Pages from hugard's magic monthly vol 11

Hugard's

MAGIC

DEVO TE D S O LE LY T O T H E I N TE R E S T S VOL.

XI, No. 1

J U NE,

Monthly

O F MAGI c A N D M A G I C I ANS 40 CENTS

1953

S.A.M. CINCINNATI CONVENTION (BACKSTAGE with FRANK JOGLAR) Attendance was small (about 300); business was off for the dealers, but the 25th Annual Conference of the Society of American Magicians still had much to offer the tricksters who trekked to Cincinnati from both coasts and the hinterlands. First there was the satin-smooth sorcery of Tenkai, then the first rate nitery necromancy of The Randolphs and Don Alan's excellent lecture and tabletop deceptions. Other highlights were Max Terhune's winning presentations and the sleight of hand skill of A'rie, a lovely blonde from Hollywood... For those who never left the cool confines of the Netherland Plaza to wander the steaming hot streets of the city, I can report, that the local library plugged the conclave with three windows of photos and books. Then there was the Ten Ichi statue in Fountain Square. Actually the figure was a robed female but day and night she produced streams of water from her fingertips. A few venturesome souls sped across to Covington, Kentucky after hours to see Al Wheatley (Chop Chop) at the Beverly Hills Club and to contribute to the poor and indigent night club owner by patronizing the dice and card games in the gambling rooms.

NIGHT BEFORE PARTY

Thursday night the early arrivals were treated to old flickers of bygone I.B.M. conventions. Thurston was shown vainly trying to drive a nail in a packing case. Dorny played cops and robbers on a rooftop chasing offenders who dared to do card tricks and Cardini, the incomparable, manipulated the pasteboards. Main change in the magicians still around is that they're plumper and less encumbered with hair. During the movies Spit De. vils were ground underfoot by some jokers in the rear of the hall and Les Lake was busy rounding up his carnival performers. Balloons, banners and streamers would have helped the carney atmosphere. Best performer— Tenkai with a preview of some of his

stage act, plus a neat handling of the multiplying silks. Most unusual —the smoke ring control of Bert Pitchel.

THE LECTURES Don Alan started the ball rolling with his Linking Ring hocus pocus, sucker egg handling, then his slants on TV trickery, the latter illustrated with a film of his final Chicago "Magic" program. Full marks to this slim, personable sorcerer. He spoke clearly, added touches of humor and answered questions intelligently. Best crack, after the film; "And now shall I rerun it so you can see the commercials again?"... Next day J.B. Bobo was on the platform with a varied bag of tricks. As usual the Texan trickster

tin-Gardenias to THE RANDOLPHS

For their flawlessly presented, fast-paced night club routine.

Working in pantomime with grace and dexterity they get a maximum of effect from every feat with emphasis on the toooften-overlooked entertainment value.

TENKAI A N D OKENTCJ

Whose original approach, even to classical conceptions, lifts their magic far above the crowd.

Their pleasing manner, masterful sleight of hand and appealing presentations are in the best tradition of the masters of the past.

DON ALAN

A personable young man whose magic is fascinating even to those who are not especially intrigued by deception. His ready wit, smile and interesting patter change conjuring problems to easy-to-take entertainment.

made a hit with his practical material.

Much applauded: the linking ropes ...

Final educator was reticent, proficient Stewart Judah with 30 minutes of sage advice and tricks —his versions of the Multiplying B.B.'s, Spirit message on blank cards, colored dice passe and a simplified card change. Those who missed these professors of prestidigitation missed one of the convention's best phases.

SIDELIGHTS

Doc Tarbell rounding up pupils for a special course-ten bucks per ... Jack Chanin, wearing an ear ring, tossing cards up to the ceilings of high hotel halls ... Chop Chop examining Okito's handwork in the Redman booth . . .

Jim Killip attracting attention to his display of miniature illusions ... Mrs. Dodson with a pet monkey clinging to her neck ... Lady Frances with a pet parrot in tow ... MacDonald Birch signing autographs ... Safety magician Lt. Estees in Kentucky state cop uniform ... a turbanned conventioneer with "India" on his identification card —not Sorcar.

FIRST ALL STAR SHOW

Zowie, what an opening act! The Randolphs. He, handsome in tails reminiscent of a younger Carl Brisson.

She in short, black costume, a sparkling, vivacious assistant. Vanishing cane, card sleights, cigarette sleights, duck pan with a beautiful routine, vanishing doves from net, milk from glass to light bulb, paper to hat, paper to panties. An absolutely great vanishing radio. A marvelous card sword presentation. This pair is terrific, don't miss them if they play near your home grounds . . . Shadowgraphs by Al Saal. The funny monkeys, the noseslicing scene before the mirror, the lovers and the balcony bit, with a horn player getting an unexpected shower, the drinker and the effects of his carousing. Despite occasional unscheduled shadows of the performer as he changed props, very entertaining...

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Hugard's MAGIC Monthly

Bob Haskell who explained he lost his room. key. A record told him how to do a trick with a card and a cigarette up to the crucial point. Then the voice insisted that he finish it himself. He did. In the cigarette, the card. In the envelope —not the missing tobacco— but the missing room key! Another boffer was his bill in selected lemon. Too bad he didn't give the person who took the wringing wet bill back to his seat a dry dollar in exchange or at least a paper napkin to dry it. A fine act despite this, with Haskell never more personable . . .

Max Terhune, the M.C. in cowboy hat and ranch clothes. A warm, likeable performer. A master of mimicry and vocal illusions. Best—the sound from his thimble that grew louder and diminished according to the distance of the thimble from the mike. Coin sleights, a cut rope with religious patter ... Al Sharpe and his wife. He in plaid tux coat and black pants with a four-in-hand tie against his white shirt front. Odd combination. Best trick—vanishing birdcage which disappeared under a cloth held by his missus. Trouble with his rising cards, they wouldn't. Comedy with the chair gag a la Dominique ... A'rie Chesney in attractive evening gown with hoop skirt. Lighted smokes from the air.

