Pages from hugard's magic monthly vol 8

Hugard's DEVOTED VOL.

SOLELY

MAGIC Monthly T O

VIII, No. 1

T H E

INTERESTS JUNE

O F

M A G I C

1950

A N D

M A G I C I A N S 30 CENTS

COMBINED S.A.M.-I.B.M. CONVENTION (BACKSTAGE with FRANK JOGLAR) More than a 1,000 hocus pocusers journeyed to Chicago to make the combined SAM-IBM convention a tremendous success. Nary an IBMSAM clash marred the proceedings.

It was truly a mass demonstration of fellowship. Richard DuBois will pilot SAM destinies for the coming year and Walter Coleman will head the IBM. This is a happy coincidence.

Both are from New York (or thereabouts) and the combined convention for 1951 is scheduled for the eastern metropolis.

Marvin Roy topped the Saturday night show with his "Magician's Apprentice" routine. The slender Californian, with magnificent stage presence and expert routining, tried to learn magic from a scroll, but all the tricks went slightly awry with a delightful effect. Clark Crandall racked up the laugh honors with a table that rolled away behind his back whenever he reached for it, and a card in egg trick—with 52 eggs.

to GEOFFREY BUCKINGHAM For his lecture and superb demonstration of magic of the hands at the first combined S.A.M. - I.B.M. Convention at Chicago. His explanations of sleights with coins, billiard balls and thimbles were so cleverly arranged and his manipulations so perfectly performed that every detail was followed clearly and closely by his large audience. At the conclusion of his act he received a remarkable ovation, everyone standing and applauding.

His superb artistry will be long remembered by all who were privileged to witness it.

INTERNATIONAL NIGHT Sunday night the British contingent took over. Paced by Goodliffe, who changed costumes several times— once he wore a cowboy suit, there were as many different approaches to magic as there were varieties of accents. Geoffrey Buckingham's unusual thimble conjuring, with sparkling thimbles, and his coin work— especially the audience-pleasing coin ladder brought rounds of applause.

Francis White, with calm deliberation and full command of the stage drove home his points with shafts of wit, specially sharpened for the occasion.

Full marks! Then there was that exuberant school master Tom Harris, who was extremely funny even if the audience didn't quite understand what he was saying. Perhaps the only one who didn't enjoy his turn was the small boy he shoved around on the stage. Cedric from South Africa, who is now "Ray Bentley," conjured and

Paula Bird had two men on the stage for some surprising card counting.

She always had more or less cards than you would expect. Highlight of her act was the sudden vanish of four billiard balls. Best of the Goodliffe stunts was a version of ear-sawing, with Goodliffe's postage-stamp-marked ear the object of Mr. White's blade. The real news event of the show was the appearance of Sorcar, the prolific writer and publicist from Calcutta. In lavish Indian costume, he allowed himself to be blindfolded, then he duplicated words written in various languages on a floor-level blackboard. After a test or two, more blindfold wrappings were added and he drew faces on the blackboard using marks placed there by spectators as the starting point for each sketch. He made an excellent appearance, and in personality he was quite the reverse of what we had expected from his

Hu-Gardenias

bombastic writing. Had he done about half as long as he did, I'm sure he would have stopped the show.

Willane in tophat and tails, went through his act in tipsy fashion. It's a blend of conjuring and music. He plays the pump, balloon and concertina. A sprightly rabbit peeks out of a tophat on his bar frequently to the audience's uncontrolled merriment. It throws out cards, leads the band, etc.

There's a fine candle sequence with the flame jumping from a nearby candle to one across the bar and there's a candle that grows many times its normal length. Still another mechanical marvel is his bar stool. He sits down too hard, shrieks and jumps up. The center piece is protruding a dozen inches through the seat!

NATIONAL NIGHT There was a wonderful blend of nostalgia and modern magic in the Monday night show. As a bearded Father Time on stage read from his memory book, many of the greats of the past stepped from a giant book and performed a quick trick. An Egyptian magician, a Hindu magician, Ching Ling Foo, Cagliostro, Robert-Houdin, Herrmann, Kellar (and what a similar appearance Earl Adcock had), Thurston (LePaul was a marvelous Thurston, with the haunting Thurston music, with a putty nose shaped like the master's and with card palming and the scaling of cards far into the back of the theatre), Blackstone (Bert Allerton was Blackstone. He vanished a cage, then stepped off for another one and, lo and behold, it was Harry, himself. How the audience cheered!) Finally Matt Shulien popped out. Matt is a nice guy, but this burlesque finish destroyed the wonderful mood brought on by the pageant of the past.

Jimmy Muir emceed the show that followed. The Johnstones were first rate with their flashy flower magic,

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razor blades and silk tricks. Marvin Roy, the West Coast Wizard, did it again. Repeated his hit of a few nights before with an entirely different act. This time he wore, in addition to his usual evening clothes, a white tasseled black fez and white gloves.

Electric lights appeared and disappeared in his capable hands, he pulled a light from an empty bag, he shot a silk into the center of a burning globe, he swallowed small lights and brought them up strung. Original touches enlivened every trick and his artistry was loudly acclaimed. Gerrie Larsen, lovely in hoopskirt with a garden background, sang and conjured with silks and flowers despite mechanical difficulties. Terry Lynn produced coins which he hurled in a pail. Then more coins came from a wand and still more from nowhere — one at a time — into a champagne glass. This last was especially fine. Then there were tricks with a bull whip, the knocking of several objects from the edge of his table and finally, after much effort, the chosen card from the rest of the pack.

Bill Talent, an amazingly profficient juggler, scored a signal success. Paul LePaul charmed the conventioneers with his personality and rang up a brilliant triumph with his card work.

George Jason, assisted by Karol Fox, was the laughing hit of the show. His satire has never found a more receptive public. Finally LaFollette presented again his famous quickchange sequence "Frenchy and the Cop". The show started by stirring up old memories and it ended on the same note. A wonderful evening!

