Pages from hugard's magic monthly vol 9

Hugard's DEVOTED

SOLELY

MAGIC T O

VOL. IX, No. l

T H E INTERESTS JUNE,

O F

MAGIC

Monthly A N D

M A G I C I A N S 40 CENTS

1951

SAM-IBM COMBINED CONVENTION (BACKSTAGE WITH FRANK JOCLAR) Despite the gloomy prediction that New Yorkers would never attend a convention in their own town, Manhattan magicians and hocus pocusers from coast to coast descended on the Commodore Hotel in full force. The SAM-IBM convention was certainly the biggest, if not the best, ever staged... To no one's great surprise Ace Gorham was elected new prexy of the S.A.M., but to the surprise of many next year the IBM will gather in St. Louis and the SAM in Boston . . . Ballantine, the Marvellos, Delage and Shirley, and Roy Benson racked up the applause honors on the convention shows... Neil Foster scored a hit when he suddenly appeared on a dealers' show through the courtesy of Joe Berg. The slender blonde manipulator showed great technical skill and his white tipped black foulard which changed into a cane was as neat a bit of magic as was showr at the convention... The NY World Telegram reported that a magician's canary was lost in the upper regions of the ballroom. Maybe so, I didn't see i t . . . There were stories that the wife of a magician accidentally flushed her diamond rings down a John. They were variously reported to be worth from two to 25 thousand dollars. I can't vouch for the value but the story was true and Mrs. Dick was the unhappy lady . . .

One jubilant wizard announced that he had guested on a quiz show during his stay in town and won a hundred bucks which just about took care of his expenses . . . Chet Miller during a dealers' show told Himber that if he poured milk in his hand he would be sorry. Himber poured, Chet rubbed the stuff in Himber's hair and I suppose he was sorry . . .

Lone visitor from across the Atlantic was London dealer Harry Stanley.

There were several wizards from Hawaii with gay shirts and orange leis around their necks, and a party from Guatemala.

MORE SIDELIGHTS George Jason, Francis Carlyle and Joe Karson worked too long between the acts of the shows they introduced . . . Here's for shorter shows and a 3 day convention next year.

Too much magic is worse than not enough. Especially when a part-time performer appears after a fast-paced act and especially when one sits through five and a half hours of banquet and show only to discover that the last act on the bill is not magic... three attractive girls, but not magic. On the credit side—the convention program was a peach of a job. Congratulations, Dr. Chartock and Nat Bernstein... The annual meetings of both the SAM and IBM were conducted with speed and dispatch . . . Madelaine Haskell was the prettiest, most personable lady legerdemainist these tired eyes have ever seen . . . The close-up magic was masterful. I enjoyed especially Carlyle's second deal, Bertram's coin work, Garcia's card work, Cliff Green's card production, Slydini's paper balls in hat, Johnny Paul's lighted match routine . . . The banquet dinner was tasty and well served . . . Christopher, Kaplan, Keating and Benson did themselves proud with meaty, interesting lectures. Worth the price of the registration . . . That was a handsome Magicop banner hanging in the foyer of the ball room. Didn't see any SAM or IBM displays though . . .

The SAM booth in the dealer's room was a good idea. Many members picked up membership certificates, pins and information from Vynn Boyar.

DEALERS Best booth was Don Redmon's. It had a mechanical magician, better dressed than many of the delegates, catching attention with his red silk on the t o p . . . Gene Gordon plugged pal Sorcar, with a poster in his display . . . The new Okito chain-linking

trick which Joe Berg featured should interest all stage and platform workers . . . Gen Grant had a winner in his cards with red spots, which made dimes jump skyward. Bet he makes more with this than any other item in years . . . That vanishing ink spot that Karson was demonstrating has great possibilities. Harry Stanley had some intriguing tables, a fine card sword and genuine Martin reels...

Phil Thomas attracted attention with "Smash and Grab" an English trick.

A borrowed watch is hung in a box under a tiny spotlight. The performer's hand penetrates a solid "window" and comes out with the watch. As the watch is lifted a burglar alarm goes off... Feature of the Fleming Book Company display was Jean Hugard, who did a rushing business autographing his works . . . Al Baker, in person, signed the limited edition of his excellent "Pet Tricks" across the hall... Swoger featured a rabbit that produced cards on its ears and a color changing silk gadget... |Jack Chanin, as always, was the hardest working demonstrator . . . Bob Haskell showed the Merv Taylor line with charm and skill... Lou Tannen's booth was filled with cards suggesting that the conventioneer journey over to his shop on 42nd Street... Horace Marshall had a new alarm clock production.

NOTES "Well! Frank Joglar in person," came a booming voice behind my back the very first day of the convention. I wheeled around. A chubby fellow was greeting a very bewildered thin man with glasses . . . The Grand Historical Display was just that. The best, and most varied, display of antique apparatus, posters, photos, etc., that I've ever seen at a magic convention. What memories the exhibits brought back . . . Most irritating convention feature (?) —the

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young, showgirl-type bootblacks who constantly solicited business in the foyer of the ball room. Why were they there? . . . I enjoyed George Bailey's name-remembering feat, Roy Benson's "Oh, see the pretty thing" and his "Oh, see the pretty thing", version two, Jay Marshall's wit and talking hand, Fred Roner's pocketpicking . . . I didn't think Lady Frances' patter matched her silent, or singing, presentations ... Ted Lester, with his many musical instruments from under his cape, was a real novelty . . . That was a funny three balloon stunt that George Jason used. One broke, one lost its air, the third produced the missing card or was it the number ef a dollar bill? . . . Dr. Bennett had many ingenious ideas . . . Outstanding in Clint Riedel's act —the changes of costume.

