from his typewriter on memory. THE ROBERTS Mental magic of another sort, a twoperson telepathy act, has kept Lucille and Eddie Roberts busy for years. Next month they're listed for the Riverside Hotel in Reno and the Statler in L.A. Bennett Cerf gave them a big play in his This Week column of November 4. Eddie frankly admitted their work was the result of long study and teamwork. Every little word has its meaning, he says. They change codes constantly to avoid detection. That's unusual admitting for a telepathy act, but maybe Eddie knows what he's doing. He probably thinks intelligent audiences realize a code's in use, so why deny it. The Roberts sell their humor and close contact with audiences stronger than the mystery element. DUNNINGER "Dunninger's 'No Profit' " was the head of the Variety item reporting his first week with a one-man mental show at the Huntington Hartford theatre in L.A. "Dunninger at $3.85 top is apparently nowhere near as acceptable to the public as Dunninger on TV," the text read. "Mentalist drew a dour $6,300 last week for the first frame of a fortnight stand. . Gross represents a loss to the theatre since the contract calls for a 50-50 split after expenses but guarantees Dunninger a minimum of $5,000 weekly". . The next week Variety reported that

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JOrnGS That Senator Crandall gets around. Now he's back in Chicago. Thii time managing the A1 Sharpe magic shop . . Rumor has it that The Magnet and the British Wizard are ceasing publication. . Dr. Fries sent in a cartoon from Punch. It shows a magician about to saw through a blonde. Two stand hands are talking in the wings. One says: "Isn't that a carpenter's Peter Warlock reports from job?". England: "Had the chance to meet Tom Hawbecker. who thought everything terrific. Johnny Giordmaine, quite new to us, proved an excellent entertainer." They were over for the British Ring convention. . Phil Weisbecker broke his arm last April. Now that it has mended he's busy again with his magic in So. Plainfield, N.J. . Dick DuBois home after operation. Send him a get-well card at 72 So. Center St., So. OTange, N.J. Recently he was given the New York IBM Ring Ed Whitford Star of Magic plaque. has been wondering why no mention has been made here of Walter Scott's visit to New York and his first contact with Manhattan hocus-pocusers in 25 years. Didn't know he had been in town. Send in a note when you come across news, Ed.

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THE CHRISTIAN CONJURER Volume 2, No. 1, of a magic periodical new to this desk has turned up. It's published by the Fellowship of Christian Magicians of N. California. There's an editorial about magic in churches, Jimrnie Davis' Shadrack, Meshach and Abednego patter for the Hindu Beads, news notes and a message from President Stan Adair. This is issued bi-monthly and Gordon Anderson is the editor. Among the events listed are the showing of a film, "The Hand is Quicker" starring Warren filkin, and a banquet in February. SKMLESS FRANK SORCERY "Be Willie the Wizard or Winnie the Wonder in your neighborhood!" the full page ad in Look reads. All you would-be Willies and Winnies have to do is buy a pack of skinless franks and send the coupon inside, plus two-bits, to The Visking Corp. in Chicago. They'll send you-"Props for 9 great tricks. Rabbit out of the Hat, Baffling Pirate Treasure Chest, Chinese Dragon Wishing Tray, Cleopatra's Mystic Bracelet. Mysterious Transformation Machine, Fur or Feathers Illusion, Wizard's Tower Es-

(Continued on page 502)

Huqanf'a MAGIC Monthly

ENCYCLOPEDIA OF IMPROMPTU TRICKS RINGS (No. &Continued from last issue) Johnny Paul added an amusing bit of business. Before tying slip knot, slip the ring on your finger. Suddenly whip off hank and pretend to be looking for the ring which has mysteriously vanished! Of course you quickly discover it on your finger. Slip it off finger and go on with trick. Me1 Stover's version, performed on card table, uses a hat pin. After slip knot is tied, stick the pin upright in table at a spot inside the loop. You now take both hands from hank and permit spectator to seize end of cord and draw it out from under the cloth. Pocket both hank and pin. When spectator pulls ends of cord, ring is found threaded on it. The latest variation, f i s t described I believe in Hans Trixer's Conju-ring Trix, 1955, p. 24, is same as Tarbell's except that the move is made in the act of removing hank and tossing it aside rather than by pulliig cord out from beneath hank. A silk hank is used. The loop and knot are formed as usual. Left hand comes out and takes silk from outside, pinching it through the loop. Right hand holds right end of cord. Left hand now moves silk to the left as though simply tossing it aside. This automatically slips the end through ring. The gesture is perfectly natural and the move indetectable. If an ordinary hank is used, the cord will not slide easily at the spot where it is pinched through the cloth. In this case it is best to keep left hand beneath hank, inserting ring finger into loop. Right hand comes out to take right end. Left hand turns palm up, seizes hank from beneath and tosses it to left. In all these versions, soft, flexible cord should be used so it will slip easily and lie flat after hank has been tossed aside. Stewart James worked out an effective version of Sefalaljia. He uses rope, ring, safety pin, man's jacket, and chair. Chair should have a back with projecting knobs or posts at the top on each side. Hang coat on back of chair, back of coat toward audience. Rope is threaded through both coat sleeves. Each end is held by a spectator. Place ring on center of rope, pull a loop through it, pin rope together with safety pin, then secretly hang the loop over left knob of chair's back. 'When spectator on your right pulls rope out of the sleeves, ring will be found threaded on it. Same effect, James points out, can be done with coat on

By MARTIN GARDNER coat hanger. The hanger is either suspended from an overhead hook or held by another spectator. In this case, the loop is placed around lower end of hanger. In still another James' version, a ring from loose-leaf notebook is sewn inside the inside pocket of jacket, but near top of pocket where it is easily reached. Instead of putting loop over chair post or corner of hanger, it is clipped by this ring. James also calls my attention to a trick marketed years ago (inventor unknown) as Robot Ring on Ribbon. Gimmick consists of a wire hook that fastens on back of your trouser belt. Display the ribbon, then pass it behind you under your coat. Someone stands in front of you and holds both ends. Place ring behind your back, draw loop of ribbon through it, hang loop on hook. Seize ring with left hand, pressing ribbon against ring but leaving right side of ribbon free to slip out. Ask spectator to release the end on your right. Bring to front in left hand. This automatically slips right end of ribbon through the ring. Let him hold this end once more. Cover ring with both hands, fumble a bit, then show that ring is now threaded on ribbon.

(45) Jack Miller has worked out a routine using the Sefalaljia principle in a curious way. Ring and cord are held as in Fig. 801. Center of cord is tied in a slip knot around ring. Ask spectator to cup his hands. You pull on ends of cord, knot pulls out, and ring drops into his cupped hands. Repeat the tying of slip knot, but this time get right third finger through the loop. As you turn toward another spectator, both hands slide apart to the ends of cord. This of course slips out right end. Spectator now holds both ends. Ring is held by knot at center of cord, actually on the cord although audience does not know this. Take hank from pocket, at same time palmiig a duplicate ring in right hand. Cover ring on cord with hank. Hold both hands a few inches below ring but still hidden by hank. Ask him to pull on ends. As cord pulls straight, make a slight catching mo-

tion as though ring dropped into your hands. Show duplicate ring. Carry it beneath hank again, drop it down left sleeve. Whip off cloth to show that you have apparently placed ring on string.

Ring, string, h o t s (46) Ring is placed on string and single knot tied over it (Fig. 802). Under cover of hank the ring is removed, knot remaining on cord. By pushing ring through knot as shown by arrow, ring w i l l remain on cord but will be free of knot. You can then follow with one of the methods given above (Nos. 30-43). Audley Walsh's method is particularly applicable, because the knot strengthens audience's belief that ring remains at all times fastened to center of cord. (47) Jesse Schimrnel's release. Ring is tied at center of rope. Hold it in right hand, letting both ends of rope hang down. In act of placing ring in palm of left hand, it is pushed through the knot as explained above. Left hand now covers ring and knot, but ring is actually to left of knot. Right hand pretends to take ring and pull it forward, sliding rope through left fist until left hand holds left end of rope. Actually, right hand carries only the knot forward while left fist retains ring. Your excuse for this move is that you ask spectator to hold right end of cord. After he takes it, offer left end to another person. Left hand comes away with ring palmed. Right hand still is around knot at center of rope. Left hand (with ring) now seizes knot, freeing right hand. Right hand takes pencil from pocket. Left hand, pressing ring against knot, opens to allow you to tap ring with pencil. Push pencil through left fist, passing it also through ring. Remove left hand to show ring is on pencil and free of cord. See HMM, Jan., 1954 for further details. (48) Begin with a knot secretly tied near center of cord but kept concealed by left hand. Put ring on cord and display it as in Fig. 803, letting ring slide back and forth. Someone covers it with hank, then seizes both ends. State you will try to remove ring. Under cover of hank, open knot and (Continued on page 501)

Husard's MAGIC Monthlv

OUT OF M Y PROFONDE By ARTHUR LEROY THANKSGIVING This is it! Every year I go through the same torment at holiday time. I look myself over --come Thanksgiving, Christmas and New Year- and wonder if I might not have done better in any other field of endeavor. The kids I played with when a lad have gone on to better things. Little Herman Wouk has written "Caine Mutiny" and "Marjorie Morningstar!' Little Burton Lane has written 'Tinian's Rainbow," a musical on Tom Sawyer, and for some time held a wonderful M-G-M contract. Little Hugo Bonello has gone on to an exec job on Ted Mack enterprises.. and little Arthur Leroy, that clever little guy who used to mystify, amuse and amaze Little Herman, Little Burton and Little Hugo, why, Little Arthur Leroy, he's still a bum. So, each year I think it over. Would I have been better off if I had listened to my family in my youth and been a butcher, or a janitor, or a taffy puller, instead of Leroy, Last of The Master Nagicians? This season - a s in all others-- I'll probably come to the same conclusion: "Well, I don't make much money but I have a lot of fun!" ;If I hadn't been a mountebank, the odds are I would never have met the wonderful, bizarre, fantastic assortment of screwballs who delight in calling themselves "magician." For instance, you meet people like Richard Himber. Here's a guy who has made a pile of dough out of show business. Through sheer dint of personality and show know-how, he built himself into becoming one of the truly great names in the band business. His composition, "It Isn't Fair," was one of the smash songs of all time and earned Dick a flock of dough. But you can wander into Lou Tannen's magic shop any day and you'll find this 'theatrical wizard, sweating away, and turning on his charm and personality to amuse a couple of guys who just came in to get out of the cold for a little while. Yes, sir, the same Richard Himber whose albums put R.C.A. Victor over the top.. the guy who played all the top spots, and is still playing them for money. is standing around putting on his show for two guys who never owned a dime they didn't borrow. Why? These two guys call themselves "magicians!' Mind you, this is only their own biased wpinion; no

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critic ever wrote it, no one ever said it, they're magicians just because they say so and Dick Himber -who normally works in spots that get a fourbuck couvert charge- is doing his best to amuse and amaze them. and for FREE! Why? Well, they call themselves "magicians" and Dicky Boy --composer, musician and part-time violin virtuoso- wants them to call h i "magician" too. Poor Dickie! He wants to be like them but they are above the whole business; they want him not to be like them. They refuse to admit that this madly creative "wackola" is as good a magician as either of them The years go on; they still borrow dimes; they still come in to keep warm.. And, Richard Himber, fine showman, fine musician, competent writer, terrific publicity-getter, goes on trying to convince them and all for free. Yes, sir! You see some strange things in this business called "Magic!' Cardini, the greatest of us bar none, insists that Himber is a terrifically creative magical showman. He has told me on many occasions that Richard Himber is a truly entertaining performer; but this is not enough tribute to convince Magic and magicians. Generally speaking, the die is cast. The magicians who never magish won't go along with Cardini. I'll admit I'm not dispassionate; my judgment is colored. I'll tell you why: I wanted Hirnber to present his terrific Rabbit Box on my series "Matinees for Moppets." I worked up to it but told him I couldn't afford hi price but I'd like to have h i on the show. "What do you mean you can't afford my price? Himber is cheap at any price. Can you afford fifty cents?" "Yes," I said, "I think you're worth that!' The contract was signed. The scheduled day arrived and Himber's name on our billing and publicity helped to fill our 1,200 seats. When he took the stage, the audience gave him the kind of ovation they reserve only for long-time favorites. He knocked 'em dead! When the show was over, I went to Dick's dressing room, thanked him and paid him his 50-cent fee. I helped him with his prop.; as he walked to the elevator. He boarded the elevator, looked at me with affection and handed me a dollar TIP.

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I've puzzled this over for some time and I think I got the tip because of my introduction: "Moppets, Ladies and Gentlemen: A great musician, a great composer and a great, great lKAGICXAN-Richard Himber!" I guess it was worth a half buck to Dick. I'll tell you something: we've played a lot of performers before and after Himber but our box office has never been as busy as it was for that show. The phone never stopped. "Is it THE Richard Himber on your show today?" Over, and over, and over we got it: "Is is the Richard Himber?" In a theatre that plays Boston Symphony, monte Carlo Ballet, Josh Greco, Heifetz, Menuhin, Pons.. the stage hands, the house staff, the front office, were all anxious to know-"Is it the real Richard Himber?" And -while it was all happeningthe same two guys were still borrowing dimes and still coming in to get warm and still calling themselves and still making jokes "magicians' about Himber. But, don't get me wrong! Like all of us, Himber makes mistakes. And when he blunders -like all of ushe is too ashamed of himself to admit his errors. In his second appearance on "Matinees for Moppets," Dick insisted that he was going to open "cold." He needed no introduction. His Magic was strong enough to stand on its own. Even if the audience didn't know who was on, his technique, his original tricks, the Hirnber charm wrapped in anonimity would stop the show. We argued, we cajoled, we pleaded no good. Himber was going on COLD. Out he went onto the stage -unannouncedand then began the most original and clever series of magical routines ever presented in our five-year run. Himber outdid his previous outdoings. He presented only the cream of his expensive, original magical creations. He was going to prove to himself that he could get by on his own -as a magician- and the audience would not be buying him because he was Richard Himber, musician, composer and part-time violin virtuoso. This was IT and Richard worked like a demon. He did the best act any magical performer had ever given on our stage. He left the stage a perspiration-sodden mass, bathed in a bath of cheers and applause. This time he kept his fee of fifty because he cents.. I got no tip. didn't need my introduction to prove he was a magician. Himbr won his hand by sheer Mag(Continued on page 499)

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Hugads MAGIC Month63

CHRISTOPHER'S COLUMN It's fortunate the people behind the counter at Lou Tannen's magic shop are honest. They could total your purchases in full view on Vermeyden's "Ad-A-No" pad, then - z i p let someone add the total and bill you for twice the amount. The most novel use of the pad I've heard was thought up by Mario. Draw a Tic Tac Toe diagram and announce you always win. You can bet thousands on the result. If it seems you will win without skullduggery do so, but if at the last minute it's apparent your opponent will score -zip-- and a new diagram all filled in except for your winning mark is ready for your big climax. QUICK TRIP The magician displays a glass in which may be seen a red silk handkerchief. He puts the glass on his table, then shows an airline schedule. He stands the schedule on end on the table. As the audience watches intently, he drops the glass and its silk into a paper bag. He pops the bag. Silk and glass are gone. He lifts the air line schedule. There are the glass and the silk. Your patter should be about the age of speed. The rapidity of travel with planes and rockets as contrasted to trains and boats. You intend to demonstrate a further development in the age of speed. You show the glass and silk, then the airline schedule. You can read off the time it takes to get from London to Lisbon or Shanghai to Singapore. Tonight, however, you'll try for a new record between New York and Paris. The schedule on the table represents Paris, the paper bag, which you take from your pocket, represents London. Drop the glass in the bag. Say, "Time this." Crush the bag. "London." Go quickly to the table, lift the schedule to show the glass and silk have arrived. "Paris." Method: A regular glass and a crushtype glass, which the dealer's sell, are used. They should match each other in size and shape. Cut of Y4" from the top of the crusher glass. Two small silks are used. Ten-inch size. One is pushed down in the regular glass. Then the crusher glass is inserted and wedged in place. Sometimes the insert will stick in place immediately. Other times you will have to let a bit of the silk in the regular glass get in place to hold it. Now put matching silk in the insert. The airline folder should be of heavy enough paper so that it will stand on end, when opened, like a two-fold screen without buckling.

The paper bag is unprepared. Performance: Pick up the glass. Hold it in your left hand with the fingers around the side at the bottom. As you patter, reach in with your right hand, take out the silk and put it back. Your left fingers hide the silk jammed between the bottom of the insert and the bottom of the glass. Put the silk back. Tuck it down. You may now show the glass freely. The colors of the two silks match and the insert being transparent can't be seen. Put the glass on the table. Pick up the travel folder. Read from it, then open it and stand it on end in front of glass. Show the paper bag. Reach behind the travel folder and apparently take out the glass. Actually your right fingers and thumb free the insert from the glass, so it's the crusher glass and the silk which you now drop in the bag. Crush the bag. The crusher glass crushes with it. Toss the bag off stage. Lift the travel folder and show the glass and silk have arrived. I doubt if you will appreciate this presentation unless you try it. The business of taking the silk out of the glass without comment at the start of the trick is a nice touch. Afterwards many will swear you showed the glass empty at this point. One final note. In handling the travel folder don't say that it is empty or unprepared. Your handling of it in a completely normal fashion should say this for you.