MORE ON THE CONCLAVE

Big hit of the educational sessions was Geoffrey Buckingham. He opened with a carefuly thoughtout talk, then went through his routine as Francis White described the steals. Finally he ran a film so that everyone could see the close-up details.. . Worth the price of the convention—the closeup shows. John Ramsey changed a silver to a copper coin and the other way around, with coins at the fingertips of each hand. Then he demonstrated his torn tissue magic, the coin and cylinders trick and his highly individual cups and balls. There is only one John Ramsey . .. LePaul showed that the tricks in his card book actually worked, plus a trick or two more.

Best to me—when he shook the aces from a closed fan of interlaced cards, when the 4 aces appeared in the sealed envelope in his zippered wallet...

Dr. Jaks enchanted everyone with his personalized card trick, his card in the purse.

There was much more at the con-

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vention worthy of note. Ring and Assembley shows, contests, dealers' shows, banquet speeches, after banquet show, night before party, etc....

Most talked of dealers' trick—Merv Taylor's new appearing cage . . . Congratulations Vern Uker, congratulations Dorny, congratulations to all concerned, from every hand we have heard nothing but praise.

NEWS AND NOTES

Walter Gibson's name appeared in Walter Winchell's colum by way of a mention of Litzka's rooster... On "We the People"—Police Sgt. Audley Walsh ... Preview of "The Great Merlini" was on the NBC-TV network.

First show was disappointing. Show had a real magician's brain trust.

Story by Clayt Rawson, Felix Greenfield was one of the producers and Chester Morris was the star.

THE HARTMANS

Once again the Hartmans are back on Broadway, and once again I am happy to recommend that you see their very funny take-off on a magic show. Their comic conjuring is currently at the Coronet. "Tickets, Please" is the title on the marquee.

TV TOPICS

Al Flosso livened up Ed Sullivan's "Toast of the Town". His comedy coin catching routine is solid entertainment . . . Louise Terry appeared on "Versatile Varieties" . . . Norman Jensen used the British "Run Rabbit Run" with telling effect on his "Mr. Magic" session . . . That was Prince Mendes with the quick chick trick on "Break the Bank" . . . Blackstone journeyed to the Big Town to talk TV possibilities . . . Kuda Bux continues his run of CBS. Even prosaic silk and card tricks take on new mystery as he presents them in his Hindu costume with strange accent and accompanying sound effects. Program closer is a weekly X Ray Eye test. Sometimes he catches needle pointed darts tossed his way by snaring them on a ping pong bat, some times he jumps, barefooted, onto a spike-filled plank that has just room enough for his feet. A test I would hesitate to try even without the blindfold . . . Zovello continues to play the "Magic Clown" Sunday AMs for N.Y. viewers. In circus togs, plus pointed cap, he presents a weekly change of tricks. "Laughy", a hand puppet, usually has a stunt of his own to amaze Zovello. Kinescoped versions of the show are being show in several other cities.

CHECK LIST

It's astonishing the way first rate hocus pocus keeps bobbing up in these

pages. How many of the following have you put to work? Kaplan's "Alice in Wonderland", the best die box routine for kiddies I've ever seen (July, 1949); Gardner's "Coat Penetration" (October, 1948); Lu Brent's "Two Into Ones" (November, 1948); Horowitz's "Pop-Up Coins", which you won't appreciate until you've followed his instructions (December, 1948); Bill Nord's "Poke Vanish" (March, 1949); Dr. Daley's "Salt Tricks" (May, 1949); Dai Vernon's "All Backs" (June, 1949); Hugard's "Magic Cigarette Case" (July, 1949); Christopher's "Silk in the News" (September, 1949); Gardner's "Endless Rope", a la Logan Wait (November, 1949); Kaplan's "Impromptu Want Ad Test" (January, 1950); Rawson's "Vanishing Cigarette" (January, 1950); "The Joe Berg Knot" (February( 1950); "Beale's Baffler" (March, 1950) . . . If you've missed any of these, dig out your back numbers and get to work . . .

Want to freshen up your Linking Ring routine? See Fred Braue and Harry Mendoza moves (June, 1948); Like to add some non-cutting rope magic? See Frank Rigney's "Five Knots—One Impossible" (July, 1948); Contemplating a haunting session?

Hugard's "Spirit Seance" (September, 1948); Interested in problems with dice? Rutledge's "The Mental Type" (October, 1948), Bob Stull's "Problem of the Stacked Dice" (January, 1949); Hugard's "The Problem of the Stacked Dice", a follow-up compilation of ideas on the same subject from Rutledge, Wallace and Royal Heath (April, 1949); Fascinated by gadgets to facilitate mental predictions? Rutledge's "Card and Billet Indexes" (July, 1949); the same author's "In the Spectrum" (August, 1949); Got a double-faced card? Read "Bert Allerton's Crazy Cards" (August, 1949); Want to carry your floating ball to new heights? Fitch Cheney's "Zombiesque" (September, 1949); Interested in doing a Piddington, as the British say? "Chalk Mark Telepathy" (November, 1949); Like to make a bigger hit with that Card Sword?

Hugard's "Card Sword" (March, 1950); If you do the C*oin Roll you'll like Ross Bertram's "Devaluation" (April, 1950).

INSTRUCTIONS

"The magic shops shouldn't send out any instructions with their equipment", someone groused the other day, "then magicians would have to work out their own methods and presentations". May I register a reverse opinion. Magic shops should include instructions which are far more complete than those now used. Too fre(Continued on page 673)

Hugard's MAGIC Monthly

ALGERNON & A ROPE A Hospital Phantasy by JEAN HUGARD "It is not enough to twist and twirl a rope, cut it, twist and twirl it again, restore it and then look smugly at the audience expecting loud applause. Too many magicians do not realize that a trick is merely a tool wherev/ith the magician expresses his conception of a magical effect." Jossph H. Fries, M.D. Open House lecture, March, 1950.

Effect: Algernon doesn't cut a rope and doesn't get a job; Tommy does cut a rope and gets the job.

Requirements: A box about 15 in. by 12 in. by 6 in., two pieces of rope about 7 feet in length, two pieces of wrapping paper large enough to wrap the box and a pair of scissors.