SECOND THOUGHTS The contests were strangely run.

No announced categories. Unfair to inventors. This should be something a magician can plan for far in advance with definite specifications.

Further it should be limited to original tricks Some fellows run through whole acts of standard magic in time that's scheduled for competition... A few ushers would have eased the tremendous seating j a m . . . The mixing of expert professionals and semipros is unfair to all, especially the audience ... Where were the foreign acts I read about in the advance announcements? . . . Well, there you are.

One man's reaction to the 1951 convention. All in all I had a fine time; the pleasures far outweighed the inconveniences.

IN PRINT The NY Sunday News of June 3rd carried a page of pictures of Jon and Cherie Evans and their 16 week old child, Kim. The latter was shown watching card tricks, being floated in the air, eyeing a rising rope and holding a tiny fan of cards... The N.Y. Times, of May 27th, carried Milbourne Christopher's interesting "Abracadabra-New Style" and photos of Thurston, Chundra Bey, Houdini and the author . . .

JOTTINGS Russ Swann is back at the N. Y. Pierre Hotel and the critics are applauding in print again... Marvin Roy is featured at the Edgewater Beach Hotel in Chicago ... Blackstone is playing fair dates... Ade Duval perked up the Atlantic City Steel Pier show with his m-c.ing and magic... Del Ray made a hit at the N. Y. Blue Angel with his card and glass manipulations . . . Jerry Lester is off T.V. for the summer.

Which means his Friday magic slaugh-

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UNREHEARSED INCIDENTS Servais LeRoy, in presenting The Vanishing Birdcage, would always repeat it with added effect by having a spectator mount the stage and hold the cage before it vanished. LeRoy would have him place his hands above and below the cage and the instant before the spectator actually gripped the cage. LeRoy would vanish it, the spectators' hands grabbing

empty air. Very effective indeed.

On one occasion, however, the spectator was too quick for LeRoy and actually seized the cage. A tug-ofwar ensued, LeRoy trying to get the cage away and the spectator holding on like grim death, until Talma (Le Roy's wife) intervened by giving the spectator a resounding slap in the face—cage and spectator then went!

ters are, for the time being at least, not on view... Martin Gardner has an ingenious photo feature coming up in "This Week."

The New England Magicians Convention will be held at New Haven, Conn. Nov. 9th to 11th... Lucille and Eddie Roberts moved from their New Orleans successes to the Rice Hotel in Houston . . . New to me are Joyce and Johnny Bower. They played the Claridge Hotel in Memphis with their comedy magic.

THE SPHINX With the end of the S.A.M. contract, The Sphinx has announced that it will become a quarterly. The Sphinx has long said that the S.A.M. deal was only a service for the Society of American Magicians. It appears that just the reverse is the case...

May a new spirit of cooperation and affability hover over the Sphinx Board of Directors, may the quarterly have a long life. In its long career The Sphinx has meant much to the magicians of the world, may its features become brighter, its spirit friendlier and its circulation (always a secret) expand.

BITS AND PIECES I doubt if any conventioneer had more fun than Ernie Mickie of L.A. That is when he wasn't packing up the flowers from the Mickie's Night Before Show act. Dressed in a blinding jacket of rainbow hues, smoking a chunky cigar, he wandered here and there sparking smiles. A worm peeked occasionally from the flower on his lapel, another worm emerged from time to time from an apple he carried. Then there was a red devil that jumped up from his handkerchief pocket. Inside his jacket were pinned different badges and he passed out advertising cards, changing spots on the outside and photos and drawings on the inside ... I counted three goatees. Reidel, Weber and Henry Bohlen . . . Julien Proskauer was busy pre-convention and during with several shows before advertising groups.

One show featured SAM and IBM presidents, another his "amateur magicians", according to a news account. He was ill, too, before one, according to another news story but in the show must go on tradition, he went o n . . . Printing News reports that Larry Berman was a big hit at the APS luncheon. His blindfold test and book stunt rated special praise . . .

Don and Thelma Greenwood are off for the Gayety Theatre in Montreal...

MAIL DEPT. Thanks George and Betty Johnstone for the four offset sheets. Three reproduce Johnstone billings and reviews, the fourth is headed by two natives, the Ooni Gooni Sisters and is a funny bit of business... Wish some reader in India would send a translation of the item about Hugard's MAGIC Monthly that appeared in the Marathi Magic Monthly, Dr. K. B. Lele's publication... Thanks Bob Lund for the kind words ... Enjoyed getting a copy of the promotion card that Tom Henricks used in New Orleans on TV ... Arthur Leroy writes that Grover George is due back in the States as of now. In recent years, says Arthur, George has rolled up a big bank account and has a rancho near Sao Paulo, Brazil. His current business interest is Brazilian T.V. Thanks Arthur Leroy, come again.

Your bright paragraphs are always enjoyable reading.

TV TOPICS Al and Shirley Delage on the Berle Show again, but this time he forgot to introduce them. Al wore a beard.

They were in a Hindu setting. Dear old Uncle Miltie once more slowed down their rapid-fire trunk trick . . .