COIL m O M PAPER Two readers wrote in after reading last month's column and asked if I

could suggest a good way to load the paper coil in the newspaper. I'll be frank. I use a prepared newspaper. First take a sheet from the Daily News or Mirror, four pages, one sheet. Put the folded sheet on a table with the opening of the sheet to the left. The sheet in reading position. Next cut a piece from another page just about half a page in size. Put the coil on the folded sheet at the bottom left so that the coil is two inches from the bottom of the page and two inches from the fold. Next, coat rubber cement on the area around the coil. Now coat the area near each edge of the extra piece of paper for a depth of about two inches. Put the coated side of this over the coated sheet. Press the two together firmly. Press here and there to be sure the coil is in a secure position. Let the rubber cement dry. I should have mentioned that first I remove the wooden center from the coil, then pull out ten inches of the paper ribbon and force it back in the hole. This makes it easy to locate the end of the tape when the time comes for production. One other point, don't let the rubber cement on either piece of paper touch the coil. It's pasted in a pocket, closed on all sides. Now for the handling of the prepared paper. Fold the top half over the pocket section. You can now pick the paper up, and handle it with no fear of telltale giveaways. To show the paper, hold it between your two hands. Open out the folded over half. With your left hand grasp the lower section of the back page (the side closest to you). With your right hand reach around and open out the sheet so that the two inside pages face the audience, then bring the right hand around so that the page it holds can be folded back over the prepared side of the page which the left hand holds. Then fold the doubled paper in half,over away from you and down. Hold the folded paper in your left hand, break through at the point you know the center of the coil to be and begin your production. Jean Hugard once wrote that in any coil production, during which you twirl the paper in the air with a long wand or cane, ypu should first twirl the paper in a clrcle to the left, then to the right, switching direction from time to t i e so the paper doesn't tangle on the stick as it would otherwise. A good tip this, as you will discover if you use it.

Huqard's MAGIC Mmthlg

HI-JACKE By PAUL MORRIS Wect: A spectator freely selects a card, notes it, and replaces it in the deck, which is then shuffled. The magician openly runs through the deck, removes the four Jacks, and places them face up on the table. He explains that the four Jacks represent a band of Hi-Jackers and that they have planned to capture a truck which is represented by the chosen card. One at a time, the Jacks are then inserted in different places in the deck but are found all together at the top of the pack having failed in their attempted steal. They are taken from the pack and placed, face down on spectator's hand. The spectator himself discovers the chosen card in a surprising fashion. Procedure: Ask a spectator to freely select a card, any card, note it and then return it to the face-down deck. Control the chosen card to the top and begin an overhand shuffle in this way: pull off a small packet with the left thumb so that it falls into your left hand. Bring the pack down on this packet and allow a second packet to fall into your left hand; at the same time, press the tip of the ring finger against the end of first packet in your left hand and lift it away with the deck as you continue s h a g . The final movement will be simply to allow the packet (held by the ring finger at the outer end against the thumb at inner end) to fall on top of the deck. The chosen card is thus brought again to top of the deck. Turn the deck face up, remove the

four Jacks and place them, face up, on the table explaining that they represent four hijackers who propose to steal a truck represented by the chosen card. Pick up one Jack and place it, face up, on the face of the deck allowing it to protrude for about half its length. Now, undercut about 20 cards and place the packet on top of the Jack flush with the rest of the deck; riffle off a few cards below the protruding Jack and insert the second Jack in the break so that it is even with the first. Again riffle off a small packet of cards, and inserts the third Jack. Repeat this process with the remaining Jack. The four Jacks therefore will now protrude for about half their length from the outer end of the deck. Hold the deck in your left hand still face up between the tips of the thumb on the left side near outer end, middle and ring fingers on right side of the deck, forefinger extended and pressing against the outer ends of the protruding Jacks. With your right hand, grasp inner end of the deck in such a way that the portion of deck below the first Jack is grasped firmly by the tips of the thumb and on one side and the fingers on the other. Pressing on the sides of the protruding cards with your left thumb and fingers, push the Jacks flush with the deck with your left forefinger and simultaneously pull lower packet out with your right hand allowing it to drop on the packet in your left hand.*

PATTER

to buy an elephant. Not that I want an elephant1 just need the money. . Disinterested girl to ardent boy friend: "Henry, you're playing with ice.". Crowded subway chatter: "I don't I just want to be a millionaire. want to live like one."

Collected by CLIFF GREEN Once there was no stopping the Sunday driver, but Sunday traffic has taken care of that.

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To avoid hitting your thumb while hanging pictures have your husband hold the nail.

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Tossed Salad: A lovely simile: As easy on the eyes as a tax refund.. . Blonde in a cocktail lounge: "I don't know how the Russians do it. When I drink vodka I say 'yes' to anything." . . Psychiatrist is a guy who doesn't have to worry as long as other people do.. . I wish I had enough money

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Some things never change. The best waiters in restaurants are the customers.

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A girl's life cycle: Safety pins, fraternity pins, clothespins, rolling pins, safety pins.

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A woman is only as old as she looks - unless another woman is doing the looking.

The four Jacks will then be together, under chosen card, at the bottom of deck, which is still face up. Place deck on the table for a moment and, with a careless gesture, pull back your sleeve while you explain that the leader of the Hi-Jackers gives a signal to the others that they are to collect at a certain spot. Tap deck with your right forefinger, then pick it up and push off the four top cards (the Jacks); turn them face up, holding the fanned cards against the deck and showing that they have obeyed the signal and come together. At the same time, slip the tip of your left little finger under the top card of the deck. Say to the spectators: "Evidently they have failed to find the card they were after. Well, let us try something else.. Have you a good memory? .Here are the four Jacks." Name the four Jacks as they lie. "Let us see if you can remember their order." Turn the four cards face down on the deck, close the fan and remove them-at the same time taking the top card of the deck. Place the deck on the table. Place the packet of five cards, squared, 51 your left hand. Push off two cards and place them at the bottom of the others, thus bringing the chosen card into the middle of the packet. Ask the spectator to hold out his right hand palm upwards and place the packet on his hand. Pull out the lowest card of the packet and holding it face down, ask h i if he can name that Jack. Whether he succeeds or fails, simply turn the Jack face up and lay it on the table. "Try this one," and take off the top Jack. Again ask him to name it and again you turn it face up and lay it on the table. Next, pull out the lowest card of the remaining three, treating it in the same way as the first two. Finally, you say "The last Jack, of course, must be the Jack of.. ." Take out the last Jack and toss face up with the others. To your surprise and that of everybody else, there is still a card on the spectator's hand. "Perhaps the Hi-Jackers are cleverer than we thought. What was your card?" The spectator turns the card he still holds and it proves to be the very card he selected.

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*A full explanation of the Multiple Shift will be found in "Card Control" by Arthur Buckley (page 20): page 192 of the Tarbell book and m the Stars of Magic effect, "The Travelers," by Dai Vernon.

Hward's MAGIC Monthly

HANDS ACROSS THE SEA By PETER WARLOCK Magic where something moves of its own accord I always find most fascinating, and so, too -judging by audience's reactions to such effects as "The Serpent Silk"- does the onlooker. The effect to be described, one which I have been using over the past twelve months, has a truly magical look as well as being colorful. Taking a white silk handkerchief with his right hand, the magician

OUT OF MY PROFONDE (Continued from page 496) ic. Little did he know how well he had succeeded in his disguise. When I reached home that evening, my phone rang. It was A1 Flosso. "Hey, Arthur, who did you have on at Brooklyn Academy today? Kid just come in, said he saw stuff there today he never saw in his life. Most wonderful tricks, clever presentation, best he ever saw!" "Didn't the kid tell you the performer's name?" "Naw," A1 answered, "kid said you never introduced him. Guy just came onto the stage and started to do the damndest stuff he ever saw. Kid said it fooled the pants off of him." "Well, what did he say about the show?" I asked. "Nothing. All he talked about was the magician's wonderful tricks. Didn't know his name. Said he was wonderful, no name. Just a big fat slob." At last Himber had come of age; at last he had reached Nirvana. Himber had become one of us at long last. He had joined the long line of magical ciphers, the program of illusive non entities: Just a big, fat slob!

pushes it into his left fist, then covering the latter with a purple silk. With the attention of the audience pointed, suddenly a blob of white appears in the center of the purple silk. It grows larger and then a tongue of white silk rises of its own accord. It goes on and on until -taking the free end with his right hand- the magician takes it clear of the purple handkerchief. Tucking the white silk into his breast pocket, the purple silk is shown to be uninjured whilst both hands are shown to be empty. This penetration is, of course, based on Charles Waller's classic effect in which a glass and silk are used. The means used by Waller, however, could not bring about this present effect. The requirements are as follows: One 18" purple silk; two 12" white silks; some black cottton thread; what over here is called a "Kirby grip" but, in America, I believe is known as a "Bobby pin"; a small tube for vanishing a silk of this size. The one I use is a cut-down cigar tube covered with flesh-colored adhesive tape; a safety pin. Preparation: First of all, take the purple silk and place it over your left fist so that with the thumb of the left hand uppermost, the center of the silk comes over the center of the fist. Now, with the first finger of your right hand, make a small well in the purple silk and then take one of the white silks. Insert one end into the well and then push it down a little at a time until, finally, the whole silk is inside the well. Gripping the silk just a little above the well, take the Kirby grip and slide it so that it takes the position shown in illustration one. This holds the little bag of silk quite firmly. To the closed end of the grip, one en2 of the black cotton thread is tied securely. It is now necessary to ascertain the exact length of thread required; so, first of all, attach the safety pin to the left seam of your trousers, just about the point where the pocket opening finishes. Place the purple silk over your left fist so that the little bag of silk falls into the well of the fist. The hand should not be extended. With the silk and safety pin in these positions, measure Che length of cotton required to make a straight line from the Kirby grip to the safety pin. With this measurement made, break off the cotton at that point and -with both silk and safety pin out of sight

BAG

OF SILK tie the free end of the thread to the safety pin. In setting up for the effect, the purple silk is folded and placed in the breast pocket. The folding should accord with the illustration, so that the right hand in removing the silk takes the bag part which is covered but, which in placing over the left hand, makes for easy handling. The safety pin is then adjusted to its position on the left leg. The white silk with the handkerchief tube under one corner are placed on the table. Presentation: The white handkerchief and tube are taken as one with the right hand, the first finger entering the tube. In drawing this silk through the left hand, the tube is left, and then the right hand commences to push the white silk into the left fist and, of course, into the tube. As the find piece of silk is pushed inside, the second finger of your right hand steals the tube and goes to take the purple silk. This is placed over the left fist so that the bag of silk is held firmly but not too tightly between the thumb and first finger. The color of the silk completely conceals the fact that the silk is not fully spread. By extending the left arm, the thread holding the Kirby grip becomes taut and a further pull, brings the Kirby grip away from the silk, the thumb and first finger of the left hand then allowing the white silk to expand and shoot up into the air. When the silk has almost emerged, the right hand (which, remember, still has the handkerchief tube on the second finger) takes the free end of the white silk, pulls it clear of the purple silk and places it in the breast pocket. At the same time, the handkerchief tube is also slipped inside leaving the right hand empty. All that now remains is for the magician to open out the purple silk and show that it is free from blemish.

Huoard's MAGIC Monthlzl

BOOK PROFILES by JOHN J. CRIMMINS, JR. WHAT'S NEW IN MAGIC-by Walter Gibson. A 222-page printed book with 172 line illustrations. Published in cloth by Hanover House, Garden City, N. Y. Price $3.50. As in all magic books authored by Walter Gibson, you not only get your full money's worth in tricks (in this instance 82 fine ones), but you are assured of a well-balanced and carefully seleoted array of magic the majority of which is enhanced with typical Gibson subtleties. As every reader knows this is what one expects of Walter for he's not only an excellent writer but a darn good magician whose ideas and inventions are both professional and praotical. In 'What's New In Magic" he's cleverly brought up to date a goodly sekction of mental magic and card tricks, as well as a large group of impromptu and miscellaneous magic. In Chapter One he describes in detail some 16 fine m e n d mysteries including Baker's "Dictionary Trick," Nord's "Diablo Slate," Grant's "Slateof-Mind Trick," and a good prediction stunt with his own "Double Bill Tube," and others. In this chapter, too, is an excellent example of the way Walter can take an old trick and dress it up into a modern miracle. This particular one is the old domino trick with ten dominoes in which you prediot the final numbers at each end of the row formed by matching them. In this case he's made an entirely new trick out of it by using poker chips marked with ESP symbols which should make this fooler one of the best pocket tricks of the year. For the card man Chapters Two and Three will have special appeal for he has written up a fine explanatory essay on the Hindu Shuffle and its uses. In honor of Ted Annemann he's named this The Jinx Card Control, and carries it through all its variations-control, location, pass, force, peek and false shuffle. In the third chapter he's done the same for the Charlier Pass, and both are excellent. In addition he gives you some nine card tricks. In Chapter Four he plays up some 15 baffling tricks with easily prepared cards which in some respects is reminiscent of the thorough article he wrote some years ago in "Conjuror's Magazine" on the DeLand inventions. This chapter is no rehash of the DeLand article, in fact there is very little DeLand in it at all, but the tricks themselves are first rate. Chapters Five and Six explain some 22 tricks (some requiring skill) for

close-up and impromptu presentation with coins, spoons, rubber bands, ropes, dollar bills, pencils, thimbles, etc., and the final chapter consists of "Selected Secrets" the majority of which require small apparatus such as 'Zvaporated Milk," "Phantom Die," Grant's "Victrola Record Trick," etc. In all, a generous collection of upto-the-minute Magic in a well produced book which I can recommend toall. EVERYBODY'S BOOK OF M A G I C by W~llDexter. A 190-page printed book with 35 illustrations. Published in cloth by Arco Publishing Co., 480 Lexington Avenue, New York 17. Price $2.50. Here's a book I've enjoyed reading more than many another during the past year. Written by Will Dexter, who is a writer by profession, it is at once both entertaining and readable although it contains only a dozen easy tricks as a supplement in the rear of the volume. This is the story of Magic as one would explain it to a layman, and a most fascinating one at that. There's nothing dry in it, no old rehash of early Egyptian Magic or cabalistic nonsence, but a friendly discussion with the reader who has shown an interest in conjuring and is wondering what's behind it all, who are the men who invent the tricks, what kind of men are magicians, and -most important how one goes about learning to master the tricks, where to buy them and what kind of clubs there are for those who are interested in making a hobby of Magic. Dexter tells you all about it; who the old masters were and who the modern ones are, explains the various branches of Magic and their fascination, takes you on a "grand tour" of the Magic Circle Clubrooms, introduces you to the members, explains where you can get "books of the trade" and what magic magazines are available and how to subscribe to them. Written as it is for the layman, it is still one that you will thoroughly enjoy reading yourself. I did. Highly recommended. THE CUT-OUT BOOK OF M A G I C by C. K. Shaw. A 26-page book with 27 illustrations, and 10 pages of punch out models in full color. Published in extra size, 11" x 14", by Grosset & Dunlap, 1107 Broadway, New York 10, N. Y. Price $1.50. Here's an ideal Christmas present for the youngster interested in Magic, for it is one of

the most intriguing of Grosset & Dunlap's Activity Books. By carefully assembling the pre-cut- punch-out models you will get a colorful display of fourteen apparatus tricks all of which have been carefully selected for eye appeal and entertainment value. These are "The Vanishing Dime" (the nest of boxes trick), "The Magic Canister," "The Ace of Matches" (transformation of an Ace of Hearts into a box of matches), "Money for Nothing" (the coin tray), "The Changing Card" (ten changes), "Tea and Sugar Box," "The Martian Robot" (cube on string trick), "The Cosmic Cactus" (flower growth), "Eternal Triangles" (puzzle), "Indian Ink Trick" (ink to water), "The Flying Cube" (dice, chimney and hat trick), "Soaring Silver" (coin penetration through pack of cards into glass), "The Dice Trick," and a "Card Trick" (with double face cards). In addition is supplied a very ornate magic wand (also a precut model) which completes the outfit. All in all it's quite an array of Magic for the beginner, and with dad's help and a glue pot everyone concerned should have quite a time for themselves. The directions on assembling are well written, and the author not only explains the presentation of each trick but includes appropriate patter to clothe it. This particular cut-out book was originally published last year in England under the title of "The Eagle Book of Magic." There haven't been many books of this type, and this should be a popular one during the holidays. Incidentally, all the pre-cut models are printed on heavy cardboard so that the finished apparatus is quite substantial and should last a considerable time. Recommended for the purpose for which it was produced--to afford a colorful assortment of easyto-work magic tricks for youngsters.

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IBIDEM MAGAZINE edited and published by P. Howard Lyon. A 24page mimeographed, 8%" x 11" quarterly in colorful silk-screen covers. Published at P.O. Box 561, Adelaide PO, [email protected], Ontario, Canada. Price 50$ per issue, or $2.00 per year. This is an unusual magic magazine quite different from any other, and is of particular interest to the card enthusiast. Of the seven issues published to date (the first appeared in June 1955) the majority of the tricks have been card tricks from such contributors as Stewart James, Norman Houghton, Bruce Posgate, Peter Warlock, Francis Haxton, Martin Gardner, Bill Simon, and Ed Marlo. Tricks (Continued on page 503)

Hugarcl'r MAGIC Monthly

ENCYCLOPEDIA OF IMPROMPTU TRICKS (Continued from page 495)

slide ring into it (the reverse of move shown by arrow in Fig. 802). Remove hank, look puzzled, and say you were unable to remove ring but you did manage to tie a knot around it which is even more difficult. This is a good follow-up for a put-on trick. (49) As follow-up to above, place cord flat on table, the ring attached to center with a knot. Cover with hank, letting both ends of string remain visible. State once more your intention of removing ring. Under cover of hank, slide ring out of knot and to left. Open knot several inches wide, hook third finger of right hand into it. Left hand takes left end of cord. Right hand tosses hank to right. This automatically removes the knot. Once more you failed to remove ring, but accomplished something equally puzzling-you removed the knot. (50) Chefalo knot and ring. Ring is tied at center of rope with a square knot. Loop one end through knot and ring as in Fig. 804. When ends are pulled, knot vanishes but ring remains on cord. Fig. 805 is a slightly different version. When ends are pulled, knot vanishes and ring drops free.

w (51) Ring is knotted on rope as in Fig. 802. Can you devise a way of looping one tnd through ring and knot so that when ends are pulled, ring drops free but a single knot remains on rope? (52) Ring is placed on cord, then ends are tied to your wrists. YOU turn your back for-a moment. When you face audience again, there is a

knot around ring. Knot is formed as follows. Pass a loop of cord under string around left wrist, give it two twists, pass it over hand, then pull it back under cord around wrist. This forms the knot. Ring is then pushed into knot as explained previously. (53) Jim Ryan's ring, rope, and stick. Ring is placed on rope and the G. W. Hunter shoelace knot is tied around it. When ends are pulled this seems to form a tight knot around ring. Someone holds both ends while another spectator holds ends of a pencil. Performer keeps one hand around ring, other hand around center of pencil. Ring transfers from rope to pencil. For the handling of this fine effect, see the New Phoenix, No. 337, 1956.