Preparation: Spread one piece of wrapping paper on your table. Fold one rope in halves and roll it up into a tight little bundle leaving the ends free. Place this on the middle of the wrapping paper, put the box on top and wrap it up folding the ends of the paper in the usual way. Spread the second paper, place the wrapped box on top and wrap it around the box and tie the package with the other rope, criss-cross fashion, tying the ends on top with half a dozen tight, hard knots. Place the package on your table, one end directly towards the front. Lay the scissors alongside the package.

Procedure and presentation: Begin somewhat after this fashion: "People have said to me, 'What good is magic?

It is just make believe. It has no practical value.' They are wrong as I shall prove to you. A friend of mine, a keen business man, recently had occasion to hire a new office boy. He weeded the applicants down to two, both the right age and size. Imagine you see Algernon on this side, and Tommy on this. He had prepared a final test with two packages, wrapped and corded (point to the package on your table). To save time I'll use one only.

"Now, Algy," he said, "I want you to open up that package for me." Algy was the careful type. He had all the Horatio Alger stories. He knew all the maxims, "Waste not, want not; A penny saved is a penny made; look after the cents and the dollars will look after themselves," and so on.

This is how he did the job:" Go to the table. "Algy saw the scissors but he wasn't going to fall into so obvious a trap as that. No, he tackled the knots with his bare hands and, after a long struggle and breaking two fingernails in the process, he got the rope free. (Go through motions

of untying the knots and pulling the rope off.) He rolled the rope up carefully and laid it on the table. (Pretend to do this.) Then he unfolded the wrappings, smoothed them out, folded them neatly and laid them beside the rope. (Pretend to do this.) He stepped back satisfied he had done a good job.

"Very good, Algy," said my friend.

"V-E-R-Y good. Just three minutes and fifty-six seconds. Now, Tommy, you open up the other package."

Tommy did it like this — go to the table, stand with your right side to

6 HARD CUT HERE

CUT HERE. the audience, seize the scissors and with two quick cuts sever the rope at A and B (see figure), pull the rope off, roll it into a tight little bundle and hold it in your left hand.

Unfold the first wrapper at the end nearest the audience, then unfold it at the other end. Unfold the front of the second paper at the front end, then the end at the rear. Leave the cut rope at the back between the sheets but close your left hand again.

Up-end the box towards the audience, your left hand going underneath and seizing the duplicate bundle of rope. Lift the box and place it aside and put the duplicate rope on top. Swiftly crumple the two pieces of wrapping paper into a ball with the cut rope inside and lay it aside.

"Good boy, Tommy," said my friend.

"Ten seconds flat!'

"But Toramny wasn't finished. He took the rope, held two ends in his left hand, pressed the other ends together (take the two ends with your left hand and with the right pretend to press the ends together). Then he utterred the magic words "HOCUS POCUS, HI COCKALORUM CROKUS" and there was the rope all in one piece and free from knots. (Hold your left hand high, let one end of the rope go and shake it out to full length.) Hold the position for a few moments for effect.

Take the other end of the rope with your right hand, give the rope a few sharp tugs and toss it out to the audience.

"So practical Tomy got the job. Poor Algy went home a sadder and a wiser boy. He threw his Horatio Alger books in the ash can and bought Jean Hugard's MODERN MAGIC MANUAL" ($3.50 at all magic stores.) *

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DO NOT follow with another cut and restored rope trick. That would be worse than a crime—a blinder.

Have whatever articles you need for your other tricks in the box and, finally, do not forget to pack the crumpled wrapping paper in the box.

INQUIRIES M. N.: How can I best dispose of my thumb tip after doing the Torn and Restored Tissue Strip?

After stretching the restored strip between your hands, drop the right hand end and let the strip dangle from your left hand giving it a little shake to keep attention on it while with your right hand you take a pencil from your upper left vest pocket at the same time dislodging the thumb tip and leaving it in the pocket. Drape the strip over the pencil and offer it to a spectator. *

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G. B.: I have been using the Broken and restored thread trick described by Sachs in his SLEIGHT OF HAND (Fleming Classic Series). Are there any other references to this trick in print?

Yes. George G. Kaplan in his book THE FINE ART OF MAGIC has developed a method which makes the trick most effective for platform or stage presentation. In effect, a much longer white thread is used. This is broken into small pieces by the performer and an assisting spectator. The fragments are rolled into n little ball and each takes hold of an end. They pull in opposite directions. The little bundle unravels visibly, the pieces joining up until the thread is streched across the stage intact as at first.

A beautiful effect. * * • G. R.: How can I obtain a copy of the French book on CARD FLOURISHES which was reviewed in your April issue?

At present this book is obtainable only from the publisher in Paris, France. Try sending an order to the Fleming Book Co., 728 Madison Ave., York, Pa. They have a representative in England and may be able to obtain a copy for you.

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ERLINI'S

MAGIC

by CLAYTON RAWSON SALTLESS SORCERY Remember the card location which everyone was doing more years ago than we care to remember and which practically nobody does any more, except possibly at the dinner table, because carrying salt around is too much bother? Here's a saltless method.

Begin by giving the deck a downward bend, either by springing the cards or by executing a pressure fan.

Then hold the squared deck in the left hand and riffle the outer left corner with the thumb, asking a spectator to tell you when to stop. Stop when told, cut off the cards above the break, extend the left hand toward the spectator, push the top card over the side of the deck, and turn the hand up so the spectators can see the face of this card. While their attention is on it, your right hand bends the cards it holds in the opposite direction. The right hand packet is now concave, the left hand packet, including the chosen card, is convex.

As soon as the card has been noted and the secret action completed, the right hand slaps its cards carelessly down on the others. Square the deck and execute several fast cuts, finishing with a Charlier pass. The deck will automatically break between what was originally the top and bottom

cards of the deck because they are bent in opposite directions, and the deck will, at the completion of the Charlier pass, again be in its original condition with all the concave cards on top, all the convex ones below.