Card flourishes and productions a la Chavez, beautifully done. The card castle— and a big one. Finally birds from frame, which must have been a new addition. The birds wouldn't balance on her wand after production and kept tumbling to the floor. This lady legerdemainist has what it takes. Her sleights were superior and panto manner pleasant.

SECOND ALL STAR SHOW Lady Frances, who changed gowns between the acts, was a zippy mistress of proceedings... The Dodsons in evening clothes. Magic with live stock —birds, bunnies and ducks. Silent, speedy, with lots of boxes and stands.

Hearty applause ... Tommy Windsor, in felt hat with collapsible stand, the pitchman with a cure-all for everything. Best presentation yet for Tommy. No hitches, new laugh lines and a good hand when he dashed off as the whistle sounded... Max Terhune, repeating some of his stunts of the night before (why?) then a jolly talkfest with his lap pal, Elmer... Then exuberant Karrell Fox with a new batch of funny gags. First a burnt cloth from the Abbott fire. The sucker box, a die box filled with candy suckers which he tossed to his audience.

He held up a huge egg and a small bag with the comment, "It isn't possible". Pack of cards with dust spurt-

ing from every side as he shuffled.

Comedy with two volunteers. One given a massive rope and skimpy scissors with instructions to cut the rope.

This kept him busy throughout the act. The other met his fate with an offstage pistol shot and was carried down through the hall on a stretcher with flowers sticking up from his midriff. Big hand from the magicians at the end ... Tenkai and Okinu. What a treat! In immaculate Japanese robes they were a triumphant hit. Torn and restored paper —with a difference.

Ropes through neck, double and single.

Ropes and silks. The linked fingers card production by Okinu. An overwhelming production of fresh, beautiful silks from a red metal jar on a stand. Lighted cigarettes from nowhere. Watches and more watches at the finger tips hung on backboard painted to represent a tree. Finally two giant watches. An ovation. Then Tenkai wrapped a silk in a piece of paper, cut it, separated the paper, put the two pieces together still in the paper, he pulled one end, the silk was restored. Another ovation. Final stunt: with his hand tied in a handkerchief and only one finger extending he balanced a coin on its tip. Jack Chanin held another coin in his palm. Tenkai hit Chanin's coin ten times with his coin with Chanin vainly trying to close his fist and snatch the Tenkai coin.

A great act!

NATIONAL COUNCIL SHOW Ace Gorham with a funny instructions-by-mail rope trick. The silks dropping from ribbon routine. Closing with the "End of the Rainbow" box.

Ribbons attached to the front are pulled inside mechanically. Box opened. They form a dress for a doll.

Trouble getting the ribbons attached to the front of the box. I've seen this happen twice recently, but the finish was O.K.... Willard Smith with rag . pictures under U.V.lamp. Routine was about twice too long for the occasion ... Haskell with his prize-winning trick which won the Bromfield Trophy. A shoe box, with a hole in one end was used as a television set.

A milk bottle was the tube. A selected card appeared on the "screen". Milbourne Christopher, the M.C, with his Haines Trophy winning effect. Cards shuffled, cut by two spectators, then dealt by one spectator, Christopher in the audience told each man how to play his cards as in a regular poker game. Remember Ray Muse as "The Great Amuso" on M-U-M's cover? He presented this unusual act, a sly travesty of the Greats of yesterday.

It deserved the rounds of pleased applause it conjured up. Final act—

Leslie Guest. Fine routine with invisible silk of selected color and matchbox appearing in visible handkerchief.

Next he tore off the top of a pack of cigarettes, put it in a transparent case, said he tore off the wrong end and tossed the whole business into the audience (?) Brass ring passed on knife which had been thrust through small box. Neat liason —announce a large model. Put larger box on daughter's head. Knives thrust in from all angles. Box opened, head gone.

Closed, knives withdrawn —head back.

Silks from top hat with Mrs. Guest assisting. Finish—a live rabbit.

JOTTINGS New Prexy of the S.A.M. is Bill Greenough. Next year's convention will be in —who knows? ... M-U-M, the Society's magazine, gets a whopping increase of 12 pages per issue.

This brings it to 44. Not bad after a mere two years. Milbourne Christopher continues as master of the editorial chores ... Ray Muse unleashed a big surprise— a new assembly in San Bernardino, California . . . Bill Sachs was given a special plaque at the banquet for his meritorious work publicizing magic in his "Hocus Pocus" column in The Billboard. Coronet was roundly censured for the exposure in April... Frances Ireland, pert in new hair-do, announced that Christopher was to get a special I.B.M. award as magic mag. editor of the year. Out came Karrell Fox with a human "Forgetful Freddy". "Your son", said Karrell, gesturing to the balloonhead.

The balloon burst; it was Don Alan.

The two crowned Christopher with a streamered paper crown decorated with a dozen or so red covers from Mum jars . . . Tracey turned his back one day to his Directory of Magicians stand and a copy of the book vanished into thin air—or someone's pocket...

Most commented-on new tricks at the dealers: Merv Taylor's small metal cask for producing liquids, his new cigarette loader; Gen Grant's pennies in bottle cap routine, his ice pick through sheet of glass in cloth case illusion —3 penetration, E.J. Moore's Ling King Ropes; Horace Marshall's feather flowers. Lots of conjecture about his new watch-alarm clock transposition which he didn't demonstrate.