(54) This is a combination of an old principle with the effect of Ken Allen's popular Monkey Bar apparatus. Knot a borrowed ring near center of rope, then form two other knots to one side (Fig. 806). Call attention to fact that ring is attached to knot No. 1. Place rope behind your back for a moment, quickly tying a fourth knot at spot indicated by arrow. Right hand brings rope to front, the hand concealing the new knot. Display rope as in Fig. 807, calling attention to fact that ring has jumped from knot 1 to knot 3. Audience of course supposes you merely turned rope around. Carry rope behind back again, taking the fourth knot in left hand. Left hand brings rope to front, concealing the knot, and both hands display rope to show ring has hopped back to knot 1. Offer to do it once more. This time, as soon as rope is behind back, untie knot 3. Practice until you can do this quickly and surreptitiously. Carry rope to front and show that ring has become attached to center knot. Rope is handed to owner of ring who may examine everything and retrieve ring. A variation: pretend to tie a regular knot for knot 3, but actually tie a slip knot. Then for the final effect you have only to pull the ends behind your back.

It is with mingled regret and relief that I find it necessary to omit rope tricks. They are far too numerous to squeeze into this series. Perhaps when the series is published in book form it will include a classification of such effects together with a selected bibliography. Meanwhile, I content myself with mentioning Abbott's Encyclopedia of Rope Tricks. compiled by Stewart James, and the Tarbell volumes as the two outstanding sources of rope effects. RUBBER BAND (1) Jumping band. Usually performed as follows. Band is placed around first and second fingers of right hand. As right hand closes into fist, left hand aids in getting band secretly over tips of all four fingers. When the fingers are extended band jumps to third and fourth fingers. Right thumb now slips under band and as hand closes into fist again, band is brought into position for jumping back to first and second fingers. Tarbell suggests (Vol. 1,p. 134) twisting a second band around tips of fingers as in Fig. 808. This appears to prevent the other band from coming off the fingers, but actually makes no difkrence at all in the working.

The jumping band is not ancient, having been invented by Stanley Collins and first described by him in The Magician Monthly, Dec., 1911. Collins thinks the effect is lost if the fingers are extended to make band jump. Instead, fist should be given a quick up and down motion. Under cover of this motion the fingers are extended just enough to make band jump, then quickly closed again. Frederick Furman. in Thayer's Magical Bulletin, Jan., 1921, was first, I believe, to suggest using two bands of different colors. Begin with one band on first and second fingers other band on third and fourth. Same move is used to make bands exchange places. See also Stanley Collin's A Conjuring Melange, 1947, p. 115, where he explains how thumb can be used for secretly getting bands set for this double jump. A third band may be twisted around fingertips as in Fig. 808. (To be continued)

Uward's MAGIC Monthly --

THE ALL-FAIR COINCIDENCE By EDMUND BALDUCCI and KEN KRENZEL

In arriving at the coincidence effect explained below, the inventors have tried to eliminate certain objectionable elements present in some existing coincidence effects. The two decks may be borrowed and both are thoroughly shuffled by the spectator. The magician never touches the spectator's desk and the decks are not exchanged. Both magician and spectator cut freely into their decks and the cards cut are identical. No! The spectator's card is not exchanged for another. Procedure: Although the method is simplicity itself great care must be given to the presentation outlined below. Borrow, if possible, two complete decks. Permit the participant to choose one after he has thoroughly shuffled both. Now tell him to place his deck face down on his left pahn as you do likewise. Patter about the strong improbability of both of you cuttimg to the same card. Ask him to cut off a small packet, turn it face up and drop it flush onto the remainder of his deck. You do the same. Point to the cards cut-to and indicate that they are dissimilar. (The slight possibility of their being the same will be dealt with later.) Now, tell your helper to run through his face-up cards, turn them face down and replace them on top of the remaining cards. It is at this very im-

BACKSTAGE (Continued from page 494) cape Trick, Siamese Tongue-Twister, Japanese Gold Fish Bowl Illusion, Plus Greatest little magic book ever written-24 pages. Instructions for 27 additional eye-popping tricks. . . Plus Merlin's Moustache! Official Badge! Wishing Star Wand! Tickets for your show.". . Now tell me, is this expossing or building a new audience for magicians? Willie and Winnie please write after you've studied your purchase. Let me know.

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Richiardi, Jr. was lucky to schedule & Broomstick stunt on the Sullivan show when he did. A few nights later Orson Welles did it on the "I Love Lucy" show. The Welles model had the gal, Lucy, turning in the air with the broom as an axis. Interesting to contrast the different presentations. Welles was in fine voice, but Aldo gets the marbles for mystery. . . John Scarne visited the Ernie Kovacs Show to plug his new book and show a few

portant point that you openly sight the card which will eventually be the top card of his deck. As you illustrate the action for him with your deck, simply remember the lowermost faceup card of the small packet he has reversed. Do not gaze at his packet (since the packet was placed flush with the rest of the deck the spectator has to run through the cards singly in order to separate them). The card you have glimpsed will now be on top of his deck. Tell him to put his cards on the table. (This is to eliminate the possibility of his accidentally losing the top card in a cut or shuffle.) Now patter about the influence that certain cards have on human behavior. Name the QV as a most powerful card (if your sighted card was the QV name another Q). As you patter, run through the cards with the faces toward you. Divide the deck at the card you glimpsed (for example the 104) and mutter "I hope this is a full deck." Look at the audience as you say this and simultaneously place the cards in your right hand on top of the deck thus bringing the 104 to the top. Resume running through your cards and remove the QV as you say, "Ah! Here she is." You say, "Before giving you a demcard nifties.

. . h n d i struggled out of

his bonds on "You Asked For It." He

was roped to a chair with several pieces of rope. He appeared in shirt sleeves. The dapper, earnest, dramatic rope-tier was none other than George The Marvellos popped up Boston! for a surprise shot on The Jackie Gleason Show. The format only allowed them a few minutes but they were wonderful, as always. . Shari Lewis continues to offer the best planned, best presented program of magic and puppets for children we have seen on WPIX, Saturdays at 5 P.M. ELECTION PREDICTIONS Jack Swimmer announced he would predict the total popular vote in the nation, California and his county. He gave the box with the predictions and a $5,000 check to the board of supervisors clerk in L.A. If he's one vote off the check will go to charity. Bet he'll be one or two off deliberately and the check will go to the needy.. I must remember to watch the opening of Orson Welles' election predictions on "I've Got a Secret."

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onstration of the Lady's power, let's put her aside for the present. Now let's try cutting the cards again (advise the spectator to pick up his cards and each of you now cut off about one third of the deck, reverses it and drops it flush on the remaining face down cards. Point out the dissimilarity of the cards cut-to. Now, still leaving the cards face up but without mentioning this, each of you cuts about half-way into the deck and reverses the entire block of cards and drops it flush on the remainder. "You see that at the points we cut to in the decks, you shuffled, the cards were unlike!' (If by remote chance the cards cut to are alike we believe that this should be attributed to chance and not be built up as a miracle since the true climax of the effect is quite strong.) Continue: "Now if we place the QV between us on the table something strange may occur. Please remove the upper face-up pile and place it aside. Take off the first face-down card which you just cut to and drop it face down on the corner of the QV nearest you and I will do the same." (As a result of the double cut as explained above, the first face down card in each deck will be the 104. In effect, the spectator as well as you has forced a card on himself! At this stage the rest is purely build-up. We usually touch the spectator's left hand closest to the heart and request him to lightly rest his right hand on the three cards. "Did you feel a tingle?" you query. The answer is usually a tongue-in-cheek, "Yes!' 'Well, that proves it! Something strange has happened. The Queen has caused us to cut to the same card in the decks you just shuffled." Turn over the two face down cards with an air as you say this. There is your climax; make the most of it. Hugard's MAGIC Monthly A

monthly publication devoted solely to the Interests of magic and maaicians.

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JEAN HUGAltD Editor and Publisher 2634 Eaat 19th Street Brooklyn 35. N. Y. Snbscrlption Ratu: 1 year. 12 issues. $5.00 ( 6 issues for $2.50)

Hugard's MAGIC Monthly

A CARD KNOCKOUT (Continued from page 493) you mentally formed a picture of one also you reversed another card. card in the middle. Spread the deck out face up and your card, I believe, is the one to the left of the face down card.. ." It is . . A knockout! If everything is done just as you told the spectator, that is the effect you will achieve. Figure 1 shows how the cards are set up: The doublebacked card on top and the card second from the bottom is reversed. Figure 2 shows how the spectator turns over a group and places them 3 illustrates squarely on top. how the face-up cards are pushed off leaving the double-backed card next to the chosen card (the 9Q in this case). Behind the back, figure 4 shows how the reversed card is righted and actually placed in the deck face down instead of face up.

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VARIATIONS I. If you wish to do just a simple location all you need is to have the double-backed card on top and when the deck is returned to you fan it face towards you. The card to left of the double-backed one is the chosen card. NOTE: If the double-backed card is cut short before the start, you can actually locate the chosen one with the deck behind your back. To do thii simply riffle the deck and wait for the "click!' The card under the short double-backed one is that chosen by the spectator. 11. With two decks, one deck can be set up with a duplicate of the chosen card reversed. Then -with the first deck set up as follows: double-backed card on top, and the original force-card reversed second from the top- have the spectator cut off a group from the top as in the original method but have the face-down card below the spread of face-up cards taken. It will be the force card. Then reveal the second one reversed in the second deck.

MAGICANA Creativity in Magic requires curiosity, imagination, a solid background of facts and self discipline. If you have these qualities and wish to create a magic effect, give free reign to your imagination and -having come up with an idea-test it thoroughly; then, if you find it is not workable, discard it and try again. Remember genius has been defined as the art of taking pains.

EUGENIC BILLIAR PENETRATI

ALL

By EUGENE GUGLIELMO The penetration of a billiard ball through a pocket handkerchief is a standard effect. The following method is original and will be found flashy and intriguing. I have used it for many years and always with excellent effect. Requirements: A white pocket handkerchief and a red billiard ball, I+!$' or 1 w in diameter. Effect: The pocket handkerchief is draped over the magician's face, the middle of the fabric is pushed into

BILLIARD BALL PRODUCTION By JEAN HUGARD Requirements: A wand and a biiliard ball. Prenaration: Place the b i i a r d ball at the top of your left trousers pocket. To keep it in that position pull out the pocket and roll it up so that the ball will then rest at the opening of the pocket. A small table must be on your left side. Procedure: With the wand in your right hand, address the spectators: "I need a billiard ball for my next experiment. Can any of you, gentlemen, oblige me?" A s you say this, gesture towards the audience with your left hand thus showing it to be empty. 'Well, I see I shall have to make one magically. Whenever I want any small object such as a billiard ball I have only to tap with this wand and it instantly appears. I will not tap on this table where you might suspect some monkey business," (turn your right side to the audience and tap the table with the wand; at the same time, with your left hand, take the billiard ball from left trousers pocket, closing your fingers around it), "but on my empty left hand, so." As you say this, turn to face front and swing your left hand upwards, squeezing the ball so that it appears on top of your fist at the moment that you tap it with the wand. Properly timed, this production will appear truly magical. The tap of the wand on the table will direct all eyes to that point and, by the time attention is directed to your left hand, the ball will have appeared after the manner of a hen laying an egg. The misdirection will be found to be perfect.

his mouth and the billiard ball is inserted into the pocket thus made. The handkerchief is allowed to fall over the ball and then removed from the face. The ball is then tightly twisted in the middle of the handkerchief from which it vanishes and instantly reappears between the magician's teeth. Procedure: Drape the handkerchief over your face so that its middle is against your mouth. Push the fabric into your mouth making a pocket which will hold the ball. Jerk your head forward causing upper half of the fabric to fall forward, covering the billiard ball. Under the cover, let the ball fall from your mouth into your left hand which you hold at lower edge of handkerchief ready to receive it, the back of the hand being outwards. Push this hand upward under the fabric and grip the middle of the handkerchief by moving the forefinger outside so that the pocket is held between that finger and the other three fingers. Move your left hand slightly upward withdrawing the pocket from mouth and, at the same moment, push the ball into your mouth with left thumb. Close your lips on the ball and then lower your left hand with the handkerchief. With your right hand, seize the pocket of the fabric and twist it tightly with the back of your hand outward thus concealing the fact that the ball has already been extracted. Now take hold of the two outward corners of the handkerchief, one in each hand, and quickly spread the fabric out fully. The ball has disappeared, raise both hands, as if merely to display the handkerchief, and a s soon as your mouth is coveredopen it and take the billiard ball between your teeth. Lower your handkerchief and there you have your climax.

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BOOK PROFILES (Continued from page W ) other than with cards have been contributed by Paul Curry, L. Vosburgh Lyons, Randall Zwinge with mental magic, Tom Ransom with his "Cheating at Cheating," and others, including an informative article by Fawcett Ross re the publication of the famous Dai Vernon $20 Manuscript as well as the later $3 one. One of the fea-

Hugard's MAGIC Monthb

tures o f this article is a d e s c r i p t i o n o f Tom B o w y e r ' s p r e s e n t a t i o n o f Vernon's "F'ollow the Leader" card trick which f i r s t appeared in his $3 manuscript. Ross gives Bowyer's routine in

full and states it is u n q u e s t i o n a b l y the f i n e s t o f all the many v a r i a t i o n s . (This particular issue is No. 6.) Another e x a m p l e o f the unusual in IBIDEM was issue No. 3 in which Stewart James c o n t r i b u t e d an article developing the principles applicable to the s o l u t i o n o f Paul Curry's "Unsolved Card Problem." He gives 25 s o l u t i o n s and the publisher adds 10 more f o r good measure. The covers o f the m a g a z i n e are unique, too, in that they are silk screened in two or more c o l o r s o f weird but striking i l l u s t r a t i o n s done by Pat P a t t e r s o n , commercial artist and w i f e o f the publisher. She a l s o illustrates the v a r i o u s t r i c k s , or headings t h e r e o f in similar f a s h i o n which is akin to the type o f art a s s o c i a t e d with s c i e n c e - f i c t i o n m a g a z i n e s . I believe Mr. L y o n s is a writer of such fiction. I understand that b a c k issues o f this magazine are still available,

so if you're l o o k i n g f o r s o m e t h i n g off the beaten path in M a g i c , y o u may still be able t o o b t a i n an entire f i l e o f I B I D E M by writing t o the publisher, or start y o u r s u b s c r i p t i o n now. You'll get a kick out of it. M A R G I N A L I A : Just in are t w o new b o o k s which will be reviewed in the next issue. The f i r s t is " F i f t e e n Star Card Effects" by Lu Brent which sells f o r $1.50 and is published by Kanter's in Philadelphia; the s e c o n d one is "Phantini's Mental Key" by Gene Grant ($3) published by Ed M e l l o n , Uniontown, Pa.

TRICK DEPARTMENT: Holden's in Boston is o f f e r i n g two f i n e new effects. The first by Irv W e i n e r is "The Guillo Card" which is a real teaser. Uses three cards with punched h o l e s in c e n t e r . Y o u place f o r e f i n g e r through the h o l e s in t w o o f the cards, and t h e n visibly f o r c e the third card d o w n between the other t w o and right onto your f i n g e r . Comes in two sizes:

Bridge s i z e at 754; Jumbo size at $2. The second trick is a flash p r o d u c t i o n o f a silk h a n d k e r c h i e f f r o m a vanishing, lighted cigarette. It's called "Flash Cig-0-Silk" and is by Senor T o r i n o . Sells f o r $3 and is very good. Mike Kanter has bought the rights o f two items f r o m U. F. Grant and is marketing them at a reduced price. The f i r s t is "Kard-U-Reka" in which, using a s e c o n d d e c k , y o u match card f o r card f o u r c a r d s f r e e l y s e l e c t e d b y f o u r individuals. At $3 it's a t e r r i f i c bargain. The second trick is called "Influence" and sells f o r $2. In this e f f e c t a n y o n e in the audience runs his f i n g e r a l o n g a f a n o f cards you hold and unerringly locates a card f r e e l y selected by a second individual, although neither the magician nor the o n e assisting has seen this c a r d nor were able t o control it. Both these effects are t o p s , and c o m e complete with decks, gimmicks, etc. BOOKS FOR REVIHW should be sent to John J. Crimmins, Jr., 265 Park Hill Avenue, Y o n k e r s 5, New York.

Dealers must submit trick or book w i t h copy to Jean Hugard for approval. Advertising copy must be in by first of month of publication. Material returned post paid. Minimum: three lines, $1.00.