If the deck is placed on the floor and kicked with the side of the foot, as in the original "Sleight of Foot" salt trick, it will break directly above the chosen card and you can separate the chosen card from the others with your foot.

But perhaps conditions aren't right for performing with the feet. Maybe you're working at a table and don't want to have to stand on it! Here are several alternative handlings. These will also work using salt, but the convex-concave method can be used when there isn't any salt for miles.

1. If the deck is held a few inches above the floor or table and dropped with a twisting motion, the concave cards in the upper packet will spin around on the chosen card which is at the top of the convex group.

2. If the deck is held an inch or two above a smooth surfjace and thrown sharply sideways, it will, in sliding, break cleanly into two packets just above the selected card, for (from the spectator's point of view) no apparent reason. On an unsmooth sur-

THE FOUR ACE TRICK TYRO writes: How many methods are there of doing the Four Ace Trick? I mean the conventional trick of laying out the four aces, placing three cards on each ace and then causing the aces to come together in one pile. Probably there are several hundred. In a recent variation the aces are shown to have passed into the selected pile one by one thereby destroying the climax to the trick. Dai Vernon and Dr. Daley are reported to have four and forty, (or is it four hundred and forty?) different methods of accomplishing this variation.

Magicians overlook the fact that all these tricks are only one trick so far as the layman is concerned. He knows nothing and cares less for the methods employed. All he wants is that the magician shall entertain him and this is where the trick falls flat.

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It has been well said that a trick shorn of its patter becomes a mere curiosity which is quickly forgotten.

The patter that accompanies the four ace trick runs like this— "I place the four aces on the table. On each ace I deal three cards", and so on to the finish when the performer says triumphantly, "And here are the four aces all together!" No reason is given for the antics of the aces, there is no plot, no appeal to the imagination of the onlooker and no magic. This is the Little Jack Horner type of magic.

Palpably the performer is saying to himself "Oh, what a smart guy I am!"

He is so busy entertaining himself that he gives no thought to entertaining his audience. Cannot someone come up with a presentation of the Four Ace Trick which will take it out of the "Smart Alec" class and make it amusing and entertaining.

face, such as a rug, the throw must be sharply downwards as well as sideways.

3. If the deck is held a foot above the table, right thumb on top, fingers underneath at the extreme right edge, and the thumb is suddenly lifted, the deck will turn over in dropping and split neatly into two packets at the proper spot as it does so.

4. Less spectacular, but perhaps more subtle, is this one. Drop the deck with apparent carelessness on the table, actually giving it just a slight forward motion so that the two packets separate only a quarter of an inch or less. This causes a small step to appear in the end of the pack nearest yourself. Dropping the packet in this manner suggests that you are not controlling the location of the chosen card by any sleight of hand means (which you aren't), and yet you can instantly cut off all the cards above the step and turn over the chosen card. Even better, keep one eye on the card at the step and spread the deck out over the table top, apparently mixing the cards at random. And finally pick the card the spectator is concentrating on from among the scattered cards.

The easy, careless handling of the deck in this method convinces even the most sceptical spectators that the card must be, as you say, lost in the deck. And I think you'll like the effortless, automatic way in which the chosen card finds itself.

(In THE MODERN CONJURER by Lang Neil, Tyro will find a presentation of the Four Ace Trick which fulfills all his requirements. This is Charles Bertram's version and in his hands it was so entertaining that he used it in his stage performances and always with success. This I can vouch for, having seen Bertram do the trick many times. On this very subject Bertram once remarked to me, "There are a dozen smart young fellows in London who can run rings round me at sleight of hand but I get the engagement!" And this was no idle boast. Editor.) *

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MAGICANA Surest way to a magician's heart: praise his tricks. * * * Don't be one of those for whom experience merely tells when the same mistake has been made again.

Hugard's MAGIC Monthly

MILBOURNE CHRISTOPHER'S COLUMN FLASH PAPER PROTRUDES SLIGHTLY THROUCH SLIT.

MATCH END STILL GLOWING, IS APPLIED TO PAPER.

Many tricks of an intimate nature are forgotten soon after they are seen.

Others linger on in the spectator's memory. Of the closeup tricks I have used consistently for the past several years, few have made stronger impressions, and been more commented upon long after the time of performance, than one I call "Flame Up".

It is remembered, I believe, because the sudden burst of fire makes a vivid impression. Later when the onlooker tries to duplicate it, it will further impress him.

Lake my other favorite closeup tricks "Flame Up" developed through the doing of it. Bit by bit I learned how to make it more impressive. At first I used to perform it with paper napkins, on occasion I still do, but in the long run I found that a square of newspaper was better. Newspaper may be found almost everywhere. If you tear a section away from a friend's paper, that adds to his interest in your performance. Especially if you tear away a piece ha hasn't read.

For the underlying principle I am indebted to Sid Lorraine. In its present form the method is camouflaged.

FLAME UP Sid Lorraine started it. He wrote that when you touch a match, that has burned a second then been blown out, to a piece of flash paper, the flash paper will explode. He used the method with a flash bill. I tried it, liked it and used it frequently: Then I got to thinking. How effective it would be if I could touch the burned out match to a piece of unprepared newspaper and send it up in flame!

The final handling may read quite simply but it was the result of much experimentation. The easy way to do a trick is the hard way to devise.

This is the effect. I bundle up a small piece of newspaper, generally a six inch square. I light a match, let it burn until I set the tip turning red, then I blow it out and apply it to the paper. The paper immediately bursts into flames.

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u

PAPER BURSTS INTO '-Z FLAMES

Method: I carry half a dozen balls of flash paper in my right coat pocket.

The balls are made by crumpling four inch squares of flash paper. I carry several so that I am always ready to do the tricks. Just before I perform, I put my right hand in my pocket.

When I bring it out, I bring out one of the flash paper balls, hidden by my closed fingers.

I take the torn sheet of borrowed newspaper in my left hand. I form the paper into a loose ball between my two hands, getting the flash paper in the center of it with my right fingers during the process. One other thing is done secretly when the ball is formed. I make an inch tear in the center of the paper. This is simple to do as newsprint tears easily. It should not be noticeable to your audience.