The Delages guested on Steve Allan's show, too . . . Himber sems to be regular guest on Kate Smith's program Thursdays ... Milbourne Christopher on the Garry Moore Show gave the Combined Convention a big plug. The whole hour was built on a magic theme... 'Tis rumored that there's a possibility of an S.A.M. TV program on a major network . . . Those marvelous Marvellos topped a Kate Smith bill... Kajar whizzed through a trick routine on Break the Bank.

(Continued on page 807)

Hugard's MAGIC Monthly

FARELLI'S LONDON LETTER ROPE THROUGH RING Gentlemen, Most experienced magicians w i l l agree that a new method of presenting an old effect is often discovered purely by accident, and the following story will illustrate my meaning.

Shortly after the War, Dr. J. Dhotel sent me Vol. Ill of his monumental work, La Prestidigitation sans Bagages, wherein I found a very simple trick (No. 563) in which a wedding ring — threaded on a loop of thin twine held horizontally in front of the magician's body by h i s 1 thumbs — dropped off onto the table .

At that time, I was concentrating on the Jardine Ellis ring trick, and getting my own routine — upon which I had already been working, at odd moments for several years — into sufficiently good shape for presentation in public. It ocurred to me that this little trick might be added to my routine, and I decided to use an Ellis ring and a length of rope instead of the twine and the wedding ring.

A few days later, when calling on my old friend Philippe De Bischop, of Brussels, in which city I was then living, I showed him the trick, using a piece of rope and an Ellis ring, and asked his opinion. His verdict was that the effect was decidedly weak.

Then he suddenly had a brain wave, and remarked: "Laissez-moi tenir 1'anneau." ("Let me hold the ring").

Allowing him to do so, I repeated the trick, and we both agreed that the effect was a great deal better. At that very instant, I caught sight of his tambourine rings, and said: "Let us try it with one of those rings!"

This we did, and the effect was still more convincing.

There and then, we worked out the following "passe" which De Bischop has used in his Linking Ring routine ever since. I myself have shown it to many well-known British magicians including Edward Victor and John Ramsay, and I hope that it will become popular in America.

The only requirements are an ordinary linking ring and a length of thin rope like that used for "cut and restored" effects. When tied at the ends to form a loop, it measures about two feet across.

In the accompanying illustrations, J

A translation of Dhotel's huge work is being published by the Fleming Book Company, Berkley Heights, N. J. When completed, the series will consist of eight large volumes. —V J1.

the ring is gripped in the jaws of a clip, but in actual practice, it should be held by a member of the company.

As the necessary explanation will take up considerable space, I shall give it a section to itself.

WORKING AND PRESENTATION 1. Position. Request a spectator to h>»ld the ring vertically in front of his body with both hands. Insert the left thumb in the loop, and grip the knot very firmly at the base of the thumb and forefinger. Slip the right thumb into the other end of the loop, and hold the cord — parallel to the floor — about a foot above the upper edge of the ring. Figure 1.

At this stage, the fingers of both hands are fully extended.

2. Through the Ring. Release the right hand end of the loop, pass it through the ring, and grip it as before. Figure 2.

The tips of the forefingers and the thumbs now touch each other.

3. Raising the Hands. Explain to the company that it is necessary to find the exact center of the loop. Bring the hands together, letting the nails of the thumbs touch each other. Figure 3.

The tips of the forefingers and the thumbs are still in contact.

Separate the hands and bring the loop into the position shown in Figure 2. (Rope inside the ring).

4. The Basic "Move". It will now be necessary to explain the basic "move" in detail. i. Bring the hands together. Figure 3. The nails of the thumbs are in contact. The tips of the thumbs touch the tips of the forefingers. ii. Let the loop slip from the crotch of the right thumb onto the tip of the (bent) forefinger of the same hand. At this stage, the tip of the thumb points to the floor. The tips of the left forefinger and thumb are in contact. ill. Insert the right thumb in the left loop. (From your body towards the audience). The backs of the thumbs touch each other, and both point towards the spectators.

The right loop is suspended — but for a fraction of a second only — on the "hook" formed by the right forefinger. The tip of that finger still points towards you. iv. Keeping a TIGHT GRIP of the knot in the crotch of the left thumb, straighten the right forefinger (releasing the rope held by it) and, at the same time, separate the hands VERY QUICKLY, lowering them to the level of the top of the ring. Figure 4.

The movement explained in this paragraph (iv) takes under half a second to perform. To the audience it appears that the loop has penetrated the ring. The reader will notice that the fingers are again fully extended.

5. The Final Position. Pause for a second or two, then slowly raise the hands, showing "all clear". Figure 1.

OBSERVATIONS A. Finding the Center of the Loop.

This provides an excuse for raising the hands, and the explanatory "patter" should not be omitted. The trick may be repeated two or three times in succession. If this is done, the performer should repeat the "patter" emphasizing the importance of finding (Continued on page 806)

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Hugard's MAGIC Monthly

"WE KNEW MAX MALINI" (As narrated to GEORGE G. KAPLAN) The following account of Malini and his performances was narrated to me by friends who had no knowledge of, or particular interest in magic, except in seeing a magician perform, so that the impressions that were so vividly retained of him and his performances can be taken as being the effect produced on a lay audience.

These friends resided in Kobe for many years and came to know Max Malini as a friend quite intimately.