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Here's A RfA Winner! IRV WEINER'S GUILLO CARD This is a baffler. Show 3 cards with holes in center of each. Stick forefinger thru two of the cards, then force the third card down between them and right onto your finger. Comes in two sizes: Bridge size, 75c. in Jumbo Card size $2.00 New and Startling! FLASH CLG-0-SILK Torino's stunning flash production of a

Senor shimmering silk hank from the atomic flame of a disintegrated cigarette. Excellent, only . . $3.00 PHANTOM POKE%

nifty. You announce without failure the name the very card anyone merely thinks of in an imaginary poker hand. Very good; easy to do. $1

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MAGIC Monthly

D E V O T E D SOLELY T O T H E I N T E R E S T S O F MAGIC A N D M A G I C I A N S D E C E M B E L , 1956

VOb. XIV, No. 7

50

CENTS

INFALLIBLE "STOP" TRICK By MAX KATZ S O m COMWIENTS ON 'STOP"

TRICKS A great many tricks in this category have appeared in books and magazines. In "Greater Magic" alone there are close to fifteen different "Stop" tricks. In many cases, use is made of short cards, stranger cards from another deck, svengali decks, one-way decks, brain-wave decks, etc. Other effects require the use of sleights such as "slipping" the top card, "side slips," "glides," 12 and 13 special "set-up" card stocks on top of the deck, moves requiring "outs" if "stop" is not called at the right card, "passes," etc. In many cases the authors of these effects proclaim them to be indetecperfect.. unbelievable.. tible.. best.. etc., etc.. . yet they require most of the subterfuges referred to above. In one case the author (J. N. Hilliard) says: "To my mind this is the most brilliant of all 'Stop' tricks" and he concludes that "if snappily worked, this trick is a knock-out." Notwithstanding this build-up, if "Stop" is not called at the right card, the counted cards are replaced, lost in the deck and counted again while you look for your key card. The great Carl Rosini who saw the following effect performed at an S.A.M. Convention a few years ago, remarked: "If I had not seen anything else worth while at this convention but this trick, my visit here would be justified." Effect: Spectator selects any card which is shuffled back into the deck. He then deals cards into your hand, one at a time, and stops at any card he desires. The card is turned face up after he names his selection. It is his card! Preparation: None! Just a borrowed, shuffled deck and any spectator. Method and Presentation: A spectator selects a card which he returns to the deck. Shuffle the deck and control the selected card to the top

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by your favorite method. (Or see the one described below.) The spectator's card now being on top of the deck, hold your left hand toward him -palm up-- and offer h i m the face-down deck with your right hand as you say: "Please, just deal the top card into my hand, face down!' When he has complied, say: "Now, deal another card." Then: "Keep right on dealing, please." After he has dealt 7 or 8 cards, remark: "You may deal as many cards as you like and stop dealing whenever you want to." Figure 1 shows position of cards as they are dealt into your left hand. Just a word of friendly advice here: I have asked spectators, including magicians, to "please deal these cards into my hand, one at a time!' Notwithstanding these instructions, in a few instances, they began dealing

and turning the cards face up even shuffling the deck. So, just as a precaution, the above method will prevent the spectator from making a "mistake." Remember that an ounce of prevention is worth a pound of cure. When the spectator stops dealing, draw your left hand back and square up the cards (which are in a haphazard pile on it) with your right hand. In the action of squaring the cards, slide the bottom card of the stack

down towards yourself about W. Without hesitation, lift the edge of the top card with your right thumb and then grasp it between your index finger at the face and middle finger at the back raising the bottom edge of the card so you can see its face. Figure 2 shows this action clearly with the bottom card protruding from the stack. Notice the right thumb pointing upwards and out of the way of the other fingers. Now comes the important move of the whole trick and your patter at this point should sell the effeot. Gaze at the card for a moment then look at the spectator and, while you are speaking, glance back and forth several times between the card and the spectator. 'Well," you remark, "I'm looking at this card but I don't know whether this is the card you are thinking of. All I know is that this is where you

stopped dealing. Will you please tell everybody the name of your card?" As you say "stopped dealing," your right hand lowers the card on the stack (still retaining the same grip on the card) while your right thumb goes under the stack beneath the protruding card. Figure 3 shows the position at this point. Notice that the right middle finger is resting on top of the stack, right index finger being in the break (Continued on page 513)

Hagard's MAGIC Monthly

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with FRANK JOGLAR Marvin Roy brought his topnotch trickery with electric bulbs to the VersaiLles November 21. Covering the show, Lee Mortimer wrote in the Daily Mirror: "The festivities are opened by a smooth new magician named Marvin Roy, with a bag full of novelty puzzlers, and i t s a swell show indeed!'. . . The same paper's Walter Winchell picked Nhrv for a Bright Lights plug.. . Variety enthused: "Opening was an excellent magico novelty, Marvin Roy, assisted by an attractive femme, who did all the standard sleight-of-hand heretofore done with needles and cards and balls--only he does it with miniature bulbs. They're the new-type tungstens which are illuminated, sans batteries, and it makes for a flashy opener as he lights up interiors of milk containers, strings them u p in pretty formations across the floor, and strings them up as they emerge from his mouth. It's a flashy cafe act, the more effective because of the proximity of the ringsiders. It fits anywhere". . . By the time you read this, the Roys will be at the Lido in Paris with a 52week contract in their pockets. NEW ENGLAND CONVENTION Reports of the 19th New England Magicians Convention at the Statler in Boston were glowing indeed. Highspots of the ~ u b l i cshow, which played to a full house, were the smooth emceeing and comedy telepathy of Betty and Tommy Tucker, George Cook's novel "Spookerama" black light act, Karrell Fox's zaney hocus-pocusing, Ballatine's standard burlesque of magic, and Viggo and Jane Jahn's silksmooth sleight-of-hand . . . Hen Fetsch scored solidly with his trick-packed lecture. Clark Crandall was droll indeed with his talk on the trials and tribulations of the trick business.. . Ace Gorham was a gracious and effective emcee on the Night Before Show. He's added a bright touch to the shooting trick. You see the bullet streak across the stage on its way to the pack in his hand. Best of the acts were Dick Waite, Ma1 Robbins, The Raymons and The Camerons. . Even the Conjuring Contest was better than usual, with lots of clever ideas. Lee Remington1's candles from cups and Peter Ernst's finish to the plume trick with a vari-colored plume for his assistant's hat and a string of flags and a flag on pole production were especially noteworthy. . . John Booth charmed the ladies with his color films

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of Africa. The banquet show was paced by Clark Crandall. Bory and Bor was a young man who, with a trick costume, appeared to be two people dancing. Gen Grant (the Boston one) produced doves. Arno and Zola featured a thumb tie and pocketpicking routine. The Marvellos did their usual fine illusion-music turn. Most memorable performance: The Hansons and Jane Thurston. Jane wound up a series of productions with the lighted lanterns on bamboo pole and the conjuring up of her daughter from a Doll House. Herman pushed a solid steel rod through his wife and presented his ribbons, flag fans and flags on pole routine with dash and verve. The Thurstons and the Hansons deserved the heart-warming ovation at the end.. . Gogia Pasha disappointed at the last minute and Clint Riedel and Company came up from Pa. to wind up the public show with big illusion finish. The close-up sessions were excellent with Karrell Fox, Crandall, Jack Chanin and Irv Weiner in rare form.. What about the most publicized performer-Walter Irving Scott, "The Phantom of the Card Table"'? . . Long after announced time they were still fiddling with lights and arrangements in the ball room. Scott spoke well, had an interesting personality. There were a few color slides showing card moves. Scott briefly touched on his card control in his talk. Most of the time was devoted to stories and annecdotes about his gambling experiences. . . Is Scott the marvel he is supposed to be? None of those at the lecture could tell. The

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lucky few who saw him work later at someone's room can perhaps inform you. We can't.. All in all, Boston rates cheers again for a well run, value-packed conclave. They do things up brown in Bean Town.

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JOITINGS Roy Benson back for a repeat at the Frank Garcia has a Blue Angel. new gadget which projects his hands in color on a screen, so he can do gambling sleights for large audiences . . . Doug Anderson filled in for Dick DuBois as "the Magic Clown." Dick is back on show after the operation.. Lucy and Eddie Roberts are slated for the Pierre Hotel, opening Feb. 11.. . Shari Lewis is doing the commercials on "The Big Top" TV show.. Randi did his underwater survival test on "You Asked For It," also an escape from handcuffs and a packing box using a moving van for a cabinet on "The Ernie Kovacs Show"'. Tommy Cooper has signed for a commercial video series in London. . Ricki Dunn at the Sans Souci in Miami Beach drew plaudits in print with his pocketpicking prestidigitation. . Channing Pollack added the Moulin Rouge in Paris to his list of European triumphs Variety covered Richiardi, Jr., at the Chase Hotel in St. Louis: "After a few quick faster-than-the-eye stunts, Richiardi does his smash broom TV illusion in which he stands a young femme on a couple of household sweepers. All of his trickery is done within a few feet of the ringsiders and scores solidly.". . . Joe Ralston, up in Boston, is renting illusions so that the locals can add flash to their shows. . . George Jean Nathan in the December Esquire brushes aside Milbourne Christopher and Fred Keating with their small scale mysteries and longs for Vanishing Elephant days again. To make sure they won't return he does his best to "explain" every big trick he can think of.. . DeLage and A1 Fosso were recent listings on Paul Winchell's "Circus Time' tver . . . Del Ray repeated at Beverly Hills in Newport, Kentucky.

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SCARNE John Scarne has been making the rounds heralding his new book "The Amazing World of John Scarne." Paul Morris reports he had a terrific writeup in Newsweek by his old pal John Lardner. Paul also says he was fine on "The Ernie Kovac Show" and Mike Wallace's interview program. . . The book section of the N.Y. T i e s carried a full page by the publisher, Crown, in which Johnny says, "I am prepared to wager $100,000 against an (Continued on page 512)

Hagar& MAGIC Monthy

"IT'S NO GOOD!" By PAUL MORRIS About fifteen years ago, I was experimenting with a new coin sleight I had discovered. While still in its embryo stage, I showed it to Doc Daley (may he rest in peace) and his first opinion was "It's no good!" Hence the title. Later on he agreed the sleight had its good points. During one of the recent sessions of the Open House, I showed Ed Balducci a new coin effect based on this aforementioned sleight. He liked it, especially since he had a coin effect based on similar lines. We compared notes and the result is: here's my new coin effect and following it is Eddie's. Let's teach you the basic sleight first: Roll u p your shirtsleeve, letting the coat sleeve hang down. Get a half dollar and look at the illustration below. Hold out your left hand, palm up, waist high, and place the coin near the right edge of its palm. Hold out your right hand, palm down and flat with the fingers bent in slightly. NOW suddenly close the fingers toward the heel of the hand. That takes care of the movements of the right hand. Let's put thean together. The coin is in your left hand. Rest the fingertips of your right hand (slightly bent) on the left edge of the coin. Now make the snappingclosing motion with the right fingers. The coin will shoot up your right sleeve! Practise this in front of a mirror. Do the move, come away with your right hand closed as though it held the coin. Open your right hand. . no coin! Here is the coin effect based on above sleight: Begin with a half dollar secretly

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MAGlCANA Advice to all entertainers: Shorten your waistline and lengthen your life line.

placed in right sleeve. Borrow a quarter or any coin other than the half dollar. Show your hands empty, otherwise, but do it nonchalantly. don't call any attention to it. Place the borrowed coin on your left palm. Hold it out for a moment. As you do this, drop your right hand to your side and get the sleeved coin in regular palm position. . . it will not interfere with what follows. Now place fingertips of your right hand on the visible coin which rests on your left palm and say "Watch this!" Perform the snapping motion and cause the coin to shoot up your right sleeve. Immediately turn your left hand over and make a fist and on its back slap the coin which you had palmed in your right hand, keeping it covered with that hand as you ask the spectator 'What is it.. head or tails?" He guesses. You uncover to show it is a different one! Show your hands otherwise empty. There are many other versions based on this idea. Try them out.

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That you may all have a joyous Christmas and that such joy remain magically with you throughout the coming year is the sincere wish of your editor JEAN HUGand friend

AGAIN THE DIME & PENNY In a recent issue of the Dutch magical magazine, Trix, the editor, who recently paid a visit to New York, comments on the great number of novelty shops which have counters for the sale of Magic and also make a display of magic tricks in their shop windows. There is no doubt this state of affairs has given curiosity seekers the opportunity of learning secrets which should be confined to the magical fraternity and also one that is likely to produce embarrassment from a heckler during a performance of Magic. The experienced magician can easily cope with such a difficulty for he will always have another means of producing an effect. Here is a method for the Dime and R n n y trick in which the gimmicked coin is not required. Effect: The magician places a penny on the palm of his left hand and on it, a dime. He rubs the two coins together for a moment, closes hi left hand on them, squeezes them together and then opening his left hand, he shows that the dime has vanished and tosses the penny out for examination. Procedure: Place the penny very openly on the palm of your left hand and in the same way place a dime on

the penny. In your gestures let it be seen that your hands otherwise are empty. Press the tip of your right middle finger on the d i e and mow it around on the penny in circles in a counter clock-wise motion. Do this several times and then snap your right middle finger closed so that it carries the dime away with it making it fly up your right sleeve. At the same time raise your right hand, close your left hand and turn it back upwards and then slap your right hand on the back of your left fist. Note: All these actions should be made in one continuous motion without stoppage or hesitation. With your right fore-finger point to your left fist, turn it palm upwards and go through the motions of squeew ing down tightly on the coins which the onlookers believe to be there. In reality, of course, you press the tips of the fingers on the penny only. Finally, open your left hand slowly and show that the dime has vanished. Toss the penny on the table and leave it there. It is more than likely that someone who knows about the gimmicked penny will pick it up and get a surprise!

Htlga~d'sMAGIC Monthly

OUT OF M Y PROFONDE By ARTHUR LEROY AN AMERICAN TRAGEDY Flash. . . flash. . . Mid-Europe has the world's greatest magic show presented by the world's greatest magician ... Flash ... flash... World's greatest magician arrives from India to compete with Mid-European show. Which is the world's greatest?. .. Flash. . . flash. . . Greatest magic show remaining in the civilized world sails from South America to compete with mid-European and Asiatic magic shows. They are all the world's greatest.. . Flash.. . flash.. . Opulent, colossal, tremendous, gigantic magic show from the grand, old United States sets forth to do battle with mid-European, Asiatic, South American magic shows. . . These are all the greatest magic shows left in the world. All the magidans heading these units are the world's greatest magicians. This is magical history in 1956. The historians send in their battle reports from the various fields of combat and from out of the clashing of arms and reams of press reports will soon emerge the victor-The World's Greatest Magician with The World's Greatest Magic Show. This colossus, this new day Alexander, will be praised and hand-kissed, perhaps even more. His pictures will be in vast numbers in the glossy trade press-in five rich colors; each color will bring new glory to the man we love wibh all our hearts: m e World's Greatest Magician with The World's Greatest Magic Show. Ah, history is wonderful! Journalism is great! The written word records for posterity the living truth of the past and present. It illuminates and defines the future and more often than not falsely interprets the events it records. For, never in the annals of Magic, has recorded journalism been so much in error. The Greatest Magician in the World with the World's Greatest Magic Show is at this very moment -forgotten. . . neglected. . . unheralded. . . unfeted. He is struggling to make a buck.. to keep body and soul together. He has been relegated to the backwoods school houses of our Deep South, and his art, his genius, his know-how, are a living question mark. For, unless Magic and magicians awaken soon and take our crowning glory by the hand, set him on the path he should have traveled for many years, Harry Willard -Wil-

lard, the Wizard- will go to meet his maker in obscurity. Oh, yes! There are those who will write his glowing obitDelora Whitney, Doc Mahendra, Frank Werner, Virgil, and I. We will tell you that the greatest performer of our times struggled, struggled, struggled, and few heeded his genius, none gave him a helping hand. An American tragedy has been and is being enacted: our greatest magical performer is slowly rotting away in comparative obscurity. Sure, there are those who will say: 'Willard? Oh, come now. We saw him a few years ago at the I.B.M. convention in St. Louis. He was a 'bomb.' You're off your rocker!" O.K., O.K. But, bear in mind that Willard arrived in St. Louis a nervous wreck. The government had attached his beautiful tent show for back taxes and a month after the convention Willard was in a sanatorium with a nervous collapse. Spots were found on his lungs and he was transferred to a T.B. hospital. Shortly after this, his wife, Joy -who had been his assistant and guiding hand for many years-- died of cancer. Was ever any one man so visited by misfortune? The fight has been a downhill game against a stacked deck---and the greatest magician of all time is playing all alone. Harry Willard may not like this piece. He may hate me eternally for having written it. But I'll risk his hatred because it can never be as great as my love for the Master of my craft. Besides, Harry Wilard is a kindly, gentle, little genius who has never been much of an enemy to anyone but himself. To a great degree, Wilard's own complex character, his lack of ego, his own fear of recognition, has contributed vastly to his lack of fame and fortune. In years gone by, the opportunities to succeed were ignored. When the Thurston show was in its prime, Ike Rose, the theatrical magnate, saw the Willard show in Texas. He realized that Harry Willard could be primed to take the road as the top magic show in the U.S. A contract was signed and Willard was to be groomed to play the United Booking Office string of the nation's number one legitimate houses. But Harry was uncertain. His father and grandfather before him had played under canvas in the towns of the American South West. They had never tried the big cities. Why should he change? After all, Pop had been a greater performer than he. Why

should he make the change? The problem was overpowering. Harry Willard answered it by turning his back on it. He tore up his contract and continued in the path of his ancestors. He continued to sally forth season after season, building the biggest illusion show our nation ever knew. In its prime, the show carried 35 people, lions, bears and 100 major illusions to be split into three full evening shows. It played under its own 1,200-seat tent, with its own light plant, and moved on 14 show-owned trucks and trailers. Bot Harry Willard in his own mind was the Cagliostro of the Crossroads. He feared big cities, he feared urban centers. His colossal wonder show played only in Texas, the Bayou section and Oklahoma. Word of this wonder show began to come up North. Some of us who loved our Art made pilgrimages to the little towns where Harry Willard was playing. John Mulholland returned from Oklahoma with rave reports. Never had he seen an illusionist so skilled in the presentation of small effects. Never had he witnessed such superlative skill, such imagination in the presentation of the major illusions. "Drop everythkg!" said John. "See Willard, the Wizard. He has no equal!" I followed John's advice and spent the happiest hours of my magical life watching Willard, the Wizard and his three full evening shows. Here was a McCoy piece of grass roots Americana! Here was Magic in the manner of the great masters! If Harry Willard was not the greatest magician in the world, then certainly those I had seen before him were not either. The Willard show was so full of wonders I had never seen before that it was like a new vista-a new horizon. I could not understand why this man was not universally famous. I had been told that Willard was unreliable. He had bad habits. Well, we sat up night after night talking the Magic we both loved and I never saw those bad habits at work. All I saw was a great magical genius who could amaze me with a coin, or a spoon, or a length of string, as much as he did with the wonderful levitation, or cannon, or suspension, which were a part of his big show under canvas. If I were a rich man and I loved Magic, I would seek Harry Willard out. I would drag him out of the back woods. I would take his shoulders between my hands and I would shake, shake, shake, until I was tired. Then I would say: "Harry Willard, get (Continued on page 512)

Hggard's MAGIC Montby

CHRISTOPHER'S COLUMN When the manufacturers of Marlboro cigarettes recently packaged their product in a new, crush-proof box, they unwittingly added another weapon to the arsenal of the extemporaneous performer of Magic. Soon after the new package appeared Harry Smith, of Parent Assembly, S.A.M., was using it as a rattle box.