MUSINGS No badge was necessary to attend lecture sessions or dealer displays, so many who didn't register, got in on the cuff... No guards were on the dealer displays so they worried when not at their booths... Ron Haines was a cheer(Continued on page 11)

Hugard's MAGIC Monthly

MAGICIANS DILEMMA A ROPE - CUTTING MIRACLE The principle on which this trick depends has already been used in magic as a pocket or close up effect.

The additions and improvements I have made in it, make it most effective as a platform or stage trick.

Effect: A length of rope is deliberately cut in half and then restored to its original state while actually in the hands of a spectator. No gimmicks are used and there is nothing to get rid of at the finish. One cord only is used.

Requirements: A length of two-ply sash cord of which the strands are the same color; a wooden curtain ring, a pair of scissors.

Preparation: Take hold of the cord by the middle and seize a strand between the thumb and fingers of each hand. Pull the strands apart by separating the hands about one foot.

Release the loops thus formed one at a time and they will automatically twist back into the same appearance as the rest of the cord. Push one loop through the ring and with thread of the same color as the cord tie the two loops together. Take the free ends of the cord and tie a simple overhand knot drawing it almost down to the point where the two loops were drawn out. On this first knot tie a slip knot The whole thing is shown in illustration. Place the rope thus prepared in your right hand coat pocket. Finally have a pair of scissors in one of your pockets.

In order to keep the cord from unraveling it is advisable to tie a firm knot at each end.

Presentation and Procedure: The magician says: "No man is a magician to his own household. Invariably

MAVERICK. This term is coming into greater use daily. For example: Referring to a magician, you may hear the remark "he's a maverick" meaning that he does not belong to any magical society of any kind.

Here's the origin of the term: In the early days of the west, a businessman, Samuel Maverick, accepted a small herd of cattle in payment of a debt. Not being a cattleman himself, he turned the herd loose on the range and took no further interest in it.

In the course of nature, numerous calves arived on the scene and, since the owner, Mr. Maverick, left them

By JESSE SCHIMMEL THREAD TIES PARTS TOGETHER TO MAKE A LOOP.

-SMALL KNOTS TO PREVENT UNRAVEL "AT ENDS.

Ot/ERHAND & jtrSLIPKNOTS TIED CLOSE AT "A"AS IN

RIGHT HAHD WITH FINGERS AS SHOWN, SLIDES THE. OVERHAND KNOT DOWN TO UNTIE THE CHORD.

when anything goes wrong someone will always call out, 'Hey, you magician, come here and fix this leak,' or whatever the trouble may be. Recently the curtains in my home were being refixed and after the work had been done I found this lying on the floor." (With right hand pull out the prepared cord and display it dangling as in Figure 1). "I happened to want just such a piece of cord so I started to untie this hard knot. Of course someone at once called out: *Why break your nails like that? You are a magician, aren't you?' 'Oh, you want to see some real magic, do you?

Very well'."

MAGICANA unbranded the neighboring ranchers were at liberty to pick them up and put their own brands on them referring to them simply as "maversicks". *

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Critic: A man who thinks he knows more than you ought to.

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Erdnase: If your ambition is to become a card cheat—one of the lowest forms of human endeavor— study the first part of "The Expert at the Card Table." Practice, not by the hour, day or week but by the year.

At this point simply pull out the slip knot secretly and insert the index and middle fingers of the right hand above the single knot, holding the ring and its part of the cords above in the left hand, the two free ends of the cord hanging down below. Figure 4.

"Watch!" Slowly move the right hand downwards thus dissolving the single remaining knot.

"Of course I could now simply slide the ring off but you want magic and I will show you real magic."

At this point the ring should hang over the back of the left hand towards the onlookers, within the loop. Grip the ring with the left fingers. With the right hand take out the scissors and with them simply cut the thread which holds the two loops together as if cutting the cord. Remove the ring and pocket it together with the scissors.

With the right hand take a knotted end of the cord and have a spectator hold it. Then with the same hand gather the two loops into the right fist and with left hand give the other knotted end to be held by another spectator. Instruct both spectators to pull on their ends gently.

This action will automatically pull the two loops back into their original position but you keep both hands rubbing on the middle of the rope until it is stretched taut. When removing your hands from the cord, do so by raising them far outwards thus plainly showing that nothing is being removed from the cord. You will be perfectly safe to make this challenge to the onlookers: "I'll give $50 to anyone who can find any trace of a cut in the cord!"

If, however, you wish to become an entertaining wizard, devote yourself to the second part of the book entitled "Legerdemain."

Remember: A hardworking dumbunny will often achieve greater success than a lazy genius.

Remember: Ad lib as you please but only after careful rehearsal.

Remember: To appear natural on the stage requires the perfection of artistry.

Remember: A rut differs from a grave only in its length.

Hugard's MAGIC Monthly

THE ODIN CARDS LITTLE-KNOWN METHODS OF USING THE "STRIPPER" DECK (Continued from last month)

Fully Explained

Chapter IX FURTHER APPLICATIONS OF THE FOURTH PRINCIPLE (The Stripper Double Lift)

by CLAUDIUS ODIN

THE OBEDIENT SPOT The effect is that the center spot on the 74 apparently changes its position on the face of the card.

Requirements. For this trick you will need a duplicate of the 7 $ , and both cards must be tapered in the same sense. Furthermore, the seventh (center) spot on each card must be at the wide end.

Preparation. Put one of the cards, face up, on the bottom of the (face up) deck.

On this lay the other seven, also face up, but turned end for end.

On this seven, place two or three indifferent cards without reversing them.

Working. 1. Holding the deck, face up, in the left hand, undercut about half the cards with the right hand, and shuffle off onto the left hand portion.

2. Lay the deck, face down, on the table, cut at the (protruding) 7 ^ , and complete the cut. State that the 7 ^ is at the bottom. Turn the deck face up, showing that your guess is correct 3. Remark: "With this 7 ^ I shall show you a rather amusing little trick." Take any indifferent card from the deck, and turn it end for end.