"Malini often stopped at Kobe and made his headquarters at the Oriental Hotel. He would stay there for a week or two and then go on to Yokahama or Shanghai. Usually he made some financial arrangement with the steamship line on which he traveled to entertain aboard the liner during passage. At the Oriental Hotel he had posters printed advertising the shows which he put on there. They were given once during each week of his stay, in the ballroom of the hotel and were attended almost entirely by the foreign population in Kobe. There were very few places there where foreigners could go for entertainment.

They often congregated at the bar of the hotel and welcomed any opportunity of seeing Malini perform.

"He would go to the newspapers advising them of the fact that he was at the Oriental and they would give him a press notice — sometimes on the front page. Tickets would be sold at the desk and door of the hotel.

They usually sold for about 2 yen 50, which in the '30's was equivalent to 85c in American money. There were sometimes as many as two hundred people in the ballroom attending the oerformance. Malini, when he appeared on the platform, wore black satin knickers, similar to butler's livery, white stockings, black patent leather shoes, a Chinese Mandarin kimona over all, and Chinese headgear. The show usually lasted about two hours with a ten minute intermission. A favorite and often repeated remark of his to the band leader was "Professor, a leetle vahltz, please."

"Among the tricks he did were the cutting and restoring of a rope, one with an egg and a small cloth bag, picking out selected cards with the blade of a knife [card stabbing], a trick with a lemon [bill in lemon], one with needles in his mouth, tearing and restoring some tissue paper, one with eggs, a tray and glasses [whipping away the tray and causing the eggs to fall into the glasses]. As a finale, Malini would place a fish-

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bowl filled with water and goldfish upon a small table, cover it with a large cloth and cause the bowl to vanish." (This seemed to have had a lasting effect on the narrators, for now, years after having witnessed it, they were still intrigued and inquired if I knew how it was done. They assured me that the table top was too thin to conceal the bowl).

(Although the narrators could not remember Malini's program from start to finish, I do happen to have in my possession a particular program which he performed on the Pacific Coast. This was recorded by a member of the audience and I list it at the end of this article for the interest of the reader).

"Mlalini always had interesting stories to tell and managed to keep everyone constantly gay. One trick which caused a good deal of laughter was this: He would call up some men and women to assist him. He then opened several fresh packs of playing cards and asked each of them to take a card. Then Malini would turn to the audience and tell about his experiences while traveling all over the world, and of his performances before crowned heads and "blockheads," of his command performances before royalty, and other important people. He was not what you might call modest, and would talk at considerable length about his travels and of the people he met.

Apparently his discourse had no connection with what he was doing, but he would wind up by remarking that regardless of how people might differ in the various countries he travelled, he discovered that men and women throughout the world had one characteristic in common, and that was, as he put it, that "the men all loved the ladies and the ladies were always looking for the men." At this point he would turn to the people assisting and ask them to hold up their cards. When they did, everyone went into gales of laughter because each of the men held a queen and the women all held kings.

"Whenever Malini came to the Oriental and walked into the bar, he was certain to meet many people who already knew him. He always wore a wide-brimmed hat and loved to be the center of attraction. He was anything but suave, but he was likeable. You felt that you knew Max. He was just homespun. He loved to sit around with people, talk and have a good time, and people were always glad to see him. When he was at

the bar something was always happening. He had an extensive repertoire of tricks. There was one in which he borrowed a hat, underneath which he placed a gold coin. He would then tell someone: "I will lift the hat and replace it. If you can grab the coin before the hat is down, it is yours. I will give you a chance to get it." He would then first raise the hat to show that the coin was still there, replace it, and at the call of "ready," would lift the hat and the person would grab at what he expected would be the gold coin, but which, to his chagrin, suddenly changed into a brick — just a common, ordinary brick. The sudden appearance of this incongruous object caused momentary amazement, and then had everyone roaring. Occasionally after Max had had a few rounds of drinking at the bar, he would slow up a bit. On one particular occasion he was doing this same hat trick for a Japanese business man.

Max had raised the hat and as the Japanese extended his hand below it to turn over the coin, the brick suddenly slipped from the hat and landed on the back of his hand — and what a yell he let out!

"Something always happened when Malini was around. He would throw a pack of cards against the ceiling and they would all fall except a selected one which remained stuck there. That always caused a lot of comment among the guests. There were cards all over the ceiling, which served as a constant reminder that Malini had been there.

"Although Malini loved to shoot craps, he never rolled dice himself for drinks, but always had someone do it for him in order to remove any doubts about the honesty of the roll and to avoid any arguments from persons who might have had a drink too many. He would often invite people for a drink, but most of the guests seldom allowed anyone to buy a drink —they would usually shake dice for them.

"A dice game which he frequently played at the bar was called "Two and Five Average," or simply "Two and Five." Since there was plenty of time on everyone's hands this game filled a gap for them. Each of a group of players at a table, or at the bar, would roll five dice and eliminate any dice which fell with a 2 or a 5 uppermost. If no 2 or 5 appeared on any of the dice, then all the spots would be totalled, and progressively added to the totals of the subsequent rolls until the extraction of 2s and 5s eventually eliminated all dice from play. Each player would list his score and the total of all scores would be averaged. The player (Continued on page 805)

Hugarcts MAGIC

Montnty

MILBOURNE CHRISTOPHER'S COLUMN Most of the new tricks for children, tricks for young audiences, not young performers, that is, have come to us from England. Run Rabbit Run, The Giant Dwarf, the Full Moon Sucker Box, Danny and the Drum and the House of the Three Little Pigs are examples.