MARLBORO MAGIC First, let's examine the red and white box. Snap open the top. You will find an inner lining of the same heavy white stock used on the outside. Holding the box in your left hand with the open side facing you, press the inner lining in, just below the cutout section, with your right thumb. Note the pocket which appears between the inner lining and the outer case. Now with your right thumb on the inside of the box press the section back in shape. When you use the box hold it in your left hand with the left thumb along one long side, the fingers along the other. As you flip open the top with your right thumb you can, whenever you wish, cause the secret pocket to open or close. Several magicians have hidden nickels in the secret pocket. Afeter showing the box empty (when you open the top and press in on the sides, you can show the box to be empty; there is no evidence of the coin in the pocket) they cause the nickel to appear inside it. Last week in Baltimore I had one of our old time 1 a.m. to 3 a.m. sessions with Hen Fetsch. The Marlboro box was our target for the evening.

prediction from the box. If, however, the first prediction hits, you must open the box. Squeeze the sides and apparently pull out the billet they saw you drop inside. Actually take the hidden billet from the secret pocket. BY DESIGN Hen came up with a mental application. First, send your medium out of the room. Five people in the room have slips of paper. Each is to draw a geometrical design, then fold his paper. Now the five decide which of them the medium is to identify by chosing his design and by pointing him out. The performer takes the folded papers, one by one, and puts them in the Marlboro box. The "selected" slip is secretly inserted in the pocket. The top is closed, the box is given to someone to take to the medium. The medium gets the data about the design from the slip in the pocket. On her return to the room she points out the design, then the person who drew it. Signal the person by the position in which you place your pencil on the table when you colleot the slips.

TWO WAY PREDICTION I started the conversation by saying the box could be used for a prize fight, election or World Series prediction. The mentalist writes a prediction on a slip of paper. He empties his cigarettes from the pack, takes out the silver paper and drops the prediction inside. After the event the box is opened and the forecast is correct. In contests where there are only two possible winners, beforehand write one name on a slip of paper, fold it and put it in the secret pocket. Later you make a second prediction and openly drop it in the seemingly empty box. This time you write the second name. If this second prediction comes true a spectator can reach in and take your

A-LINING. B-POCKET IS HERE BETWEEN THE TWO SECTIONS

TORN CENTER Hen said he had been thinking about the torn center steal and applying it to the box. After the paper has been torn and it is dropped in the box, the vital section goes in the secret pocket. He hadn't yet worked out a way to get rid of the other pieces before the box went to the medium. I suggested that, as an afterthought, the box could be emptied, the pieces

burned to ashes. Then the ashes could be put back in the box and apparently the medium would read the message in the ashes. COINS We talked about coins. I pointed out that with the box closed you could press in the top flap with the fingers as you pick up the box and load a coin in the pocket secretly. For an application, I suggested borrowing a nickel. The performer has it marked. Taking it back he switches it in his right hand for a duplicate nickel. The duplicate is taken in the left hand. The right hand loads the marked nickel in the pocket of the box. The right hand shakes the )box. No noise, because thumb pressure on the front holds the coin in the pocket in place. The box is put on the table. The duplicate coin is vanished. The performer shows his hands to be empty, picks up the box, shakes it. The coin goes from the pocket up and into the main portion of the box, with appropriate noise. A spectator may open the box and take out the marked coin. CHINESE COIN "What about using two boxes?" Hen asked. 'Why not?" 1 answered. He outlined this effect. Six coins are dropped in each box. Then an odd Chinese coin is added to one box. Hocus pocus the Chinese coin passes to the other box. A duplicate Chinese coin in the pocket of the second box, and the first Chinese coin dropped in the pocket of the first box solves the problem. CARD IN CIGARETTE Eventually we got around to the Card in Cigar&te. "Have two or three cigarettes in the box, one cigarette loaded with the card you intend to force,"' Hen began. "Take out the box, open it, remove the loaded cigarette and drop the other one on the table. Remove the silver paper (lose tobacco is under it). Force a card, get your extra corner which matches the card in your cigarette. Tear the forced card in pieces -give the extra corner to the person who took the card. Drop the others in the secret pocket. After a puff or two on your cigarette, break it open and unroll the card. Have the corner fitted. Then open the Marlboro box. Squeeze the sides, which hold the pieces in the secret pocket, and empty out the tobacco." "Or you could eliminate sleight-of(Continued on page 511)

Hugads MAGIC Monthly

BOOK PROFILES by J O H N J. CRIMMINS, JR.

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PHANTINI'S MENTAL KEY by Gene Grant. A %-page, offset printed book with 7 illustrations. Published in soft board covers by Ed MeUon, P.O. Box 54, Uniontown, Pa. Price $3.00. Those who like their Magic flavored with mentalism will welcome this new book by Gene Grant who gave us "Phantini's Lost Book of Mental Secrets'' last season. The fifteen feats described in detail can be very convincing in the hands of one who knows how to sell and entertain with mentalism. All are cleverly worked out stunts of telepathy, prediction, book tests, and divinations based on the old "conjurer's choice" subterfuge but with a new look. What the author has done in this case is to streamline the principle and then apply it to an everwidening circle of close-up feats. He succeeds admirably, too, and mentalists generally may now arm themselves with a half dozen choice items for impromptu use. All are practical. In addition, Mr. Grant includes ten fine presentations using Mellon's "InstruMental" gimmick which, incidentally, is not disclosed. However, if you already have this gimmick then PHANTINI'S MENTAL KEY will be doubly valuable to you.

FIFTEEN STAR CARD EFFECTSby Lu Brent. A 26-page printed book published in soft board covers by Kanter's Magic Shop, 1311 Walnut St., Philadelphia, Pa. Price $1.50. You'll need no urging from me to get this new book by Lu Brent for everything Lu does in the conjuring line is not only good, but very good. And these fifteen card tricks are tops in every respect even though he published five of them back in 1943. They are still fine tricks and will be new to many present day magicians, to say nothing of the ten additional tricks Lu has added to make up this new book. YOU will find some ingenious handling of the "locator" card, some new twists on the "You-Do-As-I-Do" routines, as well as Lu Brent's own "Card in Cigarette," a topnotch Four Ace Trick that will floor any audience, and a card location called "Peek-A-Boo" that's so brazen it's perfect. It's all fine card Mhgic with that Lu Brent touch. Need I say more? CY ENFIELD'S ENTERTAIlWNG CARD MAGIC (Part Two)-bv Lewis Ganson. A 54-page printed b&k with 49 photo illustrations. Published in

soft boards by Harry Stanley, 14 Frith Street, London, W.I., England. Price $2. Just out is the second volume of Cy Endfield's card conjuring which has been running serially in "Gen" magazine during the past year. Here is card Magic for the connoisseur and a magnificent collection of basic card techniques and fine routines. In all there are eight chapters each devoted to a separate technique or effect as follows: Three Card Monte, card selection and control, glimpses, Sub Aqua, Card Penetration & Change, the Hofzinser Top Change, There's Five Aces!, and Aces for Connoisseurs. The Three Oard Monte routine runs to nineteen pages and is the most complete description since Audley Walsh gave us John Scarne's routine. Card Selection and Control is an excellent nine-page essay on the handling and control of a glimpsed card including the side steal, while the chapter on the Hofzinser Top Change is alone worth the price of the book. The two ace routines given are very fine ones, indeed, and the other two tricks S u b Aqua and the Card Penetration- are not only unusual, but are unique in themselves. If you like card Magic, don't miss this. Your favorite dealer will have it in stock, I'm sure. ROUGH STUFF-by Joe Berg and A1 Aldini. A 24-page, offset printed book with six illustrations. Published in soft boards by Joe Berg, 6560 Ho&wood Blvd., Hollywood 28, California. Price, $2.00. Here's a boon to the card man who prefers to create his miracles by employing decks prepared on the "rough and smooth" principle made famous by Ralph W Hull's "Nudist Lkck," "Delirium Tremens," "Nu Idea Forcing Deck," etc. Aside from Trevor Hall's two books, "The Testament of Ralph W. Hull," and "Nothing Is Impossible:" both of which were published in England by Arcas, there has been very little written on this subject until the advent of "Rough Stuff." Those in the "Do-It-Yourself" mood will be tickled with this new Berg publication for it describes, explains and teaches how to make up some seven wonderfully effective packs by applying "roughing fluid." These are Card-Matchum, Rasputin Deck, Mentaldini, Aldini's Deck Press, Socrate's Deck, Deckmaster and the Nostradamus Deck. Not only can you make up these decks, but a complete routine is outlined for each for working

miracles. The book concludes with an important and worthwhile chapter on how to use "roughing fluid," and also liits 26 decks which are currently available for those who would prefer to buy them rather than make up their own packs. This is one book that should be in every magician's library. Very good. CHRISTMAS MAGIC-by Dave Hagan. A 24-page, offset printed book with 25 illustrations. Published in soft boards by Ireland's Magic Company, Chicago, Ill. Price $1.00. At this time of the year tricks with the Santa Claus theme are sought after by everyone, and this timely arrival fills the bill admirably. Here are seven audiencetested tricks that are not only colorful but are entertaining. They are adaptations of standard tricks but have been given that Christmas look, thus making them completely new. Described is Christmas Surprise Box, Santa Claus Down The Chimney, Santa Claus and His New Clothes, Christmas Tree From Roll of Papers, Journey To Bethlehem, Rudolph the RedNosed Reindeer, and The Snow Ball Machine. Much of the apparatus you already have, so here's your chance to convert it into real Christmas Magic. Bill Zarsen would have been delighted with this book, as he was always one for concocting topical tricks, particularly a t Christmas time. PAINTING WITH CLOTH--by Willard S. Smith. A large, 47-page book profusely illustrated and published in soft board covers by Ireland's Magic Go., Chicago, Ill. Price $2.0. This, to my knowledge, is the first complete book on the subject of rag pictures and, as such, is an important contribution to the literature of conjuring. Most of us have seen the Rev. Willard Smith present his artistic rag pictures and have marvelled at the beauty and novelty of the act. In thii book he explains all the details in full, how to create and prepare the pictures, type of easels to use, stage setting, lighting, music, and presentations; yes, even the use of Black Light, novelty pictures, quick changes, and slanting the act for children, churches, clubs, etc. The book is a complete education in the art of painting with cloth, and excellently done. YOU, TOO, CAN BE A HYPNOWST -by D. J. Lustig. A 35-page, offset printed book published in soft boards by Kanter, Philadelphia, Pa. Price, $2. This is a reprint of "La Vellma's Vau(Continued on page 512)

Hu.gard's MAGIC Morrthlr

HANDS ACROSS THE SEA By PETER WARLOCK It was among the usual group of Jack Avis, Lou Histed, Francis Haxton, Eric de la Mare and Dr. Nicholls Harley that the discussion turned to the matter of false knots. It arose from a tryout of ~ r c o n i c k 7 lovely s "Chain d Silks" effect. In this effect a "true breakaway" knot was needed rather than the slip knot beloved of the "Sympathetic Silk" convoy of conjurers. We talked of a means noted by the late Nelson Lyford and also of one in the Tarbell course. After jittering about for about a quarter of an hour, the following fake knot was evolved, a method that satisfied the audience present. In effect the conjurer appears to tie together the corners of two silks with a genuine knot. Thus tied, the silks can be handled freely and yet with the very slightest of pulls, the two handkerchiefs can be separated leaving no trace of the knot. It is certainly a better means of a tie in the "Sympathetic Silks" and will save the performer the need for turning a straight knot into a slip knot; a worthwhile thing for, a slip knot, to those interested in tying knots (and there are &en a number with such knowledge in the average audience) looks what it is. First of all take hold of a couple of silks, one in each hand. Each should be held about three inches from its corner. Now, place the corner held by the right hand across the corner held in the left (illustration 1). Note that the left thumb presses against

the part where the silks cross and, also, that second and third fingers of left hand lie respectively above and below the right hand silk at point. where it crosses its left hand mate. Taking the right hand silk about two inches below the point where it crosses the left hand silk it is carried over the corner of the left hand silk taking up a position as illustrated in figure 2. Please don't think that there is a stop in movement; but it is necessary to show the position of the silks at this stage. Now, the left hand -which up until now has been palm towards the performer- turns in a counter clockwise direction and, in so doing, the second and third fingers of the left hand automatically bring the loop formed around them into the position shown in the third illustration. The right hand at this point ties the corner of the silk held by the left hand to the corner of the silk held by the right hand and, in so doing, traps the bight placed in the center of the knot by the left fingers. The resulting knot should be pulled tight and -to all intents and Wposes-- even at the closest range it appears a genuine knot. Holding one handkerchief, the handkerchie may be shaken as much as one likes without separating the silks. Nevertheless, if the silks are held by each hand respectively about six inches from each knot, the slightest tug will cause the knot to break and the silks separate.

CHRISTOPHER

He gives it to a member of the audience. That person concentrates. The performer gets the right impression! The force slip came from the secret pocket. All five of the audience slips remain in the box.

(Continued from page 509) hand by having the extra corner in the box with the tobacco, so that when you empty the box, out would come the tobacco and the single piece which would fit the card in the cigarette!'

ACTION TEST Back the talk went to mental Mhgic. I said I thought the box could be used as a perfect force. Five spectators write different words on slips, which they fold. The slips are dropped in the box. The box is closed and shaken thoroughly by a spectator. The performer explains that he couldn't possibly know which slip is which or what was written on any slip. He says he will try a thought projection test. He reaches in the box, takes out one slip.

The Marlboro box has many uses in Magic. If you will experiment you will add to those suggested above. While the Marlboro box is best for the purposes described, the Philip Morris box is a close second. It is very similar in construction. A bit of glue holds the pocket together, but this is easily removed with a thrust of one finger. There may be other cigarette boxes on the market with the same construction. I have experimented with more than

ten Marlboro boxes. One of the ten had the pocket glued slightly. It was simple to open it with the blade of a knife.

MAGICANA In a recent interview, Harry Ritz of the famous Ritz Brothers, stated in reply to a question about an item in their routine that after the first idea of it came they worked on it expanding, polishing and rehearsing for more than twelve months before the bit was incorporated in their pro&?'='.

Go thou and do likewise!

H a g a d s MAGIC Monthly

OUT OF MY PROFONDE (Continued from page 508) wise! All over the world they are waiting to see the World's Greatest Magician. You've hidden yourself away, you have lost touch with the great, big, beautiful world. You are The Worlds Greatest Magician. How can you expect the world to know it if you can't see it yourself? Harry Willard, stop hiding behind Father! Stop hiding behind Grandpa! Even if it's only to prove a point, come out and let the world be the judge. You'll be suprised at the answer!" Then I would take my money and I would refurbish and rebuild the Willard show. And I would tour it under canvas so that it retained its grass roots flavor. And I would exploit Harry Willard as what he is and always has been:

WILLARD, THE: WIZARD World's Greatest Magician And, if Harry Willard ever had a relapse into insecurity, lack of assurance, lack of faith, and the desire to sneak away and hide from the facts of life, I'd give up the struggle and find comfort in the fact that -at least - I'd tried to bring to the world The Greatest Magician of All Time WILLARD, THE WIZARD

wife. Jack did his prediction to help the get-out-the-vote drive in L.A. Win, lose or draw he offered $5,000 to charity. The Swimmers, says a caption, grew up in Brooklyn.

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GOGIA PASHA Variety caught Gogia at the Gatineau in Ottawa where he did a 32minute act: "Using two (femme and male) unbilled assistants, Gogia Pasha, India-type magico, has a class act with enough thrills and comedy touches to collect heavy returns. Staging is solid, costuming is almost lavish and backing music arrangements are unusual, using even some dixieland for minor stunts. Stint has two standouts. One gets femme assistant into a reed basket beneath a silk shawl, then Gogia Pasha sits and stomps around in the basket and thrusts long swords through it, finally bringing gal out whole and unharmed. Second has same femme in a trance, head back and heels and gal floats there with only her head supported. This is one of the better magic routines, worthy of attention from television, stage and niteries." LAST MINUTE NEWS An exhibit of books, equipment, etc. from the McManus, Young and Houdini collections is showing in the North Gallery, first floor of the main building of the Library of Congress in Washington. It's booked to Dec. 31, may be extended. . Frank Garcia announced he and his wife are soon to leave on a tour of European army installations with a gambling expose. . Martin Gardner's series on "Recreational Mhthematics" starts in the December issue of The Scientific American. . . The December Ellery Queen Mystery Magazine carries John Savage's "The Iron Box"; it's all about Janos Katona and his escape trick. It's a reprint. Was first in The Saturdgy Evening Post or Collier's three years ago.

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BACKSTAGE (Continued from page 506) equal amount that no person in the world can call correctly the serial numbers on a dollar bill placed and sealed in an envelope without the enMost convelope being opened.". troversial statement in his book claims there is no such thing as real hypnotism. As any medical man or psychologist can tell you, Johnny's way off base in this one. This weakens his other bold statements as far as the intelligent reader is concerned. Hustle with a five-buck bill to the closest book shop and get in on the hassle.