I light my match, allow it burn until, as I mentioned earlier, the end gets red hot. I blow it out, then touch it to what seems to be the newspaper but actually is the flashpaper, which protrudes slightly through the hole in the paper. The newsprint flames up on touch and burns until I drop it into an ashtray, where it is finally reduced to ashes.

There is no clue to the method at the finish. Both ashes and burnt match may be examined endleslly for there is nothing unusual about them.

Warning: Be sure that you use fresh flash paper. Some of the flash paper on sale today loses much of its potency after it had been exposed to the

SHOW RIGHT HAND EMPTY. HOOKED COIN / PINNED OV BACK OF BILL

air for several days. Test the sheet you plan to use. If your flash paper is not in good condition, the paper will not explode. Instead there will be a mild "puf' and a slight burn on the inside of the newspaper.

SILVER FROM DOLLAR Peter Godfrey, the British director and magician, showed me a novel money trick recently in Hollywood.

He borrowed a dollar bill, then showed it both sides. He folded it in half, then tilted it. A half dollar rolled out.

Method: A hooked coin is used. A bent needle soldered to a real half dollar is the secret. Don't use a palming coin instead of the silver piece, the real money adds to the trick.

Conceal the hooked half dollar in your right hand, by holding it with your closed fingers.

Borrow a dollar bill. Take it with your left hand, pass it to your right.

As you show your left hand empty, secretly hook the coin on the bank note with your right hand. Take the dollar from your left hand, taking care that the hooked coin is on the side away from the audience. Hold the bank note by your left finger tips as you show your right hand empty.

Bring your hands together, fold the bill and pour out the dollar.

You will find that the coin should be hooked near the top of the bill so that when the fold is made it doesn't disturb the position of the coin.

COIN FROM CHECK The check in this case is the one you ask for in a restaurant. You call for the check before your dinner companion. This is amazing item, number one. Show your left hand freely, then the check, now your right hand. Finally fold the check and allow the coin to roll out.

By the by, you may have to push upwards a bit from the bottom of the (Continued on page 675)

BILL FOLDED UP AT THE BACH.

FOLDED BILL TILTED. CO/N POLLS OUT.

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BOOK PROFILES

by JOHN J. CRIMMINS, JR. THE GREAT HOUDINI—by Beryl Williams and Samuel Epstein. A 182 page printed book with cloth cover.

Introduction by Walter Gibson. Published by Julian Messner, New York.

Available at all magic dealers and book stores. Price $2.75. This story of Harry Houdini's life, struggles and triumphs is a fascinating and entertaining biography of a magnificent escape artist and showman. Written primarily for the younger generation who had not the opportunity of seeing Houdini in action, it commands your interest from the very first page. Each of the 19 chapters covers an episode or series of episodes in Houdini's struggle for recognition; each is a complete and exciting adventure; and all fit nicely into a frankly condensed resume of the great showman's life.

The final chapter explains in a general way several of his better known illusions and escapes and, considering that this volume has been produced for the public book trade, it will in all probabilities be the first chapter turned to by many readers. Magicians vill find nothing startingly new in this inal chapter. My personal opinion is hat these disclosures tend to rob considerable glamour from the public esteem that Houdini enjoyed while he lived, for he successfully and consistantly baffled and intrigued the public who knew him. Explaining his feats now sort of makes a mountebank of him. However, there will only be one HOUDINI—the superb showman—and it is a real pleasure to find the story of his life before the public once again. In many respects it parallels that of the great W. C. Fields: Not since 1928 when Kellock's "Houdini: His Life Story," appeared has a book about this versatile escape artist seen print. You'll find it absorbing reading, and I recommend it to you with the knowledge that you'll enjoy every minute spent with it either renewing your acquaintance with Houdini, or meeting him for the first time.

SMART COMEDY FOR MAGICIANS & MCs—by George McAthy. A 40 page printed booklet in soft board covers. Published by Tommy Windsor Studio, Marietta, Ohio. Price, $2.00.

If you're looking for smart, up-tothe-minute patter, gags, bits of business, and MC material this No. 4 booklet in the McAthy series is tops. The majority of the material is original, and what's been adapted to fit situa-

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tions all bears the professional McAthy stamp. Unlike others, SMART COMEDY is really funny and contains no vulgarity. McAthy gives you logical, usable and humorous patter for such tricks as the Changing Bag, The Blue Phantom, The Die Box, etc.; complete patter and routines for a swell presentation of Trouble-Wit, and another titled The Drunkard's Dream. Also a host of classified quips and nifties; 13 laugh-producing prop gags; a dozen suggested twists for standard tricks; some bang-up MC gags; and a melange of patter por jugglers. You'll also like Hen Fetsch's "Four of Roses" card tricks, one of the few nonMcAthy bits in the book. There's a wealth of usable material here, and if you lean to the comedy type of act you'll have a field day. Highly recommended.

Tommy Windsor has also marketed MANDROOP'S LAFF LETTERS, a packet of 4 McAthy brain-storms for injecting spots of humor into your act. It sells for $1, and for my money —one of these, "Sample Drink Letter" is worth five times the asking price.

BERLAND'S BOOK OF ROUTINES —by Samuel Berland, Chicago, Illinois.

A 30 page printed book with stiff board covers. Copiously illustrated by Gene Erpenback. Price, $2.00. This new book is one of the few actually teaching complete routines. It gives full instructions for 8 fine presentations: An Impromptu Cigarette Routine; Astrological Forecast (cards); Liquor Finish for Cups and Balls; Bill Tube Presentation; Chinese Rice Bowls Supreme; Silks and Soup Plate, Novelty Corn Cob Pipe Production; and Golf Ball Routine. You'll like them all. The Silks and Soup Plate routine, based on Okito's method, is superb. The Corn Cob Pipe effect, based on Bob Hummer's original act, is unique; while the Golf Ball Routine adds new scope to the wellknown Ireland balls. It's an excellent book, and magic could do with a lot more along similar lines.