(This card will be used to cover the visible 7 ^ , for a moment, and, eventually, to carry it away).

4. Holding the deck upright in the left hand — the 74 facing the spectators and having its wide end downwards — point out that the seventh (center) spot is at the lower edge of the deck.

5. With the right hand, place the indifferent card on top of the visible 74, and ask a member of the company to say: "Go!" 6. Remove the two cards together by their wide ends with the right hand, and the audience will be surprised to see that the seventh spot is now at the top.

7. Replace the "double" card on top of the sivisible 7$, and tell somebody to shout: "Go up!" Then remove the indifferent card only — by sliding it downwards with the right forefinger— and the seventh spot will appear to have dropped back to its original position.

Inventor of The Odin Rings Translated and Edited, with Notes by VICTOR FARELLI 8. Remark by the Translator. The author states that the effect may be repeated several times in succession, but I think that that would be unwise.

THE EXPANDING ACE For this trick you will require two Aces of Diamonds. The spot on one of them is of normal size, while that on the other is much larger, say, about an inch wide.

Effect The spot on the Ace of Diamonds expands. Then it is restored to normal size.

Preparation. Place the "giant" Ace of Diamonds, face up, on the bottom of the deck. On this lay the ordinary Ace, turned end for end. Finally, place a few indifferent cards —without reversing them— on the bottom of the deck.

Working. Exactly as in the trick previously explained.

1. Having shuffled the deck lay it, face down, on the table and cut the

7\ B

ordinary Ace of Diamonds to the bottom.

2. State that the bottom card is the Ace of Diamonds. Turn over the deck showing that you are right.

3. Point out that the ace is of the usual size. Then cover it with an indifferent card, turned end for end.

4. Tell a spectator to say: "Expand!"

Lift off the double card, showing the "giant" Ace of Diamonds.

5. Replace the double card, ask somebody to say: "Become smaller!"

Then slide off the indifferent card with the right forefinger, bringing the regular Ace of Diamonds into view.

6. Translator's Note. For more detailed instructions, the reader is referred to the preceding trick.

PASSING A MATCH THROUGH A CARD In this section I shall explain: A. A method of faking a card peculiar to myself.

B. An infallible method of forcing a card.

C. An ingenious way to obtain possession of a faked card.

D. How to make it appear that there are no duplicates in the deck.

E. How to get rid of a faked card.

Requirements and Preparation. You will require two Qeens of Spades, one of which you will prepare as follows: With a very sharp knife, or with a single edged razor blade, cut four slits, in the form of a star, as shown in the illustration. Figure B. These slits are invisible on the face of a Court card, and a match may be pushed right through without leaving any trace.

Place this faked card in the inside pocket of your coat, on the left hand side, with its wide end upwards.

Turn the other (unprepared) Queen end for end, and put it anywhere in the deck.

Have a box of matches in any pocket where it may be easily obtained with the right hand.

If possible use small thin matches like those sold in France.

Working. 1. While shuffling the deck, bring the Queen of Spades to the top.

2. Ask someone to call out a smaller number. Say, nine is chosen.

3. Holding the deck, face down, in the right hand —with the wide end of the Queen towards your body— slide the Queen (face down) into your left hand. Count: "One".

4. In the same manner, count another seven cards, one by one, placing them under the Queen.

5. When you come to the ninth card, lay it, turned end for end, on top of the Queen.

(To be continued)

Hugard's MAGIC Monthly

MILBOURNE CHRISTOPHER'S COLUMN Two more ideas on "The Smoking Sailor" and I'll let the subject drop.

POTATO HEAD Sometimes I finish my sponge ball routine by producing a small potato.

After the spectators have cheered, applauded or simply nodded, I take out a pocket knife and start carving the potato.

First, two eyes, then a nose, finally a mouth. You guessed it. I thrust a miniature cigarette between the lips of the potato head and light up so that he can enjoy a smoke.

MIDGET SIZE Scotty McGregor of Troy, Ohio, shows a King of Diamonds. "If the King smoked," he says, "Naturally he'd smoke king-size cigarettes."

Then he shows a miniature King of Diamonds. "If this little king smoked, he'd smoke miniature king-size. Of course he's not alive, but I'll bring him to life by magic and treat him to a cigarette."

Scotty then puts the tiny cigarette in a hole in the mouth of the diminutive ruler and that dignity puffs away in royal fashion.

One final word on "The Smoking Sailor." Get out your back numbers of Hugard's MAGIC Monthly and run through them. You'll be amazed to see the many variations of this popular stunt which have appeared in these pages.

THE VANISHING HOLE I believe youTI like the effect of "The Vanishing Hole". It's off the beaten track and will be a novelty even for a magic-jaded audience.

I devised this feat for television, but it may also be used on other occasions. The effect is straightforward.

The performer thrusts an ice pick through the center of a jumbo-size playing card. The resulting hole disappears with a touch of the wizard's finger. The card is intact again minus any trace of the penetration.

Two secrets are combined to produce the illusion. One is a trick ice pick. When the point is touched against a solid object and the handle is pushed forward, the pick, instead of penetrating the object, slides inside the handle. When the pick is ap-

parently withdrawn, the concealed spring in the handle forces it out full length again. The other secret aid is "It's a Pip" solution. A black dot the diameter of the pick is painted on each side of the jumbo card to be used.

When the card is displayed the magician's thumb covers the black mark on the face of the card, his fingers mask the similar dot on the reverse side.

The point of the ice pick is pressed against the face of the card a fraction of an inch away from the thumb. The card is held so that it is facing the audience. Apparently the pick is thrust through the card. The spectators see the pick "enter" the card at the front but, because of the way the card is held, they cannot see the sharp end emerge from the other side.