While most of my shows are of a more general nature there are times chrough the year when it is necessary to arrange a special program for youngsters.

Here is my latest trick for the youngest generation. It has a novel plot, a story that children can follow.

It is large enough for theaters, yet it packs small. Best of all it is a trick that youngsters have never seen before. In these days of young TV fans that in itself is a strong point in its favor.

HOLDER

FOR _ BALLOON. PEG OF THE DETACHABLE HEAD FITS INTO HOLE ON SHOULDERS.

cloth that covers the head and whisks it out of the spectator's grasp. Instantly the balloon breaks and the head is back on Forgetful Fred's shoulders!

Preparation: The figure of the small boy stands about 20 inches tall. It is sawn from a quarter inch thick piece of wood. It stands in a slotted base.

There are two heads both exactly alike except that one has a small peg attached to it. This fits in a hole on the top of lad's shoulers. It may be attached or taken away with little effort.

The second head is attached to one end of a metal rod. The other end is fixed to a spring on the rear side of the wooden figure. This is similar to the device that shoots the card into the usual card in balloon. A small catch holds the metal rod back until

BACK SHOWING SPRING AND METAL ARM.

The prepared handkerchief and two balloons, just in case one breaks before time, are in the performer's right coat pocket.

Performance: The magician begins his story about Forgetful Fred. When he mentions that Fred sometimes loses his head, he lifts off the wooden head and wraps it in the prepared handkerchief. He holds the cardboard disk through the cloth and passes it to someone to hold. The wooden head is palmed out in the right hand.

When he reaches in his pocket for a balloon he disposes of the head and brings out the balloon.

The balloon is inflated and fitted into the holder on the front of the stand.

Finally the performer picks up the wooden figure with one hand and reaches for the handkerchief, which

BALLOON TIED /N PLACE OF HEAD, IS PUNCTURED BV NEEDLE WHEN HEAD REAPPEARS.

NEEDLE FRONT VIEW SHOWING THE SLOTTED BASE TO HOLD

RELEASE CATCH

FIGURE.

V/MW///////M/M FORGETFUL FRED

The performer shows a cut-out figure of a small boy. He tells a tale of Forgetful Fred, the boy who is so forgetful he sometimes loses his head.

The head is lifted off and wrapped in a handkerchief. A member of the audience holds it. The performer explains how embarassing it was for the boy to walk around with no head.

Finally his mother had a brilliant idea. She blew up a balloon and tied it on his shoulders in place of his misplaced head.

The only trouble was that his friends started to call him Balloon Head. This is more than any small boy should be made to stand so the magician says that he will solve the problem.

He takes hold of a corner of the

the proper part of the story, then a touch of the magician's finger and it is released. In the center of the head attached to the metal arm is a small needle. The needle point causes the balloon to break when the arm is released. There is a small holder for the balloon at the neck of the figure.

A painter who knows his job should paint the apparatus so that Fred has an interesting face and colorful clothes.

The handkerchief used has a cardboard disk the size of Forgetful Fred's head sewn in the center. Some may prefer to use a double handkerchief.

So much for the apparatus itself.

When it is set up for performance, the metal arm is held in place by the release and the loose head is inserted in the hole in the top of the figure.

a spectator is holding, with the other.

When the handkerchief is pulled away from the spectator, the release catch is pushed and the spring forces the metal arm upwards. The needle in the duplicated head breaks the balloon and Forgetful Fred is back in one piece again.

VARIATIONS

There is no reason why you shouldn't have the figure made up to represent a small girl. In which case you would call it Forgetful Florence, Florabell or something similar.

Parents will be delighted with this trick. It's a magical object lesson, advice to youngsters who leave their toys and belongings scattered around the house in entertainment form.

With slightly different patter it will

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Hugard's MAGIC Monthly amuse adult audiences. You can tell of the young man who lost his head whenever a pretty girl came in sight.

One final word on Forgetful Fred.

You needn't use a handkerchief to vanish Fred's head. You can cause it to disappear by a sleight of hand pass or a pull, but please, please don't drop it into a Changing Bag. ANDES ACES ADDITION Harry Levine writes: "Using the eld principle of all dollar bills having the same series issue-1935 and the same moves you described in the April 1951 issue of Hugard's MAGIC Monthly, a rather interesting variation is effected.

"A dollar bill is taken from a spectator and the series issue noted (1935.

It is found in the lower right hand corner of the bill.) The deck is set up as follows from the top —a five, three indifferent cards, a three, a nine and an ace. Seven cards as in the original routine.

"The patter and method of working are exactly the same as written up until after the triple lift is made and the three cards are put on the bottom of the deck.

"At this point the performer states that the card may just as well be put on the table. He takes the bottom card, which will be the ace, and puts it on the table.

"Complete the trick by saying that the other two chosen cards will be placed beside it. Take the two top cards from the deck, the nine and the three and put them beside the ace.

For the fourth card go into the spelling of five. F-i-v-e. Put the card at "e" side by side with the other three.

These are all face down. This leaves four cards on the table.

"Turn them face up and the series number of the bill appears —1935."

Thanks, Harry, for an interesting presentation.