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JACK SWWlMER A full page in the Sunday News of November 18 told of Jack Swimmer's success with his election prediction. An earlier three paragraphs appeared Photos in the Jozlmal-American with the Florabel Muir story in the News show Jack with the election officials, doing tricks for his grandchildren -puppet rabbit-in-hat and Run Rabbit Run- and there's a shot of his

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MERRY CHRISTMAS Help make my Christmas merry by posting: 1. Current reviews of Sorcar's show. He's back in India, but nary a paen of praise has turned up since he arrived. 2. Reviews of Kalanag's show in Brazil. (If kind readers in Rio translate them from the,Portuguese it would help.) 3. Reviews of Dzmninger's show at the Huntington Hartford in Los Angeles. Genii mentioned it, but didn't list his routine or quote the newspaper critics. . . Gay greetings to those who sent words of cheer during the year.. Greetings, too, to you who insisted I be drawn and quartered, burned alive or hung.

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BOOK PROFILES (Continued from page 510) deville Hypnotism" which has long been out of print, and bears the subtitle "How to stage and present the hypnotic performance for T. V., radio, stage, auditoriums, night clubs, and private entertainments." Well, that just about covers it. It's written primarily for entertainment, and does not pretend to teach the real subject but describes how to give striking, entertaining presentations which may be accepted as authentic but which, in fact, depend entirely on the use of stooges. This type of act was popular years ago in vaudeville, and some of the performers were such convincing aotors that the majority of audiences had to take them at face value for the things they did on the stage, what with the double talk, were marvelous to behold. Here's your chance to revive the act, all explained in detail even to the pseudo-scientific patter. MARGINALLA-Jay Marshall with an assist from "Senator" Clarke Crandall has authored a small manuscript "Politicking Magic," which Ireland sells for $1.00. There's some really nonsensical double-talk here that you can put to good use during local elections. Just in. A huge list of used books, magazines and memorabilia has just been issued by Teral Garret, P.O. Box 72, Albany, Ky., also one from Thomas S. Ransom, 344 Front St., Belleville, Ont., Oanada. The latter lists over 190 items, some real rare ones, too. If interested, drop them a line. New Christmas lists of up-to-date Magic are also available from Lou Tannen, 120 W. 42nd St., New York, Ed Mellon ("Mental-Wise"), P.O. Box 54, Uniontown, Pa., and Ken Allen, 3311 Palisade Avenue, Union City, N.J. BOOKS FOR R E W should be sent to John J. Crimmins, Jr., 265 Park Hill Avenue, Yonkers 5, New York.

Hugard's MAGIC Monthly A

montu

publication

devoted

to the interests of magic and maglcians. 0

JEAN UUGARD Edltor and Publisher 2634 East 19th Street Brooklyn 35, N. Y . 0

Sobseription Rates: 1 year, 12 issues, $5.00 (6 issues for $2.50)

aolely

INFALLIBLE "STOP" TRICK (Continued fram page 505) under the top card. Notice, also, that -in this position- the protruding (bottom) card is now held between the index finger on top and the right thumb on the bottom. Hold on to this card tightly. If you should now pull your left hand away with all the cards, this one bottom card would remain clamped in your right hand between the thumb and index finger. The moment that your right fingers have a firm grip on the bottom card, shoot your left hand forward carrying the cards with it and point your

left index finger at the spectator while you say: 'Will you please tell everybody the name of your card?" You right hand is now holding one card and as far as the spectator is concerned -and from his point of view- this is the last card he dealt into your hand. Figure 4 shows position of both hands. If you think there is any doubt in the spectator's mind about this being the last card he dealt on top of the stack, just stand in front of your mirror as you make this move and you, too, will be convinced that this is the card! When the spectator names his card, you take one more look at the face of the card you are holding and -with your right fingers- pivot it up until it faces the spectator and the audience. There is nothing further to be said. This speaks for itself. Just thank the spectator for his assistance.

CARD CONTROL If you have no favorite method for controlling a card to the top of the deck, here is one you may like: Start with the cards face down between your hands and ask the spectator to return his card. As he starts to do so, draw the cards back out of

his reach and say: "Just a moment, please! You may think that I have some special place here for you to put your card, and that is not so at all. Just to make sure that you will be thoroughly satisfied, this is what I would like you to do!' Hold the deck face down in your left hand, in dealing position. Ask the spectator to push his card into the deck, face down, in any position he likes; in the middle, near the top, near the bottom, any place. When the card has been pushed in about half way, exert pressure on top of deck with left thumb. This will prevent the card from going in any M e r .

and, at the same time, push the corner into the deck. Your right hand now straightens the card and immediately offers the deck to the spectator as you say: "Here, take the deck in your own hands and push the card all the way into the deck yourself and square the edges. Now you know your card is lost in the deck! As a further precaution so that nobody.. not even will know where your yourself. card is, please give the deck a thorough shuffle!' After the shuffle, take the deck back and casually do an overhand shuffle. This will bring the side of the

At this moment, withdraw your left hand a bit which gets the projecting card out of spectator's fingers. Your right hand now "adjusts" the card. What you really do is to tilt the card in the deck towards the left. This will make the lower right corner of the card protrude a fraction of an inch from the right side of the deck-just at the spot where your left middle finger can quickly crimp the corner

deck into your view where you can easily spot the crimped comer. Shuffle or cut this card to the top and, in squaring the deck, remove the crimp. There are a great many methods of having a card returned to the deck. They are good ones and each serves a good purpose. But the method I suggest above has the advantage of letting spectator remember that "he did it himself, with his own hands."

PATTER

questions?" Voice from rear of the hall: "What time is it?". . She was born in the year of our Lord only knows. . . Quiz contestant in reply to "Name a great time saver": "Love at first sight!'

Collected by CLIFF GREEN A truthful woman is one who won't lie about anything except her age, weight and her husband's salary. Good advice to girls is never play ball with a man unless he furnishes the diamond. Tossed salad: The stork is the bird with the long bill.. Beauty shop item: "I don't intend to grow old gracefully. I'm fighting every step of Political speaker at finthe way.". ish of speech: "Now are there any

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M.C.: "Our next entertainer is a magician who needs all the introduction he can get!' The best way to save money is to make more than you spend. Wife on examining package Christmas morning: "You angel, this is just what I need to exchange for somethiig I've always wanted."

Hagard's MAGIC Monthly

CYCLOPEDIA OF IMPROMPTU TRlC By MARTIN GARDNER RUBBER BAND (No. 1-Continued from last issue) Tom Sellers, in Immediate Magic, 1937, gives a version using three bands of different colors. All are on first two fingers of one hand. Other hand stretches the bands, a different fingertip hooked on each band. Spectator chooses a color. Allow all but that color to snap back into hand as you close it into a fi&. When hand is opened, only desired band jumps across. Bruce Elliott suggests using two bands of same color, and wrapping a strip of paper around one (Fig. 809). When the bands exchange places it gives impression that the paper hops from one band to the other.

My nephew Theodore Weaver, at the age of five, worked out a handliig with a single band that deserves recording. Right hand is partially opened (Fig. 810), but thumb hooks over band to restrain it from jumping. Cup left hand over right Tigers to conceal the portion of band (shown by dotted line) that goes around all the fingers. When you call out "Jump!" thumb releases band and it hops across without any perceptible movements of either hand. To my mind, this is the most effective presentation of all. Can also be used for several of the variations given above. (2) Thumb tie. Several mebhods have been worked out for using rubber band to bind thumbs in a traditional thumb tie effect. They all have, to my mind, a basic weakness. Namely, laymen assume that an elastic stretches and enables you to slide out a thumb easily, even though it isn't easy. For Me1 Forrester's version, the best I've seen, see Tarbell, Volume 4, page 283.

(3) Sid Lorraine was first to hit on this. Stretch band around visiting card as in Fig. 811, fold the card (Fig. 812), then cut the card through the middle. If loose scissors are used, they will cut only the card.

(4) When wrists are tied together with rope or cord, it is easy to put a rubber band on the cord while your back is turned. Simply put it over one hand, slide it under cord around wrist, bring it up on the arm above wrist, then carry it down over hand and on to cord. Can be removed of course by reversing these moves. Harold Denhart (Tarbell, Vol. 6, p. 164) combines this with the knot formation described under RING, No. 52. First put band on cord, form knot, then push band into knot. (Denhart suggests using rubber jar ring instead of band.) (5) Slave bangle effect (RING, No. 36) can be done easily with rubber bands. Johnnie M w a y suggests having many bands of different colors on the arm. Spectator holds a set of duplicate bands, hands you any one of them, you turn your back and ap~arentlyput that band on the cord.

DUPL I CAT& BAND PLACED

UNDER COVER.

FIG. 812-A

(6) Rubber band is placed on pencil and spectator holds ends of pencil. Under cover of hank you remove band. One method: prior to showing, cut the band almost through but not quite. It still looks okay, but under cover of hank it can be broken apart noiselessly. A palmed duplicate is placed on pencil as shown in Fig. 812-A and the broken band carried away with the hank. Of course if you do this trick with a kitchen knife or open pocket knife instead of a pencil, you can simply cut the band on the blade. Novel variation: spectator holds pair of scissors as in Fig. 813,

with band around them as shown Under cover of hank, pull band upward into crotch of blades, cut it, place duplicate band around blades as shown by dotted line, remove cut band with hank.

(7) Tarbell gives this effect in his original correspondence course. Magician twists band around fingertips (Fig. 814), places a large ring on tip of middle finger as shown. A quick motion of hand causes ring to slide to base of finger, apparently penetrating band. Method: as you diiplay ring, right hand drops to side and middle finger is slimed out of band. Finger is then pressed against twists in band and from the front the hand appears almost the same as before (Fig. 815). You can now do a back and front move, s~hiftingmiddle finger to other side of band as you show back of hand. To allow ring to slide to base of finger it is only necessary to mow finger away from band under cover of a wave of the hand. Do back and front move once more, then allow ring to slide off the finger into left hand. John Boyko suggested that as you display ring, put tip of right thumb under elastic at point A (Fig. 815) and lift the elastic back over middle finger. The hand can now be inspected and band will be found twisted seccurely around each finger. Instead of a large ring, another rubber band may be used. (8) Unlike most substances, rubber contracts when heated, expands when

Hugard's MAGIC Monthy cooled. Conversely, when expanded it heats and when it contracts it cools. This can be proved easily by pulling an elastic taut, then immediately placing it on tongue. It will feel warm. Allow it to contract and touch it to tongue again. It will feel cool.

Bruce Elliott, in Magic as a Hobby, applies this principle to a unique effect. Plaoe band around card case as in Fig. 816. Small cardboard arrow is mounted on pin and pin pushed under band as shown. If burning cigarette is held close to band at spot A, the elastic will contract on that side, causing arrow to rotate slowly to left. Similarly, holding cigarette close to point B causes arrow to move to right. If you are smoking, you can rest your hand with cigarette casually on table near the card box. No one will realize that the heat from cigarette is causing arrow's motion. Thus the device may be used as a sex indicator, the arrow moving in one direction when a lady holds her hand over arrow, in other direction for a man's hand. Or it can be used to answer yes and no, and so on. A variety of rubber band "heat engines" operate on the same principle. Two ingenious such engines, designed by Roger Hayward, are explained in Scientific American, May, 1956, p. 154f.

en match minus its head. Place tip of finger on end A of match, bring end B down against bar. When released, match snaps back so fast that it appears to penetrate bar. Same effect can be achieved (as I once explained in Genii, Jan., 1941) with a band and two matches (Fig. 819). (11) A band stretched around head as in Fig. 820 gives impression of prize fighter with twisted nose and cauliflower ears.

catching a portion of band on each finger. When fists are separated a few inches, the design will be seen.

(12) Schoolboys often shoot rubber bands with one hand. Maximum power is achieved by hooking one end of band over nail of forefinger, carrying band back around thumb, then down to base of hand where it is held by tip of pinkie. Band shoots forward when pinkie rebases its end. (13) Jars hard to open because you can't get tight enough grip on the cap, can usually be opened by winding a band around cap to provide the needed friction. (14) Topology stunts. See my recently published Math, Magic, and Mystery, p. 91, for two topological band stunts - Frederick Furman's jumping band, and Alex Elmsley's twisted band.

STUNTS AND GAGS (9) Dexterity it&. Place band around hand as in Fig. 817. Problem: get it off without using other hand. (10) Optical illusion. Gadget shown in Fig. 818 is made from bent hairpin or paper clip, rubber band, and wood-

(16) Place tips of each forefinger in a band and move them in circles as in Fig. 824. Pause, bring together the tips of each finger and thumb (Figs. 825 and 826). Note that each thumb touches a forefinger. Open these fingers as in Fig. 827. This permits you to shake band off the fingers to the table Challenge anyone to duplicate. They will find it very difficult, even though you r e p a t the procedure many times. Trick is sometimes done with large ring or bracelet, or loop of string. (Blyth, Impromptu Conjuring, 1924.) (To be continued) (15) Magician holds a band between thumb and finger of one hand. He places his hands under table or turns his back. A moment later he exhibits the band on his fingers in the intricate design shown in Fig. 821. Done by first placing band around fingers as in Fig. 822. Open the hand to Fig. 823. Now form both hands into fists,

MAGICANA "Nothing great has ever been done without enthusiasm; enthusiasm breeds enthusiasm." Quite true, but first be sure that the subject is worthy of enthusiasm.

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OUR OWN IMPROVED PRECISION MADE MODEL We nould like t o emphasize t h a t here is one c l t h e v e a t e s t effects of ail time. Not just one tr:ck but a prop t h a t will do hundreds of effects f o r yuu. For example, i t will duplicate every single slate effect ever invented, a n d do i t better! You predict t h e total of a column of fignres before t h e spectators even write them down. Not ~ u s ta mentwl eflect but a fabulous g m mick t h a t will do effects for all types of au8iences. even kiiidie shows! Small enough for t h e pocket and y e t I x g c enougb for t h e largest theatre. Lec us again ernyhnsize our complete since:ity when a e say you'll like i t e v e n better when you find out how i t 1s done. I t ' s the best thing we've ever produced. Recommended wholeheartedly. . . . . . . . . . . . . . . . . . . . . Only $8.50 T.V. TRICK (KARRE: FOX) This effect took che conventions by storm. For s2l.e. for che first time. Magician has a card scic:ied then exhibits a model of a T.V. Scree:] 8" x 10". Turnlng t n e knob h e tunes it in and s1ov::y a card vague!-? appears in t h e screen, bccommg c i e i > z r a n d clearer until i t is complelcl; and ah?:-;'Y visible. I t is t h e correct card! Coulplete with T.V. screen and routine. An up ic t h e minute efiect. . . . . . . . . . . . . . . . .A low $3.50 KOUTISED MANIPULATION, PART I (GANSON) I n jiiint aeain! A book you'll treasure! A photo i:lhir:::ed book of wonderful routines we repeat rou?:nes, vat11 cards, cigarettes, coins, pa,per, ctc. i18 pages, 167 illustrations. . . . . . . . Price $2.50 ROE'I'ISED MANIPULATION, PART I 1 (GANSON) A xonderful follow up t o t h e first book. not just a collection of tricks, but complete routines. This volume h a s effects with blindrolds, cards, eggs, coins, balls, thimbles, ropes, etc. A host of cisse up a n d stage magic. 128 pages, 170 illustrations. Price $3.00 AUTO-SILK GUN Bang! I n a flash t h e silk vanishes. All metal 1.evolver t h a t looks real. New method won't rip silks. Dramatic vanish. Precision made. Price $15.60

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AGIC M O ~ ~

D E V O T E D S O L E L Y T O T H E I N T E R E S T S O F MAGIC A N D M A G I C I A N S VOL. XIV, No. 8

JANUARY,

1957

50

CENTS

VISIBLE RING PENETRATION Effect: The magician shows a ring threaded on a ribbon. After pulling the ribbon through it back and forth a few times, he places the ring -still threaded- on his open left palm and allows the ends of the ribbon to hang free. He then takes the ring between thumb and index finger of his right hand and, giving the ring a sharp jerk, he pulls it visibly free of the ribbon. Immediately, ring and ribbon are passed out for examination. Requirements: A ribbon approxim-

By BRUNO ately 1/2" wide and a yard in length; an Ellis ring and shell. Preparation: With emmery paper or a whet stone, reduce the shell to slightly less than half its width (Fig. 1A shows normal shell; Fig. 1B shows reduced shell. This will not spoil the shell for the usual effects.) Thread the shell on the ribbon and slip it on the ring (Fig. 2). Now, wind the ribbon for its full length around shell

and ring, secure the little roll with a rubberband and drop it into a right hand pocket. Method and Presentation: Take the small roll from your pocket, remove the rubberband and unroll the ribbon allowing it to hang freely. With your left hand pull alternately on both ends of the ribbon two or three times thus proving that ring is actually threaded, but don't mention it. Now, e lace the ring on your open left ~ a l m drape , the ribbon over the crotch of your thumb and allowing ring to hang at the base of your ring and little fingers (Fig. 3) display it to your audience. While left thumb holds the ribbon firmly against the side of your left hand, pick up the ring between thumb and index finger of your right hand (Fig. 4) and tug at it a couple times to prove that it remains on the ribbon. On third or fourth tug, slip ring off shell rather sharply; at the same time, separate your index finger from the others. The ribbon will work like a pull and shell will fly out and back. As shell returns with ribbon, clip the ribbon immediately between index and middle fingers (Fig. 5) allowing shell to hang at back of left hand. After bing up your forefinger, pull at the ribbon slightly with your left thumb so as to form a loop in it (Fig. 6). Holding ring in full view between your right forefinger and thumb and keeping the other fingers extended, gesture towards loop and tell your audience that it is the place where ring penetrated. (While shell hangs at back of your left hand, be careful of the angles so that it will not be glimpsed.) Throw the ring on your table for examination and then grasp ribbon at false loop between your right thumb and forefinger and pull down. The shell will be pulled in between your fore and middle left fingers. Hold the ribbon with your left thumb where it crosses at the base of your fore and middle fingers (Fig. 7) and the appearance of the shell will be covered. As you pull the ribbon free of your left (Continued on page 525)

Hugard's MAGIC Molzthly

BACKSTAGE with FRANK JOGLAR "Famed magician Fred Keating conjured up a real-life escape act early Saturday when his auto skidded on an icy Pennsylvania road, rolled over three times and caught fire," was the lead paragraph in the N.Y. Sunday Mirror story of Dee. 16. It went on to tell how Fred, his famulus %pi G m e z and "the star of the show a poodle named Mozart" were trapped under the smashed car until some cdlege students set them free. The wreck occurred near Hazleton, Pa.. . . In sending the clipping Fred added a postscript, "Car and show entirely burned up, but thank God the body and mind were left more or less somd.". . Jan. 8 Fred was in the news again. Danton Walker noted that Fred was celebrating his 35th anniversary as a wimrd. He was the first person to be honored by the new Roseland Dance City in New York.