That is, if the pick had actually penetrated the card they wouldn't have been able to see the point emerge on the reverse side. The illusion of penetration with the trick ice pick is perfect.

The magician pulls out the pick, then lifts his thumb to the left and holds the card in front of his black dinner jacket. It seems that the dinner jacket is seen through the hole.

Actually, you remember, the "hole" is a dab of "It's a Pip" solution. The card is flipped over and the "hole" is shown on the reverse side. This, too, you recall, is a painted-on "hole."

To bring the feat to an effective climax, all you have to do is rub away the "It's a Pip" on the front with your thumb, while your fingers whisk away the solution on the back.

Hardened "It's a Pip" solution vanishes into nothing when you roll your fingers across it.

Just a word of warning. Several dealers of late have been selling improperly made solution. This will leave a mark where the solution was applied. Test the solution with the card you plan to use, long before you use it.

I use a deuce of spades for the demonstration. Because of the large area of white the "hole" shows up to advantage. If you prefer to use a piece of glazed white cardboard, test

it with your solution to make sure a tell-tale shadowy mark doesn't remain.

For television, a close-up shot at the moment the pick is thrust through the card and withdrawn is effective.

Use a two-third shot just before you completely "withdraw" the pick. Another close-up sells the fact that the dinner jacket is seen through the hole.

Switch to a two-third shot for the rolling away of the solution and back to a tight close-up for a final showing that the card is unmarked.

I mentioned earlier that I designed this trick for television, but I have also used it both close-up and on small stages.

ABOUT "ITS A PIP" Unfortunately the quality of "It's a Pip" varies greatly these days. Two recent bottles manufactured by different dealers were unsatisfactory.

Markings left a gray stain after the dry black had been rolled away. Before you use a trick with "It's a Pip" solution in public, test it in private.

Fred Keating faced with the problem of stain-leaving solution recently solved it by spraying the cardboard he uses with artists' "Fixatiff'. This liquid can be purchased in any art store. It's used after a drawing that might smudge is finished. The liquid is sprayed on. When it dries, the art work has a protective coating.

Fred discovered that if a piece of white Bristol board is sprayed several times, with drying intervals between each spray, he could use even the inferior "It's a Pip" solution now available.

THE ENLARGING WAND Frequently a standard piece of apparatus may be given a presentation twist which makes it appear new to the audience. Currently on the market is an excellent silk to wand. The wand is constructed on the same principle as the silk to cane.

I attached a miniature wand to the inner section of the wand to which one normally ties the silk.

With the outside wand held in position for release by the usual pin, I carry the gadget in my right coat pocket.

(Continued on page 11)

HugarcTs MAGIC Monthly

ENCYCLOPEDIA OF IMPROMPTU TRICKS HANDKERCHIEF (Continued from last month)

By MARTIN GARDNER C and slowly withdrawing it from the loop. The pictures show the trick as viewed from performer's right side.

Care must be taken to finish with right arm either above or below left hand, so it will not hide the loop from audience on right. Trick is equally effective from, all angles.

TRICKS USING THREAD Many beautiful hank effects secretly employ a black thread, but because they usually require considerable preparation, or the use of a reel, no effort will be made to cover them fully. A few, in which preparation is relatively simple, will be listed here.

Others will be found below among penetration and knot effects.

(8) Silk productions (pocket hanks are awkward to handle because of their weight and bulk). Silk is folded compactly into a ball that does not come apart, and placed under vest or in a vest pocket. Thread runs from silk to a lower button or the belt.

When thumb is hooked in thread and hand moved quickly forward, it brings silk into the hand. See Hugard, Silken Sorcery, p. 78. Christopher prefers to have silk under the armpit, from where it can be obtained with greater ease. In either case, the production can be followed by a dissolving knot, using same thread arrangement.

T/ED TQ BOTTOM

(7) Threading the needle. An ancient trick with string, but very effective with a hank. I once saw Paul Rosini present it with strong effect in a Chicago cabaret floorshow. The hank is first twisted rope fashion.

"Wrap it once around left thumb (Fig. 336), then form a small loop (Fig. 337), gripping end A between second and third fingers as shown. The long end (B) is lifted to position of Fig. 338, then brought back to position shown in Fig. 339. Jab the point of the hank forward several times toward the small loop, telling audience you intend to thread it through the loop so rapidly they will not see it done. Lunge forward with right hand, passing directly across loop, and ending with cloth taut as in Fig. 340.

It appears as if you threaded the loop in passing. Actually, the center of the hank has merely been pulled up from left fist and into the loop.

Finish by grabbing the cloth at point

g. 34/

FOR CLARITY, HEAVY LIHE RÂŁPRÂŁSeHTS THE THREAD.

(9) Hank dances between performer's legs, while he is seated.

Thread runs from leg to leg. Hank is knotted over it. The suspended hank is made to dance to music by beating time with one leg. See Hoffman, Later Magic, p. 335.

(10) Stage version of above, in which a horizontal thread is manipulated by an offstage assistant, can be presented in many different ways.

It has been made famous in recent times by Blackstone. See Hoffman, Later Magic, p. 336, for an early description.

(11) Bert Easley's routine (published in Conjuror's Magazine, 1946).

Hank is fastened to a long thread, other end of which is attached to an upper button of shirt. Many comic effects are possible. Hank can be dropped to floor, and as performer tries to pick it up, it hops suddenly away. Fig. 341 shows the thread arrangement. As right hand lowers quickly, it jumps the hank to performer's left. This can be repeated by reversing the thread arrangement so that as left hand reaches for hank, it hops to the right. If left hand (in Fig. 341) is held higher, and directly above hank, then as right reaches slowly for hank, it rises slowly into other hand. By walking away, hank can be made to rise into assistant's hand (Fig. 342). Or assistant can walk away while performer stands still, and achieve same effect. Fig. 343 shows arrangement by which hank, draped over thread, is made to float from performer's hands to those of assistant.