ZOLA'S CURIOUS COKE The best presentation of a hydrostatic trick with a coke bottle I have seen to date was shown to me by Dr. Zola at the SAM-IBM Combined Convention.

He held an empty coke bottle in his left hand and a pitcher of water in his right. He filled the bottle with water from the pitcher. He put down the pitcher, clamped his right hand over the coke bottle and turned it upside down.

Though he removed his hand, the water remained in the bottle.

To prove that there was nothing attached to the mouth of the bottle he pushed in a pencil. It floated upwards.

At our command the water flowed

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CIGARETTE VANISH AND REPRODUCTION

by JERRY HORNAK Effect: The magician places a lit cigarette under a handkerchief whereupon the handkerchief is shown carefully on both sides and the cigarette is gone. He then reaches back of his right arm and produces the lighted cigarette!

Method: Show an ordinary handkerchief which you procure as you smoke a cigarette. Take the cigarette in smoking position and show it briefly in the right hand.

Grip the handkerchief by a corner with your left hand, and with your right reach under the handkerchief, covering the lighted cigarette. As you do this, thumb palm the cigarette, and drape the handkerchief over the fingers of the right hand, stretching out the forefinger, so that its tip simulates the end of the cigarette. In adjusting the handkerchief, it is draped at the crotch of the right thumb and down the inner palm of the right hand so that the cigarette remains projecting freely under the handkerchief without the least danger of your burning it.

Pause a few seconds as you give

the impression of letting the cigarette burn under the handkerchief.

Bring up the left hand and clip the cigarette at its middle with the left middle and ring fingers which curl inwards, thereby shielding the cigarette with the back of the left hand.

Move the left hand toward yourself and take the handkerchief at its inner left corner between the left thumb and index finger. Take the other inner corner with the right hand, and revolve the right hand in a half circle in front of the left hand and forearm, thus revealing the other side of the handkerchief, with the left hand remaining stationary.

Reverse the movement of the right hand towards the right, again showing the front of the handkerchief.

Drop the corner of the handkerchief held with your left hand, and shake the handkerchief with the right hand, showing that the cigarette has vanished. With the left hand, reach under your right elbow, secretly transferring the cigarette to the normal smoking position, and thus reproduce the cigarette as if it had been behind the left elbow all the time.

and stopped flowing from the inverted bottle. He caught it in the pitcher underneath. Finally he commanded the pencil to drop out. It did.

How? He used a bottle with a hole in one side for flow control. A plastic gimmick similar to Anti-Gravico was clamped over the mouth when his light hand covered it. This gimmick fitted snug as he had moulded it to fit the bottle.

A lifting and replacing of one finger controled the flow. When the level of the water came down to the pencil, the pencil soon dropped out — at his command.

He had 'another idea which he hadn't tried as yet. A length of hair attached to the pencil. Thus he could cause it to sink by pulling on the invisible hair and rise when he released it.

Grasp a corner of the bill firmly in your right hand and pull quickly and to the left and the bill comes out in a flash.

You might have to try the pull five or ten times privately until you get the hang of it, but once mastered it is always at your finger tips.

BOTTLE AND BILL In the April, 1951 issue of this magazine Purvis W. Miller describes a way of removing a dollar bill from under an inverted bottle by rolling the bill slowly into a cylinder.

I prefer the quick pull method.

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IT'S A POOR JOKE OR TRICK When some woman blushes with embarrassment...

When some heart carries away an ache...

When something sacred is made to appear common . . .

When a man's weakness provides the cause for laughter ...

When profanity is required to make it funny . . .

When a little child is brought to tears...

When every one can't join in the laughter...

It's a poor joke.

Hugard'i MAGIC Monthly

ENCYCLOPEDIA OF IMPROMPTU TRICKS

by MARTIN GARDNER BOOK — Schoolboy Stunts (Continued from previous issue)

(11) Drawings are made in margins so that when pages are riffled, movie effect is obtained.

(12) The pages are bent sharply in one direction, and words or phrases are printed with pencil on the front edges. Pages are bent in reverse direction, and different words are marked on the edges. By bending pages first one way, then the other, a transformation of words is obtained (Fig. 36).

(13) The eyes of a portrait are carefully cut out. When the page is moved back and forth slightly, the printing on page beneath will make the eyes appear to move in various directions (Fig. 37).

(14) Juggling stunt. Book is placed on desk, projecting slightly over edge.

Back of fingers strike book from beneath, causing it to make a half-rotation in air, the hand catching book by opposite end.

(15) On flyleaf is writen, say, "See p. 27." On p. 27 is the note "See p.

108." This chain continues back and forth interminably, ending finally with an uncomplimentary or uncouth remark.

BOTTLE 1. Put dime on mouth of coke or beer bottle, shortly after it has been emptied and is still cold. Place drops of water around rim to make opening air-tight. Pretend to squeeze bottle with hands. Heat from palms will expand air in bottle and cause dime to click up and down at intervals. Will continue after hands are removed.

Dime can be made to dance rapidly by secretly dropping into bottle (which has small amount of liquid left inside) a piece of alka seltzer.

2. Novel bank for children can be made with large jar and drinking glass (Fig. 38). If coin falls into glass, pay child five to one. Also excellent

concession for fund-raising carnival or party.

3. Blow into bottle to compress air.

Hold thumb over end. Bring mouth of bottles close to match flame and remove thumb. Bottle will puff out flame.