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CARL W. JONES Magicdom's most noted publisher died Jan. 5 in Minneapolis. He was 69. During a busy life Carl W. Jones, who had published the Minneapolis Journal, headed the Minneapolis Historical Society and founded the History Book Club, always found time for magic. He enjoyed performing for his friends. He was in the front row when Thurston and the other greats came to hi home town. On his trips abroad he searched out the sorcerers, visited the magic clubs. The conjuring volumes he published were distinguished not only by their contents but by typography and format as well. "Greater Magic" was his first venture. Then came Hugard and Braue's "Ekpert Card Technique," Baker's "Magical Ways and Means," Bobo's "MCodern Coin Magic" and other outstanding volumes. His last two productions will soon be released. One "The Oldest Deception" was printed in Germany. The other a bibliography of conjuring was printed in England. WALDO LOGAN A Miami dispatch in the N.Y. Post dated Jan. 12 told the tragic news: "A former millionaire and buried treasure hunter now reduced to working as a hotel desk clerk committed suicide. The Dade County Medical Examiner said Waldo Logan, 58, who made a fortune as a Chicago stock broker in the mid '30s, swallowed an overdose of a sleeping compound.". . . Dapper, moustached Waldo Logan for years was Chicago's number one host

for visiting magicians. Those who attended the S.A.M. Convention at the Morrison and other conjuring conclaves in the Windy City will remember genial Waldo and his conviviality. The wheel of fortune spins. A stack of chips materializes. Another spin, the chips vanish. The players come and go, but the wheel keeps spinning, spinning. JOTTINGS TV's "Big Surprise," ithe $100,000 quiz show, had hypotist Dr. Seymour Schpoont standing by when Victoria Von Hagen tackled the $3,000 question. She couldn't remember the right answer until the doctor stepped in. Under hypnosis she came through with words that clinched the cash.. Three very funny fellows clicked again on the Garry Moore show-Ballantine, A1 Flosso and Roy Benson. Hany Baker lectured at the S.A.M. Parent Assembly on the business side of magic. Add to the list of wonder workers at the recent Night-Before Party of the New England Convention in Boston: Norman J. Howe. He's one of the hardest workers in the Hanson vineyard. . . Bill Morton racked up his 21st year as a professional magician. More than 10,000 shows. If you're in Lincoln, Neb. sashay over to see his new magic den at 2010 S. 24th St. Why not send him one of your photos for You're invited to The the wall?. Magic Ring's "Congress of 'Conjurors" March 1-3 in Oslo, Sweden. This marks the club's 10th anniversary. For details write: Ivardo, Eugeniegt 3, Oslo, Sweden.

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Hu-Gardenias to RICHLARDI, JR. for his magnificent performance at the Radio City Music Hall in New York. His phenomenal artistry will be a much needed shot in the arm for Magic. No magician should fail to see this great artist. It is our understanding that Mr. Richiardi has been booked solid until June and we hope that those engagements will be followed by many, many more.

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DUNNINGER "I've known Dunninger, the Mentalist for half a dozen years," wrote Leonard Lyons in the N.Y. Post. "Once, at a party we attended, I broke a frontpage story involving him and the White House. Twice I appeared on his nationwide TV programs. The last time I saw the Mental Marvel was on W. 51 St., where I called a greeting to him. 'Hello,' he replied. 'Oh, by the way, I like your TV format, with those phone calls.' The Mentalist mistook me for columnist Hy Gardner !' NEWS AND NOTES John Mujlholland, his friends will be happy to hear, is home and on the mend after an operation at the University Hospital. Mail addressed to the old Sphinx address will reach him. . Winchell visited Palm Springs and enthused "Chop Chop and Marlene at that place (The Racquet Club) are Big Time!' We agree, but the billing is "Chop Chop and Charlene". . Despite his announced retirement, Les Levante is busier than ever. Chang C. Thomas is back in Buenos Aires. Magnun just finished 180 programs for Southern School Assemblies in Texas. Coming up: 220 dates for the University of Wisconsin Extension Dept. of Bureau of Concerts and Lectures. Two pmgicians are licensed to condud magic sessions by N.Y. state. One is Oleson (am not sure of the spelling) at Brooklyn College; the other. Dr. Pressman who has a high school course.

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CHIT CHAT FROM C;HANZN Jack Chanin reports from Phila. that he coached the young man who played the magician in the late F'ulton Oursler's "The Spider" at Drexel. The Houdini club gave their 30th annual magic show at the New Century Club. It was titled "Magical VarJack has several ieties of 1956". lectures slated in Canada.

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CHRIS'EMAS PARTY Sam Aaronson sends a glowing report of the annual Open House Christmas Party at the Beekrnan Towers Hotel. Kardwell with smooth sleightof -hand; Francesco, the juggler; Bill Williston with his hilarious hocus pocus; Phil Kaye, who did oral punctuation a la Victor Borge; Slydini, in colorful costume with masterly knots, silks and paper balls over head, and LuBrent with card and cig. manipulations, and torn and restored magazine page made up the formal show. Sam Aaronson, Elmer Applegit, Dr. Boston, Dr. Braude, Dr. Fries, Rowland (Continued on page 522)

H u g a d s MAGIC M o d y Sound is deceiving sometimes and here is one case where sound and sight are both deceiving. If you have two boxes of penny matches you can do this effect. The element of surprise is present here and a little money, which always makes things interesting. Take one box of matches and discard the cover and the matches from it. All you will need is the drawer. Place a one dollar bill folded into this drawer and slip the drawer halfway into another full box. Figure 1. Have another dollar bill in your right coat pocket. To perform: Show the box of matches as in figure 2, with the second drawer hidden by the left hand. Show the matches freely. Show the dollar bill with your right hand and replace bill in pocket. Now remove one match and, with your right hand, apparently close this drawer but, in reality, the left hand pushes the money drawer in the box and the drawer with matches goes into the right hand. Figure 3. In this position the right hand shakes the box. The matches will make a rattling noise in the box, really the matches in the hidden drawer. Your left hand takes the box and

MATCHES TO MONEY

~---yl By NICK TROST

*.z-- - - . - - - - I - -

--

-.

__/-

fit,1

drawer with the money as your right hand moves to the pocket. Say you will get the money. Leave the drawer behind and come forward with a bunch of matches. Let them fall free on the table. Look surprised --a little dismayed- then, as if hit by an idea, open the drawer in the match boxthere is the dollar bill!

THE HOMING CARDS Simplified action by JEAN HUGARD This routine calls for some acting ability on the part of the magician to give it its full flavor. It might well be placed under the heading of "Perverse Magic," since the cards apparently act independently. Effect: The magician proposes to show his audience a trick that he has seen another magician perform but, although he appears to follow the necessary actions exactly, the desired effect fails every time and he finally has to give up much to the amusement of the spectators. Procedure: Announce that you will try to show an amusing trick which you had lately seen performed by a celebrated magician. Begin by removing from the deck any five spot cards of the two black suits. Place this packet face down and, on it, place any red card, with a spot black card secretly behind it. The packet will therefore consist of the following cards, reading from top to bottom: a spot black card, a red card, followed by five spot black cards. Pick up the packet, and hold it face down in your left hand in dealing position. Push off the cards one by one with your left thumb and

* -

take them in the right hand retaining the same order and counting them. When you reach, "five" retain the last two cards in the left hand holding them perfectly squared as one card, and count "siu!' Then take these two cards as one under the other cards in the right hand. Turn the packet face upwards and again hold it in the left hand as you say, "I shall show you a very amusing trick which I saw done by a celebrated magician. As I remember he took five black cards and one red card and he counted them like this." Push off the top card and take it in the right hand as you count "One"; continue in the same way, keeping the cards in the same order until you reach the count of "Five!' Separate the hands and hold the left hand with the remaining two cards held squarely together as one card, and count "Six." Then take these two cards under the cards in the right hand and turn the packet face up in the left hand. Continue: "We have five black cards and one red card!' Take the cards one by one into the right hand, counting them as before up to the count of "Five." Separate the hands as be-

fore and show the red card with the black card behind it as one, thus displaying the red card. Place the five cards in the right hand on the card in the left hand and turn the packet over, at the same time pushing the topcard, supposed to be the red card, halfway off the packet with the left thumb. At this point hesitate and say: "I remember now only five black cards were used with no red card, so I put aside this red card and use only the five black cards!' Take off the top card with your right hand, keeping it face down and place it in your pocket. "Now we are ready. We have five black cards. I will count them again!' Take the top card, the red card, with your right hand and take the next card on top of this, then continue to count by taking the remaining cards under those in the right hand holding the last two cards as one at the count of Five. Turn the packet face up and continue: "Just five black cards." Take the cards into the right hand counting as before, and at the count of Four separate your hands, showing the red card in the left hand with a black card squared behind it. Take these two cards as one under the cards in the right hand as you say: (Continued on page 527)

H a g ~ d 'MAGIC ~ Mon8bly

BOOK PROFILES by JOHN J. CRIMMINS, JR. TOP SECEETS OF M A G l C b y J. G. Thompson, Jr. A 127-page printed book with 203 photographic illustrations by George M. ]pintarch. Published in soft board covers by Gene Gordon, 320 Franklin St., Buffalo 2, N.Y. Price $3. Here's the latest contribution to the literature of Magic, and an excellent one, too. by bankermagician Jim Thompson who edited and published another fine book, "My Best," a few year's ago as well as a series of individual mental effects, while serving as book reviewer for "The Linking Ring Magazine." Only one who has been in Magic for as long as Jim has, which is some thirtyfive years, could have turned out a book of such high calibre. What he has written here in TOP SECRETS OF MAGIC reflects not only a tremendous amount of research, practice and application, but also provides some inimitable routining of close-up Magic which, when presented entertainingly, carries that extra punch of mystification so many club and stage tricks lack. Distance may lend enchantment to Magic, but the trick performed right under a spectator's nose is the one he never forgets. The book is not a continuing series of routines -although several may be blended into one performance- but rather a nicely balanoed selection of twenty separate routines with a variety of small objects--cards, matches, rings, balls, safety pins, a few dealer items and, of course, several of Jim's favorite mental feats. Each of the routines is complete with suggested patter theme which may or may not suit your personality but are good examples of the type of story to weave about the items in use. In each case he describes his own handling of the moves and subtleties, and recommends at the end of the routines a carefully selected reference list of companion or alternate sleights you may prefer to use. I was particularly pleased to see him utilize a clever sleight with business cards in his mental routine, "Two Minds Get Together," which he dubs "T%e Double Transfer." Card tricksters for some reason or other seem to have missed this stunning bit of chicanery since it was first descr3bed in "The Jinx" under the heading of "Chris Charlton's Modern Monte."' Frank Garcia is the only other magician who has made good use of this sleight which he did with fine effect in a Three-Card Monte Routine (he contributed to "The Phoenix."

Those who like sleight-of-hand. particularly close-up conjuring, should add this book to their library right away. It's first rate Magic anyone would be proud to present. Blackstone wrote the preface to TOP SECmTS OF MAGIC. Irving Desfor laid out the photo illustrations, and Ntelson Hahne and Harvan supplied the illustrated chapter heads. The book closes with one of the best essays on the presentation and psychology of Magic I've read in some time with each point graphically illustrated by a move-formove description of Jim Thompson's version of the "Coins Thru The Table." S.A.M. members have had a preview of the book since it ran serially last year in "M-U-IvI." PEIER WARLOCK'S BOOK OF MAGIC. A 141-page printed book with 93 illustrations. Published in doth by Arco Publishing Co., Ltd. 10 Fitzroy Street, London, 'W.I., and 480 Lexington Ave., New York 17, Price $2.50 In my estimation this is one of the best books written for amateurs to hit the magic market in some years. And when I say "amateurs" I do not necessarily mean youngsters for aside from the striking juvenile-type dustjacket encasing the book, the material 1s not written down for kids. It's the type of Magic most of us would have revelled in when we were learning the rudiments of the art and the presentation of honest-to-goodness tricks of real magic appeal. It's all fine Magic of top drawer variety, well explained, and taught competently by Peter Warlock whose knowledge of conjuring and what makes for entertainment is well known to devotees everywhere through his writings and edtiorship of the excellent monthly, "The Pentagram." Here's Magic taught in a way that really instructs, Magic requiring little in the way of apparatus, yet of sufficiently mystifying nature to mark the perf o m e r as a real magician. All the tricks are designed to give the reader confidence so that with a full knowledge and experience in performing them he will be ready to attempt more ambitious tricks. As he points out in his "Introduction," it is far better to have a repertoire of a dozen wellpresented tricks than acquaintance with the working of one hundred. The volume explains (and teaches) same thirty-one tricks under the following headings: Miscellaneous Mag-

ic, Card Magic, Mental Mysteries, and Notes on Presentation. The majority of the tricks are under the rniscellaneous heading, with card Magic running second. Such rticks are included as "The Ring in Nest of Boxes," "The Ring on Stick," 'Warlock's Silk & Tissue Paper Trick," "Knife Thru Handkerchief," "Candle & Handkerchief Trick," "The Goodnight Banner." "Bank Nite Trick," "Rice Bowls," "Patriotic Balls," "Card Spelling Trick," "Blindfold Card Stab," and three mental feats including a good book test and a slate trick, etc. A fine chapter on presentation, routining and programming brings this very worthwhile book to a close. As already mentioned, although PETER WARLOCXyS BOOK OF MAGIC is a book for beginners, the excellenoe of the material holds considerable appeal to even advanced magicians. In keeping with the plan of the book, the author devotes considerable space to teaching methods of palming, controlling cards, forcing, reversing cards, etc. He has also added personal bits of business to each of the effects described. MATHEMATICS, MAGIC AND MYSMartin Gardner. A 176TERY-by page printed book with 86 illustrations. Published in soft boards by Dover Publications, 920 Broadway, New York 10. Price $1. Here's a book to intrigue every magician and particularly those who delight in "creating'' new effects with which to baffle their confreres. In the nine comprehensive chapters making up this book Gardner surveys the entire field of modern mathematical Magic and, in doing so, points out that it has been the magician rather than the mathematician who has been most prolific in creating mathematical tricks or diversions during the past half-century. He has drawn extensively on conjuring books and literature for examples of the various principles which he discusses at length, and consequently the book abounds in excellent tricks by Vernon, Hummer, A1 Baker, Annemann, Hugard, Hillard, C. T. Jordan, DeLand, Curry, Christopher, Collins, Kellar, Kaufman, Marlo, O'Connor, Sellers, Scarne, and a host of others. Here are tricks not only with cards, but with dice, calendars, dominoes, checkers, strings, handkerchiefs, coins, optical delusions, and pure numbers. These, based on a variety of principles, are not only ingenious but are entertaining as well. Incidentally, Martin Gardner points out that research (Continued on page 524)

Hngmd's MAGIC Mo&y

OUT OF M Y PROFONDE By ARTHUR LEROY "THE DYNASTYi'-Part I It was a cold January day in 1925. I was just 14 years old, and the snow was falling in graceful refreshing patterns as I hurried across 116th Street towards Third Avenue. In '25 this was the heart of New York's vast Jewish colony and wherever I looked the street pattern of peddlers, gay stands and pushcarts gave the feeling of some fabulous oriental bazaar. At 14 I lived in a world of miagical impressions and the scents, colors and sounds coming to me through the swirl of virginclean snow impressed upon my young senses that I was pushing through a Himalayan s t o m so that I might come to the temple in which I would find The Great Magician, high, high, high in the mountains surrounding Lhassa. Finally I reached Third Avenue and the temple stood before me. I'm afraid that the temple was a thing of my imagination, for all that actually met my view as I checked the address, was a four-story tenement building, one of the many thousands of like appearance, that made up the housing in this area. On the lower level stood a tiny restaurant, like so many others in the neighborhood. In each of these some progressive individual spent his or her life cooking in the New World some taste-tittilating specialty from the Od World. As I walked through the door, a warm aroma of Hungarian goulash mixed with the tingling scent of clear, cold, snow-laden air. I asked for The Great Magician. The restaurant's proprietor opened a side door that led into the hallway of the building. "Louie," he screamed up the staircase, "come down-man vants you." It was the first time anyone had called me a man. I figured the restaurant owner was having trouble with the English language. Soon I heard a shuffling on the staircase and a little, little smiling gentleman entered to join the now overpowering aroma of goulash. The man was sparkling and shiny, his clothes were freshly ~ressed,and his smile and his eyes filled me with warmth and assurance. I had reached the Holy of Holies. At 14 I stood alone in the presence of the magical performer of whom I had heard, "The Greatest Magical Purist is Professor Louis Krieger. He has no equal as a performer of clean, intimate, close-up miracles." Ducrot had said so, Bob Elroy had said so,

even the great Malini had said so. I was there bemuse of an "ad" in Billboard. Professor Louis Krieger wanted a boy assistant to help in his annual tour of summer resort hotels. My family didn't know of my visit-to them my love for Magic at the time was a sure sign that somewhere along our ancestral line there must have been an unrecorded streak of lunacy. The great Pop Krieger, for he was always Pop to those who knew hi, sat down at one of the three marbletopped tables that were the whole seating plan of the little establishment. I sat opposite him and he ordered cofke for us both. Then as if he were amused at my youth, he asked me what tricks I did best. As I talked he began to demonstrate to me the meaning of the true magic touch. With the coffee cups, silverware and usual props of the table he performed a series of feats that abounded in sheer skill and superlative misdirection. The man was fabulous, his smiling eyes, Old World accent, his friendly hand upon my shoulder as he loaded my pockets for the next routine, all were essential parts of his apparently unsophisticated, apparently unstudied, but sure, firm, plotted misdirection. I came looking for a job. I stayed to watch a superlative master of the craft I had chosen to follow. Never before or since in my thirtynine years of Magic, have I seen a performer who so well kept the left hand from knowing what the right hand was doing.