PENETRATIONS (12) Hank is placed across spectator's wrist (Fig. 344). Ends are brought beneath and apparently crossed. Actually, tip of right index presses at point "A", forming a loop around which left hand wraps hank (Fig. 345).

This happens rapidly and gives good illusion of ends being crossed beneath wrist, then brought up again. A double knot is tied above wrist (Fig. 346).

Right hand grasps knot, while left goes below to free the loop. Jerk up with right hand. Hank appears to penetrate wrist. A larger hank can be looped around performer's ankle, leg, or neck. This classic impromptu effect can be found in Hugard, Silken Sorcery, p. 75; Rice, More Naughty Silks, p. 13; Tarbell, Vol. 1., p. 372; Sachs, Sleight of Hand, p. 61; and many other books.

Rice suggests (in his effect No. 59) that a second hank be tied in a circle and placed on the wrist or leg, as

Hugard's MAGIC Monthly

WRIST SEEN FROM GUQW

Tig. 346 shown in Fig. 347. The two hanks seem securely interlocked, but after the penetration is made, the hanks come apart also.

A complicated variation, involving two large silks of contrasting colors, was invented by Stanley Collins and described in his Original Magical Creations, p. 77. One silk is looped around one thigh, and tied. The other silk is similarly fastened to the other thigh. When one silk is pulled free, the other jumps from one thigh to the other. A description may also be found in Hugard, Silken Sorcery, p. 75.

(13) Hank is placed over spectator's extended first finger (Fig. 348). Cross it beneath (Fig. 349). In this and all succeeding crosses, end "A" must always be toward you. Cross ends above

(Fig. 350). Spectator now places index finger of his left hand on top of the crossing (Fig. 351). Cross ends above this finger (Fig. 352), then beneath both fingers (Fig. 353). Bring ends up and hold them in your left hand (Fig. 354). His two fingers appear securely wrapped together. Grasp tip of his lower finger with your right hand, asking him to remove his upper finger from the cloth. As soon as he does so, pull up with left hand. The hank will pull free of his finger. (Fig. 355).

A pencil, table knife, etc., can be substituted for either or both of spectator's fingers. For a version using a broom handle and finger, see Blyth, Handkerchief Magic, p. 72, or Rice, More Naughtly Silks, effect No. 19.

(14) Hank is placed over a broom handle (or wand, back of chair, etc.) and looped about it as shown in Fig. 356. Spectator places a finger on the handle at point "A". The cloth now goes around the finger, crosses, and loops about the handle as shown in Fig. 357. At all crossings the same wrapped twice around the other, and trick still works. See Tarbell, Vol. 5, p. 37, for full description.

(16) Hank is tied in a circle and placed over left wrist. Right hand grasps hank as shown in Fig. 362. It carries the cloth in the direction of arrow, to position of Fig. 363. Loop "A" is placed over left hand (Fig. 364).

end must always cross over the other, or trick will not work. The ends of hank are knotted above the handle as shown. When spectator removes finger, and knot is simultaneously pulled upward, the hank comes free.

As in previous trick, the second set of loops, being made in reverse directions, serve to undo the first set. Instead of spectator's finger, the blade of a knife can be pushed into broom handle at point "A". Loops need not extend along handle, as shown in Fig. for clarity, but may be made on top of each other. With a larger hank, trick can be done on spectator's arms.

(15) Edwin Tabor's pull apart hanks.

Cross one hank over another (Fig. 358). Reach under with right hand, grasp end "A", wrap it once around the other hank (Fig. 359). Grasp end "B" of second hank, wrap it around first one as in Fig. 360. Bring ends "B" and "C" together below, and ends "A" and "D" together above (Fig. 361).

The hanks appear firmly locked. Pull —they come apart. Use hanks of contrasting colors. With silks, each can be

If done quickly, looks as if hank was merely looped twice about wrist. Left hand should turn so back of hand is uppermost, and the false crossing concealed beneath wrist. A tug at point "B", and the hank pulls free.

A little experimentation, and you'll find that hank can be genuinely looped twice around wrist by moves which look identical to above. Thus you can loop it legitimately and let spectator try vainly to pull it off. Repeat with phony looping, and remove it. A favorite of Nate Leipzig. See Rice, More Naughty Silks, Effect #14.

(To be continued)

Hugard's MAGIC Monthly

BOOK

PROFILES

By JOHN J. CRIMMINS, JR.

HUGARD'S MAGIC MONTHLY— VOL. 9. (Fleming Book Edition.) 148pages with 293 drawings by Frank Rigney, and indexed by Paul Fleming.

Available from the Fleming Book Company, 728 Madison Ave., York, Pa., or through your magic dealer. Price, $5.

Of course, I'm prejudiced but I'm sure that Volume IX of Jean Hugard's magazine is the biggest value for the price in the book field today.

Beautifully produced by the Fleming brothers in rich brown buckram, and gold stamped both on cover and spine, it makes a most welcome Number Six to this grand series of bound volumes.

This latest volume covers the June 1951 to May 1952 issues of Hugard's MAGIC Monthly with many a fond memory being revived by the first article to catch your eye as you open the book —Frank Joglar's report of the great S.A.M.-I.B.M. Combined Convention held at the Commodore Hotel in New York during the summer of 1951. From there on the richness of the magic vies with the columnists for attention until the last of the 148 large pages has been turned. Here are tricks with every conceivable object many of which, I'm sure, you've forgotten, and many of which you'll want to add to your programs after this second reading. You'll appreciate, too, the thoroughness of the indexing which unquestionably took many hours of Paul Fleming's time.