4. Burning cigarette rises and falls in neck of bottle (Fig. 39). Black thread is attached to body. At other end is a pin, inserted into cigarette.

As cigarette is handed forward for examination, pin comes out.

5. Make slit in lower side of cork (for a small pill bottle), and insert paper match as shown. (Fig. 40). Match flame beneath will ignite match, blow cork across room. Handle with caution.

6. To pour liquid rapidly out of bottle with small neck, move neck in circles while bottle is inverted.

7. To transfer label to inside of beer bottle. Moisten label and led stand until label can be peeled off. Roll into cylinder and push into bottle, which contains small amount of liquid.

By holding bottle horizontally, and

shaking back and forth, label can be made to unroll and stick fast to inside of bottle.

8. In pouring beer into glass, flow can be checked instantly by submerging neck, even though bottle remains inverted.

9. Beer and soft drink bottles can be opened easily with a spoon. Grasp neck fimvly with left fist, immediately below bottle top. Rest bowl of spooon on top of curved index finger, and lever edge of spoon upward against edge of bottle top.

7Lg.4O

12. Simple way to mix milk and cream — rpin bottle.

13. Problem: To lift upside-down milk bottle with thumb and middle finger as shown (Fig. 41). Fingers must be dry. (Ed Rock) 14. A small bottle inserted in neck of milk bottle as shown (Fig. 42) provides an excellent barometer. Level of water in small bottle rises and falls with changes in barometric pressure.

Puzzles 15. Wooden match, bent in form of "V", supports coin over neck of bottle. To get coin in bottle without touching anything: Let drop of water fall on vertex of "V". Will cause match to open to wider angle, releasing coin.

16. Three coke bottles are arranged as shown (Fig. 43). A match is supported between the two upright ones.

Problem: To remove the horizontal bottle without dislodging match. Light match with another one, blow out quickly. Head will stick to glass, so bottles can be separated without match falling.

17. Bottle is on side, with small piece of cork resting inside neck.

Problem: To blow cork into bottle.

Blowing must be gentle, otherwise cork blows back in your face.

18. To lift bottle with soda straw, bend straw as shown (Fig. 44).

(Continued on page 806)

Milk Bottles 10. A dime can be driven neatly through side of milk bottle. Bottle is held vertically and shaken so dime slides back and forth rapidly. Dime hitting sides at same spots will soon weaken glass enough to cause dime 1o penetrate through a small slot.

11. Hard boiled egg or banana can be drawn inside milk bottle. (See EGG and BANANA).

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Hugard's MAGIC Monthly

BOOK PROFILES

by JOHN J. CRJMMINS, JR. AL BAKER'S PET EFFECTS. A 111 page printed book with 126 line illustrations by Clayton Rawson. Published by George Starke, 14 Reade Street, New York 7, N.Y. DeLuxe cloth edition, $10. My advise to those magicians seeking practical and artistic tricks that are simple, direct and entertaining is to rush a check to George Starke and get a copy of Al Baker's latest book. You'll never regret it, for here Al gives the real secrets of his pet effects and lays before you a grand array of subtle and ingenious magic the like of which turns up but once in a lifetime. Had this numbered and limited edition been marketed at $50 or $100 a copy it would still have been a bargain.

Bearing a most gracious and sincere Foreword by Dai Vernon, and an Introduction by Jean Hugard, the book is divided into 8 chapters covering some 56 tricks with all types of articles such as cards, coins, balls, beads, thread, rope, bills, chewing gum, silks, goldfish, eggs, rabbits, mental and psychic effects. One of the book's biggest features is an extremely valuable chapter on the handling and use of hair as a motivating force for some of the spookiest tricks known to magic and now explained for the first time by the author. Al has probably done more with hair than any living magician and his advise on its use, as explained in detail in some half dozen effects, is a classic and worth the price of the book alone. The book has been edited as well as illustrated by Clayton Rawson in his usual explicit style and reflects much of the wit and humor for which Al Baker is famous.

Enlisting Clayton's writing ability with Al's fund of miracles was a happy thought indeed!

Chapter One of AL BAKER'S PET EFFECTS covers the subject of hair magic. Aside from the half dozen tricks explained in detail such as the "Card From the Hat," "This Simplex Rising Cards," "The Rising Ring," a new version of "The Deck That Cuts Itself," and several others, Al describes the type of hair to use, how to care for it, and the various body hookups he has perfected through the years.

Chapter Two deals with thread magic and descriptions of his famous "Arabian Beads Mystery," "Hindu Thread

804

Trick," plus a few others. In Chapter Three he introduces some startling rope magic featuring his "Instantaneous Visible Restoration" and his unique "Lightning Pull" which makes it possible, as well as three other effects. Chapter Four gives 14 typical Al Baker stunners with cards including Al's own method of marking cards for easy reading, while Chapter Five is devoted to a half dozen mental, billet and telepathic miracles of the type that have kept the magical world guessing for years.

Chapter Six has a half dozen fine effects with paper money and coins, including a new stack of quarters through the hand in which no shell stack is used. Chapter Seven is limited to but two tricks, "The Baker Spirit Photo" which is excellent, and a honey of a close-up table trick called "Magnetisn't" in which, apparently, an invisible spirit hand causes one pellet of several lined up in a row on the table to suddenly dart away from the others. Needless to say, this one bears the usual "dead" person's name. This is one of the spookiest effects imaginable, and a typical Baker masterpiece.