That evening Pop was playing a show. I went along to watch him work. I was surprised to find that he was desirous of being as close to his audience as humanly possible. He wanted his spectators to rub shoulders with him. It was part of his master plan, for he even used the bodies of his spectators as misdireation. It was a wonderful evening as the Professor loaded pockets, hats, and persons with a large assortrment of food, wet wash and laughs. His cup and ball routine was impossible to follow as he swikched from balls, to apples, to oranges, to the breathtaking finale of red-hot boiled potatoes-so hot they couldn't be handled. He borrowed a hat and loaded it with a ten-pound Belgian block paving stone. Pop Krieger only needed an assistant to carry his bag. No one, but no one, was good enough to share a show with him. As I carried his bag back to his home I gazed at 'the pin which he wore in his cravat. It had been presented to him as a token for his performance before &gland's Royal Family earlier in the century. It seemed strange that this magnificenkly skillful performer from New York's teeming streets, this little kindly man who was beyond all else a performer for the masses, should have ever entertained the Royal Family of England. It all came &out because of Houdini and Horace Goldin, both of whom had been Pop's neighbors. They had told Fred IkZelville, Britain's No. 1 booker of novelty acts, about Pop. Melville wanted to use this greatest of all magical purists. He sent for Professor Krieger and with no trouble sold the Master Misdirectionist to Maskelyne's Theatre of Magic. There was only one hitch. No one had told David Devant, who was staging the shows at Maskelyne's, that Pop loved his audience and wanted to be with them-right in their arms. On the first show Pop grew tired of being on the stage, and before anyone could stop hi,Pop was down in the aisles working amongst the audience. He didn't go back on-stage until he had loaded half the house. David Devant blew his top. "Stay on-stage," he screamed, "let the audience see you." Pop shrugged. Second night the story was the same. Pop just couldn't be so far away from the audience. He had to feel that audience around him. Down he went into the house on his holy crusade. When he had finished Devant was raving, Pop was calm. He never got

(Continued on page 525)

DOUBLE ACTION By JEAN HUGARD The passage of a number of cards from the magician's hand to his trousers pocket is a classic which has stood the test of time and is still a favorite trick with card adepts. Here is a variation of the same effect with two chosen cards. It brings in audience participation and provides a strong climax. Effect: Two spectators, A and B, each selects a card. These cards are then returned and shuffled into the deck. B's card appears at the top of the deck and A's card passes into the magician's trousers pocket. This card is then inserted in the middle of the deck and double action takes place while the deck is in the hand of one of the spectators. B's card mounts to the top of the deck and A's card passes into the magician's trousers pocket from which it is removed by A himself. Preparation: Take the 3V from the deck which is to be used and place it face outwards in your right trousers pocket at the upper inner corner. Place the AV on top of the deck ready for the force. Procedime: Invite two spectators, whom we will call A and B, to assist you. Shuffle the deck retaining the AV at the top and force it on B. The straight classic force is the best one to use in this case; however, any other method of forcing can be used. Next allow A to make a free selection d any card. The two chosen cards must now be returned to the deck and controlled in such manner that A's card, which we pressume to be the 7 h merely for clarity of explanation, will be the top card and B's card will be next. The control of cards by means of the overhand suffle will be found the most successful for this purpose. The position now being that the 7 4 is on the top of the deck with the AV next below it. lCZake a false shuffle and a false cut and then address spectator A and say, "When a card has been selected by anyone it becomes ambitious and no matter how the cards are shuffled, that card will instantly rise to the top. Please name your card." The spectator does this and you turn the top card face up showing that his card, the 7& has arrived. Address spectator B and say, "You may think that was merely a coincidence. Let us try a far more difficult feat with your card. I will order it to pass from the deck into my trousers pocket which you see is quite

empty." Pull out your trousers pocket in the well known way so that the 3V remains concealed at the top of the pocket. Replace the pocket and ask spectator B to name hi card. He replies "Ace of Hearts." With your right hand tap the deck and command "Ace of Hearts, pass!" With a careless gesture, allow it to be seen that your right hand is empty, then thrust it into your trousers pocket. Take the 3V with thumb at the back and fingers at the upper end so that the upper pip is concealed. Draw the card out of pocket just far enough to expose the middle pip, the lowest pip beiig concealed by the edge of the pocket. Do not dwell on this exposure. Hold the position just long enough for all to see that the AV has apparently passed into the pocket, then thrust the card back into the pocket at the same time turning it over bringing its back outwards. Make an overhand shuffle again and in the act of squaring the cards palm the top card, A's card, the 7V, and again thrust your right hand into the pocket as if merely to remove the AV. Actually, slide the palmed card over the 3V and then release the palmed card and bring out the 3V. A trial will show that this subtle change can be done quite smoothly with all the appearance of your having simply removed the supposed AV from the pocket. Keeping the 3V face down, thrust it into the outer end of the deck so that the lower pip only is buried, then hold the card by the protruding end concealing the third pip and the index with the tips of the fingers. Now turn the deck face up, thus exposing the center pip and again the card will appear to be the AV. Without hesitation, turn the deck face down and thrust the 3V flush with the rest of the deck. The trick is now really completed but you proceed to give your orders for a startling transposition. Hand the deck to B and have him hold it tightly between his hands. Now you say that you will order B's card, the AV, which has just been placed in the middle of the deck to mount to the top, while A's card, 7 4 , will pass invisibly from the deck into your trousers pocket. Very impressively, you say, "Cards, pass!" Have B turn over the top card and there he finds his card the AV. Allow A to thurst his hand into your trousers pocket and take out the card

he finds there. It is hi card, the 7 4 . Smoothly workedl the trick will be found to have a very strong effect. I) should be done, of course, without hesitation and at a rather brisk pace.

BACKSTAGE (Continued from page 518) Goodman, A1 Goshman, Gene Guglielmo, Ken Krenzel, Jerry Lukins, Ed Mishell, Dave Ossip, Phil Sevush, Steve Sills. Slydini, Sidney Soloman and Morty Zuckert toured the tables with intimate magic. Paul Morris rates plaudits for another wonderful evening. Lou Tannen can take a bow for conjuring up many of the acts.

JAY PA"We had a pleasant suqrise this Christmas Eve," writes Jay P a h e r from Frankfurt on Main, Germany, "Virgil and Julie knocked on our door and we had Christmas dinner with them. I had not seen Virgil in over 30 years. Last time was in Los Angeles. He has had a wonderful tour -Australia, India, Far East, England and is now on vacation here taking pictures. He sails for home in a month or so. He has over 26 ship tons of baggage. I saw LePaul and his U.S.O. show in Munich. He is the hit of the show as usual." LUCILLE AND WDIE ROBERTS Lucy and Eddie write that no expose was intended in the recent Bennett Cerf story about them. They're as busy as ever. Next month they're due at the Pierre Hotel in Mew York. They just finished at the Statler in LA. Variety gave them another rave: "Their slick turn is still smash stuff. . . Thye've got it down to perfection and the 25-minute romp is enhanced by sly patter that pleases. There's no effort to be lofty-domed about it: they're selling nothing but an entertainment stunt and they do it solidly!'. . . You can see them at the S.A.M. Public Show Feb. 15 at the Barbizon Plaza.

MAGICANA An important point which should be remembered by all entertainers, especially in the magic field, is to know when to quit. Always leave your audience wanting more, not bored by having had too much.

ENCYCLOPEDIA OF IMPROMPTU TRICKS RUBBER BAND-Stunts

and Gags

By MARTIN GARDNER

(Continued from last issue)

(17) Twist a wide flat band twice around a spool to cover one hole (Fig. 828). Blow t hrough opposite hole, which remains uncovered. Produces sound like a pitch pipe. "Ma! Ma!" can be rendered by cupping hands over end of spool, opening and closing one hand.

Fig. 831 is an ancient type of flutterburg (See Albert Hopkin's, Magic, 1897, p. 383), still sold occasionally as a toy. (Dime stores carried them in the early forties.) Easily made by stapling rubber band to two rubber balls. Gadget is "wound" by holding one ball, twirling the other around it in a circle on top of table. RUZlER

(18) Flutterbugs. Fold two small sheets of paper into tight strips, bend them, twist a band several times around the middle (Fig. 829). Hold one strip and "wind" the other until band is tightly twisted. Place gadget under victim's inverted coffee cup. When he lifts cup, the bug dances madly over table. Or drop it suddenly in victim's lap.

Fig. 830 shows a simple form of flutterbug for sending to victim through mail.

Leonardo da Vinci once wrote: "Painting is done with the head, not with the hands." This applies also to the art of 1VLBgic. The hands are simply the instruments directed by the head.

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n

What bones represent three essential requirements for success in Magic? The wish bone, the jawbone and the backbone.

(1) Balancing stunt with ruler, cord, and hammer is shown in Fig. 832. (2) Fig. 833 shows how to make a "ruler roarer" for a child. Hold free end of cord, spin ruler around body. It gives out a lion-like roar.

I

(3) Support ruler on your forefingers (Fig. 834), then move the fingers slowly toward each other. Because friction increases as the weight of an end increases, it is impossible to prevent fingers from meeting exactly at center even though you may try to make them meet at some other point. The effect is particularly uncanny if a yardstick is used. In 1953 a version of this was marketed as the "Einstein Ehigrna," using a four-sided stick weighted at one end and with indices of cards marked along the sides. Fingers always met at an off-center bal-

ancing point to indicate a forced card. (4) To bite an inch from the end of a ruler, hold ruler with one end an inch away from mouth. Bite. (5) There is an interesting puzzle connected with the standard carpenter's ruler consisting of four sections that are hinged together. The problem is to open the ruler one section at a time, and in such manner that each time you open it the ruler is extended by one section in the same direction. Fig. 835 pictures the solution. Safety-Pin Trix, by Jerry Andrus, 1955, is a 70-page book that contains, in addition to effects using a prepared "key" pin, a number of unusual impromptu effects with unprepared pins. These are not included among the tricks given below.

(1) "Piff-Paff-Poof." If two linked safety pins (blanket pins are easiest to handle as well as see) are held exactly as in Fig. 836 and jerked quickly apart, they will separate without opening. For Don White's routine, see Greater Magic, p. 871. A gimmicked safety pin for performing this and other effect. has been on the market for many years. It is based on L. Vosburgh Lyons' "Slip, Snap, Spoof," Phoenix No. 47, Nov., 1943.

(2) Folded hank is held by two spectators as in Fig. 837. Safety pin is affixed to the cloth near fold as shown. Grab end "A" of pin, jerk it to the left, at same time twisting it so end "A"points in the direction pin is moving. This permits pin to slide along cloth without opening or tearing cloth. After moving pin about six inches, a quick turn of the pin puts it through the cloth again, giving illusion that bar of pin was dragged through the cloth without ripping it. (To be continued)

Hugard's MAGIC Monthly

SETTING THE SCENE By JEAN HUGARD In the latter years of last century when the practice of Magic was dominated by Professor Hoffman's book "Modern Magic," it was the custom to begin a penformance of Magic with a long introductory speech and to overburden tricks with lengthy patter themes. Today magicians have gone to the other extreme. The introductory speech has been dropped entirely and in many cases tricks are presented with little or no patter at all. It is still true however that a feat of Magic, stripped of its appropriate patter becomes a mere curiosity and is soon forgotten. The effect becomes purely visual and there is no appeal to the mind. To obtain the full effect, the thoughts of the onlookers should be led astray by claiming that the effect is produced by some plausible method far removed from the real one, this can be done in very few words. To make this point clear, take for example the trick called "Spellbound." This is a trick in which a copper coin is instantly transformed to a gold coin and then transformed back to copper. The trick is a good one but, as usually performed without rhyme or reason, it takes only a few seconds and is reduced to a mere flourish. Its effect would be far greater if it were introduced with a few words such as: "You remember the story of old King Midas who was given the power of transforming everything he touched to gold and the misfortunes which followed after he obtained this power. Ths mistake he made was in neglecting to acquire the power of returning objects from gold to their original state. Let me show you that by Magic this reverse process can be made." The trick would then be continued in the usual way by turning a copper coin into a gold coin. The reverse touch would then be applied and gold coin transformed back to copper. Another illustration of the effect of setting the scene can be taken from the trick in which two coins, one gold and one silver, change places when they are held in the magician's hands and then returned to their original positions. Presented in its bare bones the trick is so short that i t loses a great part of its effect. To remedy this, the magician might begin by saying: "It was an Irish member of the British Parliament who said once, 'Not being a bird, I cannot be in two places at the same time! A typical Irish bull. While, of course, it is impossible for a material object to be

'

in two places at the same time, by Magic one object can be transferred from place to place so rapidly that it can almost be said to be in two places at the same moment. Let me give you an example": The trick of making a gold coin and silver coin openly placed, one in each hand, and the hands clenched on them would then follow with greatly increased effect. To produce the bare bones of a magical feat without any accompanying, plausible, patter is almost as bad as if a comedian launched his punch line without having first set his scene.

BOOK PROFILES (Continued from page 520) shows the earliest discussion of card Magic by a mathematician seems to be in 'PrcubGmes Plaisans et D&leetables," by Claud Gaspard Bachet, a recreational work published in France in 1612. Since then, references to card tricks have appeared in many books dealing with mathematical recreations and, of course, abound in conjuring literature such as the profusion of them which appear in "The Encyclopedia of Card Tricks," for example. The nine chapters are as follows: 1. Tricks with Cards-Part One where we find such tricks as "The Piano Trick," "James' Color Prediction," and "Hummer's Reversal Mystery." 2. Tricks With Cards-Part Two which includes among some eleven tricks "O'Comor's Four Ace Trick," "Elmsley's Card Coincidence," and "Jordan's Magic by Mail." 3. From Gergonne to Gargantua deals with the age-old three-card pile and its variations. 4. Magic with Common Objects covers tricks with dice, dominoes, calendars, watches, dollar bills, matches and checkers. 5. Topological Tomfoolery introduces such effects as the "Carter Trick," "Removing the Vest," and "The Jumping Rubber Bands!' 6. Tricks with Special Ekpipment where we find "Number Cards," "Heath's Tappit," and "Blyth's Domino Box." 7. Geometrical Vanishes-Part One which has "DeLand's Paradox," and "Sam Loyd's Flag Puzzle" among others. 8. Geometrical Vanishes-Part Two, and 9. magic with Pure Numbers which has for instance both Curry's and A1 Baker's methods for predicting a num-

ber, "The Mystery of Nine," "A1 Baker's Numero," etc. Martin Gardner is to be congratulated on the ,thoroughness of his research and the compilation of MATHEMATICS, MAGIC AND MYSTERY, and particularly for his scholarly exposition of such a fascinating subject. Every magician should have a copy.

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MARGINALIA Frank Garcia has just released some of his pet effects through G & G Enterprises, 220-20 121st St. Cambria Hghts, N.Y. The three just in for review are superb in every respect and rank with the best in the famous "Stars of Magic" series. I'll review these at length next month. They are "Garcia's Manipulative Secrets" a set of three tricks selling for $3.00, "Garcia's Close-up Classics" containing "Double Or Nothing" and "Supreme Reverse" which is priced at $2.00, and "Garcia's Classic Close-up Gem" a 4 blank routine selling for $2.50. Also in for review is Jack Yaks' book of mental mysteries, "Minds In Duplicate" with 10 mental tricks of the Annermann-Baker type. It's published by Goodliffe, price probably $1.00. I have on several occasions urged you to get a copy of that unique Canadian magic magazine, ''Ibidem!' Those who heeded my suggestion really got their money's worth with the latest issue No. 8. This is a complete Marlo issue of 14 card tricks with numerous variations. What a package! What a bargain at the price of only 50$. Better get in on this now and subscri'be to the magazine. It's only $2.00 a year and may be obtained from the publisher P. Howard Lyons, P.O. Box 561, Adelaide P.O., Toronto, Canada.

BOOKS FOR R E m should be sent to John J. Crimmins, Jr., 265 Park Hill Avenue, Yonkers 5, New York.

MAGICANA Here is a good example of wasted effort: Conus, a French magician, conceived the idea of using metal balls for the cups-and-balls trick. After much effort he devised a sleight whereby he could introduce the metal balls under the cups without having them "talk." He had thus overcome a great difficulty, but it was appreciated only by his professional brethren. The effect on his audience was no greater than before. The "irnprovement" was not adopted by the prof ession.

HANDS ACROSS THE SEA By PETER WARLOCK The other evening I watched my friend Francis Haxton run through a couple of "oldies" taken from The Jinx. One, the principle of which took my fancy, was Herb's Rungie's "Duo Locato Finale," for I felt certain that with subterfuge added to mathematics something different might evolve. After a little cogitation the following effect came to light: The conjurer picks up a pack of cards and a folded slip of paper. The latter is handed to a spectator whilst from the cards, after scanning their faces, one is removed and placed faoe downwards upon the table, the pack then being handed out for shuffling. When the cards have been mixed, they are taken back and handed to a spectator with the request that first of all he think of a small number, say

OUT OF MY PROFONDE
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