Even if you've been a constant subscriber you'll find this bound volume, as well as the preceding five, a valuable addition to your library. As ready reference and for ease in handling they're hard to beat.

Hugard's MAGIC Monthly A monthly publication devoted solely to the interests of magic and magicians.

•

JEAN HUGARD Editor and Publisher 2634 East 19th Street Brooklyn 35, N. Y. • Subscription Rates 1 year, 12 issues, $4.00 (6 issues for $2.00)

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For review purposes in this column there's hardly any sense in my listing the contributors for you know them all. However, a check of the index reveals there are some 23 general tricks, 17 with coins, 26 with cards, 3 with ropes, and 2 with cigarettes. In addition Ross Bertram has contributed 10 articles on the art of sleeving which are the last word on the subject; Victor Farelli has contributed 12 articles, routines, tips and suggestions on cards, sponge balls, cups & balls, ivory balls, ropes and rings & ropes; and Mil bourne Christopher's fertile ingenuity has been responsible for some 58 tricks of up-to-the-minute conjuring. Martin Gardner's monthly stint in his seemingly endless "Encyclopedia of Impromptu Tricks" turns in the amazing total of some 237 descriptions of tricks, stunts, gags and puzzles, while I find that in my "Book Profiles" column I have reported on some 37 books, 29 manuscripts of tricks, and also devoted two-and-ahalf pages to bibliographical notes, and a half page or more to contemporary magazines. All combined, Volume IX makes quite a package!

MATHEMATICAL RECREATIONS —by Maurice Kraitchik. A second, revised edition consisting of 330 pages with index, and with 180 illustrations.

Published in soft board covers by Dover Publications, Inc., 1780 Broadway, New York 19, N. Y. Price, $1.60.

All lovers of mathmagic as presented in the works of Royal Heath and Wallace Lee will find some thrilling hours between the covers of this new edition. The author tells us in the preface that it is not only a revised edition of his original French book, "La Mathematique des Jeux," but that it has been brought up to date with considerable new and novel material. And novel it is, indeed, for there are some 12 chapters entitled "Mathematics without numbers," "Ancient and curious problems," "Numberical pastimes," "Arithmetico-Geometrical questions," "The calendar," "Probabilities," "Magic Squares," "Geometric recreations," "Permutational problems," "The problem of the Queens," "The problem of the Knight," and the final chapter entitled, "Games —positional and permutational."

Two of the chapters are extensively dealt with, i. e.: those on numerical pastimes, and on magic squares. And for the chess master the last three chapters will be of particular interest.

There's a wealth of mathematical oddities and problems in this volume which should appeal generally to all magicians for there's some excellent material here for table and close-up exposition, and even for the platform performer.

PRACTICAL MAGIC —edited by David Robbins. A 79-page book, profusely illustrated and published in soft board covers by D. Robbins & Co., New York, N. Y. Price, $1.00. This book, published primarily for the beginner, contains over 100 tricks that are easy to do. The tricks are reprinted from Robbin's now out-ofprint monthly, "Magic Is Fun," and were selected on the basis of practicability and entertainment value.

The majority of them are with coins, cards, dice, silks, eggs, pencils, dollar bills, etc. Just so you won't get the idea the tricks described are all selfworking ones, you'll be pleased to find some really worthwhile magic here by such contributors as Tom Osborne.

Allan Lambie, Dr. George E. Casaubon, and Billy McComb. On the other hand you'll find a lot of tricks you've known for years credited to people of whom you've never heard. Be that as it may, it's good value for your buck.

PSYCHO No. 6. A four page periodical published now and then by Teral Garrett, P. O. Box 72, Albany, Ky. Price, 25c. Considering the price of this little magazine, the publisher really gives you more than your value in mental magic. Some of the best names in conjuring and mentalism contribute generously, issue after issue. In this latest one Tom Sellers gives an excellent "Three Envelope Divination" which is a variation on a similar feat previously described by Stanley Collins; Jack LaWain describes a clever one-man mental feat; and two worthwhile suggestions, of value to the mentalist, complete this issue. Recommended.

MARGINALIA: Word has reached us that Victor Farelli has just about completed work on a new book, "Magical Bibliographies: A Guide," to be published soon by Jimmy Findlay.

This work lists the titles of over 120 bibliographies and will be of great interest to all collectors. A second interesting item is that Maurice Sardina is working on a translation of George Kaplan's book, "The Fine Art Of Magic," readying it for a French edition.

B O O K S FOR REVIEW should be sent to John J. Crimmins, Jr., 265 Park Hill Avenue, Yonkers 5, New York.

HugortTs MAGIC Monthly

CARD CORNER

UNDER COVER

By NED ARNOLD

SPECTATOR RAfSES CARDS FOR A PEEK. PERFORMERS LITTLE FINGER PUTS CHOTH FOLD IN AT BREAK. The method for the selection of a card by a spectator by having him lift a corner of the pack and peek at the index, introduced by Nate Leipzig is now widely used by magicians. Here is an addition which completely disguises the break which is obtained and held by the performer.

Method: Spread a handkerchief over your left hand and place the deck, face down in its center. Request a spectator to lift the outer right hand corner of the deck at any point he desires and peek at the index of the card exposed. As he does so, slip the tip of the left little finger into the break thus formed at the inner end of the deck carrying with it a fold of the handkerchief. See Figure 1. At the moment that the spectator releases the cards he has lifted, turn the left hand over allowing the folds of the handkerchief to fall downwards completely concealing the deck which will now be face up. Grip the deck tightly to retain the fold in the break.

Next, grip the pack — through the handkerchief — between the right thumb and fingers so that the thumb covers the fold inserted in the break.

Figure 2.