U-CAN-DO CARD ACT—by Jack Chanin, Philadelphia, Pa. A 7 page mimeographed routine complete with special pack of cards. Price $3.00. This pack of cards combines several known trick deck principles, and has been used successfully by Jack Chanin for many years to the complete mystification of well versed card men. Its in-

genious principles make possible some of the most astounding tricks in the realm of card magic. True, it will take some practice to work it smoothly, but its possibilities seem limitless.

In his manuscript, Chanin describes 14 effects which run the full gamut from naming a selected card to cutting the four Aces in a thoroughly shuffled deck. Switching this pack into your regular routine will produce miracles, and all with the greatest of ease! Furthermore, it appears to be a regular, unprepared deck. This Chanin deck marks the third excellent trick deck to hit the market this past year.

The other two being Enardo's "Eureka (Marked-Stripper) Deck," and Stuthard's "Trilby Deck."

Also being offered by Jack Chanin is his easy-to-do KATCH-O-KARD gimmick for producing one card at a time at the finger tips. This sells for $5, and comes complete with 4 pages of illustrated, mimeographed instructions. Jack introduced this at the recent Chicago SAM-IBM Convention where he offered $100 to anyone who couldn't do it with five minute's practice. It's that simple to operate. An excellent gimmick for those who do not want to spend the time mastering the backhand palm and single card production of a dozen cards from that position. It's practical, will fit any size hand, and can also be used to vanish a card via automatic back palming.

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

MAGICANA Joys of an editor: Extract from a letter to the editor of H. M. M.: "I have decided not to start a new magic magazine . . . I propose to collect material with a view to improving the current magical periodicals (not necessarily yours) which are badly in need of it."

No comment. * * * Woes of an editor: The editor of a magic magazine writes, in his own journal, that a subscriber has complained that he (the subscriber) cannot understand his (the editor(s) explanations of the tricks he prints.

Surmising that there may be others in the same predicament, the editor proposes to rent a studio one night a week where, for the modest entrance fee of two dollars, subscribers can receive fuller explanations and demonstrations of such tricks.

Again, no comment.

Hugard's MAGIC Monthly

A NEW CARD FLOURISH

by JEAN VALTON

There is a pretty little flourish with coins in which three coins are spread

BACKSTAGE (Continued from page 668) quently a six or eight line mimeographed sheet accompanies a standard trick. No mention is made of the subleties developed through the years which make the trickâ&#x20AC;&#x201D;magic. Once you have a complete understanding of a piece of apparatus and how it can be used deceptively, then you can devise original presentations. Until then, no mater how original your patter or handling, you will be operating under handicaps. Time and time again tricks have been merchandized minus vitally importants bits om misdirection or selling procedure.

ONE VERSUS MANY The same evening that the Knights of Magic presented their annual show in New York, Tommy and Betty Tucker appeared with a full evening of hocus pocus at the Brooklyn Academy of Music. The Knights had a half-filled house and a half enthusiastic audience. The Tuckers worked to fine business and a rousing reception.

MAGIC BATTLE The sort of magical warfare that should be encouraged took place at the Mark Hellinger Theater in New York.

Bruce Elliott was one of the sponsors.

Billed as "Battle of the Magicians" it drew 1,400 people and $4,000 for the New York Heart Association. Keating introduced the acts and just a listing will give you an idea of the caliber of the show: Kim, Jay Marshall, Kuda Bux, Cardini, Larry Weeks, Himber, Al Flosso, Eileen O'Dare (a dancer), Andrew McKinley, Victor Jory, Paula Baird and Al and Shirley Delage.

on the back of the right hand, then tossed into the air and caught one by one with the same hand. With three coins this is not very difficult but to do it with four requires a considerable amount of practice, while five or six coins will tax the skill of a professional juggler.

M. Valton has applied the idea to playing cards. He divides a deck into five packets, places them at intervals on his left arm, tosses them into the air and catches them one by one, thus reassembling the whole deck. A remarkable exhibition of dexterity.

The illustrations are taken from the French book, Les Principles Brillantes

de la Manipulation des Cartes, by Dr. Jacques Gery and show M. Valton, the famous French magician and manipulator in action. For the illustrations alone the book is well worth while to anyone interested in card flourishes.

A PRINTER'S DREAM

by GERALD KOSKY Effect and Presentation: "The other day my printer told me of a new invention of his that was going to make him rich in a very short time... I asked him to show me his invention; he complied by showing me three pieces of cards that they use to print on. He counted them one at a time from his right hand onto his left hand, showing me that no printing was on them... He then turned the cards over and placed them in a row on the table tike this . . . When the cards were on the table, he asked me what I'd like printed on the cards, I told him my name, business address, telephone number, etc., etc He said "Watch,"

UNREHEARSED INCIDENTS The original Dante, who made such a sensation many years ago in Australia, made a feature act of The Rising Cards. After the usual preliminaries, he would place the deck in a glass houlette on a small tray, cover the houlette with a small glass dome and then have the tray held by a spectator in the audience. Chosen cards would then rise from the deck with great effect.

On one occasion, in Sydney, after the usual impressive build-up, the mechanism failed and the cards refused to rise.

What would you have done?

and all he did was rub the palm of his right hand on the top of his head, and when I turned the card over, it had my name, address, telephone number, etc., etc., printed on it like these cards have... My printer is certainly going to make a lot of money with his invention."

Secret: The whole secret of the above effect depends on the Dai Vernon Fake Turn Over Sleight; as illustrated and described on page 552 in the June, 1949 issue of Hugard's MAGIC Monthly.

Working: Take three or more business cards of your own out of your pocket, blank sides u p . . . Be careful when taking the cards out of your pocket that the spectators do no get a flash or glimpse of the printed side of the cards... Show the blank sides of your cards by dealing them one at a time from your right hand onto your left hand... When the cards are in your left hand, do the Dai Vernon Fake Turn Over Sleight as you place the cards back onto your right hand . . . You then deal the cards one at a time so that they are separated in a row on the table... Finish as described in the effect...