Your next action now is to release the packet of cards below the break and let it fall on the table as if by accident. To do this, simply release the pressure of the right thumb on the packet below the fold and, at the same time, with the tips of the middle and ring fingers on the opposite side (of the packet) trip the cards so

that they make a half turn and fall on the table face down. The upper packet will thus remain gripped by the right hand under the handkerchief.

This action will bring the card peeked at by the spectator to the bottom of the packet on the table.

Remove the upper packet from the handkerchief and drop it face down on top of the one on the table.

The revelation of the chosen card should now make use of the handkerchief in some way.

For instance, simply spread the handkerchief over the deck, go through the motion of searching for a particular card and, finally, draw out the bottom card face downwards.

Have the spectator name his card and slowly turn it face up.

There are several standard tricks for the revelation of a card using a handkerchief which can be used with this method of controlling it. For instance: "Shaking a card through a Handkerchief," so popular years ago and Nate Leipzig's tricks as described on pages 121-124 of Nelson Downs' "The Art of Magic."

PERFORMERS HAND TURNS OVER REVERSING DECK. PART LIFTED

BY SPECTATOR IS DROPPED ON TABLE, WHEN FALLING IT WILL TURN OVER AND SELECTED C/JRD WILL BE AT

THE BOTTOM.

PATTER Collected by CLIFF GREEN A smile is an inexpensive way to improve your looks.

The honeymoon is over when your wife stops helping you with the dishes. * * * A charge account is a wonderful gimmick. It permits the enjoyment of Christmas until January 10th.

Bachelors know more about women than married men. If they didn't, they'd be married too.

What you don't owe won't hurt you.

• • • Magicians, in general, have discarded passes. Girls still like them, especially long ones. * » • Engagement is that period when a girl is placed in solitaire confinement.

Hugard's MAGIC Monthly

FARELLI S L O N D O N BOTANIA (Owen Clark's Presentation) Gentlemen, Quite recently, I demonstrated to Jay Palmer and other magicians, the late Owen Clark's method of presenting Botania, and as they all thought very highly of it, I have decided to explain it fully in this letter in the hope that it will achieve the popularity that it certainly deserves.

EFFECT OF STANDARD VERSION A flower pot, about nine inches high and seven in diameter stands on a table. A cone-shaped tube is shown empty, and to prove that such is the case, the performer may push his arm through it, or he may use it as a speaking-trumpet. This cone is about sixteen inches in height.

This empty tube is placed, wide end down, on top of the flower pot, and immediately lifted up disclosing a beautiful bush, about twice the height of the cone, and covered with very fine imitation flowers.

THE APPARATUS Almost every dealer in the world can supply the necessary equipment: all are based on the same principle and vary only in minor constructional details and in size.

The one used by Owen Clark was probably made by either Davenport, or Hamley, of London. Mike Kanter of Philadelphia, by the way, advertises a beautiful model in his catalogue.

THE CLARK PRESENTATION 1. Stand the empty flower pot on table, show there is nothing in the tube, and place it on top of the pot.

2. Display a very large scarf, and drape it over the cone. Figure 1. Get the orchestra, or the pianist, to play a slow waltz.

3. Grip the cone at the top through the scarf (point "A" in Figure 1) and slowly and gradually lift both off the pot. One by one, the branches of the bush will appear at the lower edge of the scarf (Figure 2) giving the impression that the plant is actually growing.

4. Do not hurry. When all the branches have dropped (which they do of their own accord), slowly raise the cone — still covered with the scarf — disclosing the bush.

5. Lay the cone aside — still enveloped in the scarf — pluck a flower (a real one) from the bush, and throw it to some lady in the audience.

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6. Please do not make the mistake of again showing the cone! Forget all about it, and so will the spectators.

OBSERVATIONS It will be unnecessary to emphasize the advantage of the Owen Clark method of presentation which is undoubtedly extremely artistic.

As I have often pointed out in my writings, the layman is not a fool. Although I do not wish to belittle the standard method of performing the trick, I am convinced that it must be obvious to an intelligent audience that it is purely mechanical. As the effect

LETTER enware. (Terra cotta is the technical term).

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*

In England, most performers stand the pot on the floor of the stage, but a more striking effect is obtained by using a fairly high table. If necessary, the performer could stand on a stool as he raises the scarf. In fact, this would probably be even better, and it would give the impression of a Mammoth Production!

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I have examined some flower pots here in London. Most of them are fitted with a "lug" to be held in place

FLOWER POT

TABLE FLOWERS BEGIN TO APPEAR is "showy" and pretty, the spectators always applaud, but it seems to me that the applause is due more to the maker of the apparatus than to the magician. * • * The cover used by Clark was made of tin, and it was painted a dull red giving it the appearance of a cardboard cone.

The cones sold by many present-day dealers are chromium plated, and they certainly look very well from the front.

But I do not like them: they look exactly what they are, namely, pieces of conjuring apparatus. I myself would cover such a cone with dull red paper to make it appear as ordinary as possible. (But not black: that looks "falkey"). And if the flower pot were also chromed, I would get a professional painter to make it look as if it were made of a brownish red earth-

by the magician's foot as the cover is raised. When a table is used, this lug must be secured to the table top in some way, but I shall leave this elementary detail to the reader to work out for himself.

SHOULD A MAGICIAN TELL LIES? My old friend Owen Clark used to say that a magician should never tell a deliberate falsehood on the stage. By no means a prolific contributor to the columns of the magical press, he felt very strongly on the subject, and he sent an article to one of the English journals explaining his views. Much to my regret, I cannot trace the contribution in question.

On the other hand, Al Leech tells us in his book, "Don't Look Now!", that "Every magician should be an accomplished liar. But telling a convincing fib, fortunately, comes nat-