The Vernon sleight if done properly, is a perfect illusion... I use it a lot for impromptu "Spirit Writings and Prediction effects." All you have to do is show the cards you are using blank on both sides as per the Vernon sleight, and you have effects at your command that will equal many that you do with slates.

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Hugard's MAGIC Monthly

THE RED-BLACK SHUFFLE

by MARTIN GARDNER In the past decade card men have devoted considerable thought to the development of shuffles which genuinely shuffle the deck but maintain a separation between two halves. If the division is between red and black cards, these shuffles will mix red into red, black into black. Numerous effects have been invented in recent years which require keeping such a separation, of which Paul Curry's Out of This World (1942) is the classic example. Other tricks involve a division based on odd and even, the one-way principle, or a division similar to one I proposed in My Best (p. 89) involving the presence or absence of "curls" in the indices.

Because the explanations of these shuffles are widely distributed through the literature, and a good many have not yet appeared in print, I intend to devote this and the next two columns to a brief round-up of the more important ones. I'll appreciate hearing from readers concerning any shuffles I overlook.

OVERHAND RED-BLACK SHUFFLES (1) Run cards until you are closer to center, then simply replace rest of deck beneath them.

(2) Instead of undercutting, the tips of thumb and second finger lift off top half slightly above center. These cards are then run off. Perhaps a better way to pick up top half is for left thumb, resting on edge of cards, to break deck slightly above center.

The right hand can now pick up the packet easily.

(3) Run cards until close to center, then either in-jog a card and toss rest on top, or toss rest of deck so it jogs forward. Pick up lower half (including the in-jog card, if used) and shuffle off. Or square deck in hands, securing right thumb break above the jogged card, and cut to table.

(4) Begin shuffle with right thumb holding a break between the two halves. Shuffle off to break, then injog a card and shuffle remainder Right thumb pushes in jogged card, holding break beneath. Repeat several times.

(5) Run small packets until near center, run single cards until past center, then shuffle off. A good handling is for right thumb to secure a small break slightly above center before beginning. When you reach the break, start running singles. Audley Walsh covers the two changes of tempo by pattering, "If you're in a poker game and the dealer shuffles in bunches like this, it's okay. But as

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soon as you see him running cards one at a time like this, watch out for something crooked. In bunches like this, though, the shuffle is all right."

Jack Miller eliminates the first change of tempo by beginning the shuffle with an undercut slightly above center. He runs six or seven singles, then shuffles off.

(6) Undercut slightly below center, in-jog first card, then run the packet.

You can now terminate in the following ways: a. Pick up cards below jog and toss on top. b. Pick up half of cards below jog and toss on top. Then pick up remaining cards and shuffle off. d. Square cards in hand securing little finger break below jogged card. Cut at break, putting top half on table, remainder on top. Or hold in hand, left hand cutting twice from the bottom and placing cards on top. Second cut, of course, is at the break.

HINDU RED-BLACK SHUFFLES These shuffles are applications of the above principles to the Hindu shuffle.

(1) Right hand picks up top half slightly above center. Shuffle off.

(2) Run off cards until close to center, then drop remainder on top holding a little finger break. You can now: a. Undercut to break and shuffle off. b. Square deck and give it a single cut at break. A good cut to use here is the swiwel cut, made by placing the tip of left forefinger against the back edge of the upper half, then swinging this half to the left and forward through a semicircle, the right middle finger acting as a pivot at the other end. As soon as the semi-circle is completed, the half is allowed to fall into the left palm. Right hand then places its cards on top.

(3) Begin shuffle with a little finger break between the halves. Undercut to break and shuffle off, but maintain another little finger break beneath these cards. Repeat several times.

(4) Undercut slightly below center and run off, maintaining little finger break beneath these cards. Terminate in one of the following ways: a. Undercut to break and toss on top. b. Undercut twice, first a quarter packet, then the remainder. c. Undercut a quarter packet, then

undercut remaining cards and shuffle off. d. Square cards in hand, holding break with little finger. Either give a single cut to table, a swivel cut, or execute the double cut in hands.

This latter handling, alternating with No. 7 above, provides a very convincing series of Hindu shuffles. e. Undercut to break and put on top, allowing lower portion of these cards to fall flush, but retaining the upper portion in the right fingers.

Shuffle off the portion retained.

These shuffles are not all equally good, of course, but I think it worth while to bring them together so each performer can choose the one that suits best his style of work.

Audley Walsh has called my attention to the fact that after shuffling you can execute any type of threeway false cut, but before replacing the final third, make a series of running cuts from the top of this packet to the deck. In two-way false cuts you can do the same thing by making sure the cards you replace in this manner are slightly less than half the pack. The ruuning cuts are very convincing.

Next month: Red-black riffle shuffles.

MAGICANA Wild rabbits sometimes indulge in fisticuffs. Sitting up on their haunches, two bucks will strike at one another with their fore paws. And they do it in regular rounds too. After exchanging a few blows they flop down, nibble some refreshment, then sit up and go at it again. Who will be the first magician to stage THE BATTLING BUNNIES? » » * Interlude: With a small solid rubber ball palmed in your right hand, spread out a borrowed handkerchief. Roll it into a bundle with ball inside, loosely but securely wrapped. Remarking, "The latest style-rubber! bounce the bundle on the stage and, holding your left outside coat pocket open with your left hand, contrive to have the little bundle fall inside. Pull the handkerchief out leaving the ball in the pocket. Carry on without comment. * * * The man whose fingers are all thumbs may make a success at hitchhiking, never at magic.

•

•

*

There is a vast difference between legerdemain and magic. The legerdemaniac glories in parading personal dexterity—the magician cultivates the art of concealing it.

Hugard's MAGIC Monthly

CHRISTOPHER'S COLUMN (Continued from page 671) fold to dislodge the coin, remember that it is hooked in place.

Always be sure that the check is for more than fifty cents so that you can pocket the hooked coin and pull out a bill in payment. If the check is for a smaller amount you'd have to switch coins or spend the hooked coin. I resist the temptation to say that if you spent the hooked coin the cashier would be stuck with it.

BREAK-AWAY FAN IDEA Have you ever passed a BreakAway Fan to a wise guy who immediately reversed it and opened it properly to the audience's glee and your embarrassment? If so you'll appreciate a tip from my friend Charley Jones, of Colta and Colta.

When you don't want the spectator to succeed, give the end two ribs two complete extra revolutions. With most standard fans, this will cause the fan to fall apart no matter which side the spectator attempts to open.

THE SHRINKING CARD From Lloyd Chambers, of Wichita, Kansas, an excellent presentation for the large slat frame which is made of wood and which takes a giant card.

Hold a normal playing card, of the same suit and denomination as that which shows through the slats, behind the frame.

Announce a visible trick, an easy way of reducing.

Let the giant card section fall into the frame and at the same time release the regular playing card.

From the front it seems that the giant card shrinks as it drops from the frame.

If you have a small size frame, try this presentation with a miniature card at the rear. The effect is intriguing.

For a special occasion you could make up two special cards. One, giant size, on which a chubby girl has been painted; the other, normal size, on which a slim girl has been painted.

Other ideas for commercial tie-ins will suggest themselves if you give a little thought to it.

FISH SURPRISE Do you have a Bill Tube of the sort that once you steal away the inner section you put the capped tube in another metal tube, and put another cap in place? If so you can use another Lloyd Jones idea. In the bottom of the second tube is still another tube containing one goldfish. When the first sealed tube is put in the seoond container, the goldfish tube slides through its open bottom. S o . . .

THE "CLICK" PASS

by ARTHUR PUNNAR

FI&ST TWO COINS SECOND TWO COINS

This original "click" pass will appeal especially to the devotee of pure sleight of hand. It is designed to enable the performer to steal one or more coins from a number of coins placed singly in the left hand and it will be found useful in a wide range of close-up applications.

For the purpose of illustration assume that two coins are to be transposed from one hand to the other.

Usually the coins are caused to travel singly and by a repetitious move, a somewhat hazardous procedure.

Method: Begin by placing the first

when eventually you open the outer tube and take out the inner tube, when you unfasten the tube of the inner tube and tilt the inner tube, a live goldfish will appear. If you want a small startling trick, this is it. That tiny goldfish is as surprising to an intimate onlooker as a herd of elephants would be on the stage.

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, $3.00 (6 issues for $1.50)

coin at the roots of the middle and ring fingers of the left hand, held palm upwards to receive them. Lay the second coin directly on the first, snapping it down with the thumb and making an audible "click." Deposit the third coin on the second but a little lower down so that it covers only half of the second coin (figure), and again making the "click." Place the fourth coin directly on the third, repeating the "click," and at the same moment raise the middle finger of the left hand so that you can clip the first two coins by their upper edges between the right middle and third fingers. Close the left hand on the two remaining coins, turn it over, bringing its back towards the spectators, and move it upwards towards the left to about shoulder height. Follow this movement of the left hand with your eyes, keeping the right hand stationary for the moment.

Drop the right hand slightly, keeping its back to the audience and the fingers curled slightly inwards.

Do not attempt to palm the coins, close the right hand only after you have commanded the two coins to pass into it.

THIMBLE MAGIC Third of a series

by CHESTER DOBSKI SIMPLE VANISH This is another complete vanish but it requires a little preparation. Beforehand open the seam at the end of your tie, insert a thimble and sew the seam together again.

Procedure: Display a thimble on the palm of your left hand, holding it fairly close to your body and at the same level as the concealed thimble in your tie. Cover your left hand and thimble with your handkerchief and under its cover get hold of the concealed thimble. Let a spectator feel this and as he does so push the other thimble under your belt at the top of your trousers. Let the concealed thimble rest on the palm of your left hand, then suddenly whisk the handkerchief away letting the tie fall into position and the thimble has vanished.

You can reproduce the thimble under your belt in the course of later manipulations.

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Hugard's MAGIC Monthly

THE DANCING HANDKERCHIEF

FABLE

A Comedy Version

Woofleduster, who dabbled with magic, was asked by a visitor if he would perform for a church group.

"Most certainly," replied Woofleduster, delighted to find that his talents were appreciated.

"Will $10 be a satisfactory fee?" asked the visitor.

"Decidedly not," snapped Wetc.

Then he explained, "I never make any charge for my services."

"Fine," said the visitor, "then we can add the $10 to our fund."

"What is your fund for?" asked Wetc.

"To provide payment for better talent," was the response.

The following routine was a favorite with Aldrich, the famous quick change artist and comedy juggler of the Golden Days of vaudeville.

In tramp make up, he would tie a knot in one corner of his red bandanna, engaging in it a thread stretched across the stage, the ends of which were in the hands of assistants in opposite wings. After making the bandanna stand erect, bow and dance, it would get out of hand and elude his grasp. A comedy chase ensued with the tramp finally catching the handkerchief. Angrily, he held it

down on the stage and struck it with a hammer until the knot ceased to struggle and lay inert. Then after nailing it to the stage, he emptied a box of sawdust over it and on the top of the mound planted a piece of a broken plate as tombstone. With a grin of satisfaction the tramp would prepare to carry on with his act when, suddenly, the bandanna flew upwards, scattering the sawdust in all directions and, after several impudent somersaults in the air, would mount steadily and disappear in the flies leaving the tramp utterly flabbergasted.

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TENKAI'S MANIPULATIVE CARD ROUTINE Published by Abbott'4 On a recent trip to the West Coast, we had the pleasure of visiting Tenkal in his hotel apartment and of seeing him perform card, silk, and rope effect. To say that he is good 1B putting it mildly. We were fooled and don't mind admitting it.

And now we are releasing his original routine that will give a thrill to all who admire the finest and best In manipulative Magic.

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Words fall to describe this artistry in manipulation. It's beautiful Magic.

Shipped to you in typescript form—printed covers. More than 50 hand drawings by Tenkal.

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