Easy, too!

Chapter Eight features Al's famous "Chewing Gum Trick" which is explained here for the first time in print. This is a beautiful effect and a real contribution to magic. Many will buy AL BAKER'S PET EFFECTS just to get this alone. In addition to this, eleven other effects are described including the author's "Dye Tube" routine, production of gold fish from a paper tube, rabbit production, an easily made snake basket comedy effect, and a really fine children's routine with silks and glasses. In all, there isn't a weak trick in the entire book. All are excellent as, of course, they should be being AL BAKER'S PET EFFECTS. M-U-M, Volume 41, No. 1. June 1951. Official publication of the Society of American Magicians. A 28 page magazine on slick paper stock.

Edited by Milbourne Christopher. In keeping with the 50th anniversary of the founding of the Society of American Magicians, the publication of its own organ comes back into the hands of the S.A.M. after appearing for many years as a supplement in "The

Sphinx" and "Genii" magazines. And this new M-U-M is a remarkably fine job in every respect. In its new dress and format it approximates the "Linking Ring" in size. This first issue features a picture of 1950's National President, Richard DuBois, on the cover. The contents include a half dozen tricks by "Hen" Fetsch, Bill Larsen, Fitch Cheney, Jim Herpick, Bill Greenough and Roger Barkann, as well as an interesting article on Chung Ling Soo by Jean Hugard, two pages of editorial notes by the editor, five pages of official news from the various S.A.M. Assemblies, and eight pages of advertising which indicates a long and profitable life for the magazine. Everyone connected with the launching of this new venture is to be congratulated on the splendid job they've turned out. The enthusiasm with which it has ben received by the members, as expressed by many at the recent convention here in New York, indicates that M-U-M will enjoy a most successful future. Many of the leading magicians of the country have for years been urging the S.A.M. to publish its own magazine, and the high standards set in this first issue certainly prove their contention that it could be done. Long may it run!

THE CONCERT VENTRILOQUIST and CHILDREN'S ENTERTAINER

by Maurice Hurling. A 51 page printed book in soft board covers. Published by George Armstrong, London.

Available at your magic shop. Price, $1.50. This new book by Mr. Hurling, who is Vice-President of the International Brotherhood of Ventriloquists, is divided into 14 chapters, the first 9 of which will be of particular interest to the all round performer or, as the English call him, the concert ventriloquist. Here is sage advice of a practical nature, useful suggestions and ideas, as well as fine points of the art not usually covered in former books. Here are aids on handling the figure, pneumatic control, novelties, two voices from one figure, how to write your own dialogue, plus considerable material.

Chapters 10 to 13 are devoted to entertaining children, the various age groups and what appeals to them, as well as an opening routine. Chapter 14 is a complete ventriloquial act called "the Doctor." Every ventriloquist will benefit from a study of this book, and if that's your line, don't miss it.

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

Hugard's MAGIC Monthly

FALSE TABLE CUT

by PURVIS W. MILLER This is an old gambling maneuver, which I have known about for years, but have never seen it explained in print.

Here are the moves: 1. Place the pack before the spectator to be cut. He cuts about half the pack to his left, as usual.

2. Reach over with your left hand, and pick up the remainder of the deck. At the same time, reach under your left hand and pick up the cut with your right hand.

3. Move the left hand back towards the body and replace the cut in the right hand on the cards in the left hand, thus re-assembling the pack in its original order.

This move may seem to be extremely bold, but I have seen it actually used in a gambling game without being challenged. It should be done smoothly, without hesitation and under cover of some quick, casual remark tended to catch the eye of the victim.

"WE KNEW MAX MAUN" (Continued from page 800) whose individual score was nearest to the average paid for the drinks.

"He was always kidding, had some wisecrack to make or played some joke. On one occasion Malini took a group of us to the Japanese market in Kobe. There he bought lemons, and, standing where all could see him, he ostentatiously cut each one open and extracted a 5 yen note from the center. It was not long before there were inquisitive stares in his direction, and soon the Japanese crowd was gog-eyed with amazement.

Then came the climax. There suddenly was an overwhelming demand for lemons by the native onlookers, who lost no time in cutting them open to discover the hidden treasures.

The looks of chagrin and disappointment on their faces, and their excited chatter when they found nothing inside, had us in 'stitches'."

(I know that this business of buying fruit at the market, cutting it open and finding valuables therein has been attributed to other magicians before, and particularly to Alexander Herrmann. However, this performance of Malini's was actually

witnessed by the persons who narrated it to me.)

The following program, as recorded on the Pacific Coast by a member of the audience, is presented for the reader's interest.

MALINI SHOW Entered dressed in a long cape with white gloves; removed the cape and gloves and placed them to one side.

Dressed in evening clothes with a pin in his left lapel, jeweled, which spelled 'Malini'.

1. Tossed a glass into the air; it vanished; at the same moment a photographer took a flash-bulb shot. Reproduced glass from spectator.

2. Produced a cigar and levitated it at his fingertips. Produced a second cigar from the first and gave both to spectators.

3. Cut and restored ribbon, using the oldest method. (Believe he got rid of the extra loop by vesting it at the side of his coat, up near the collar).

4. Torn and restored paper napkin: with extra balls vested at left side.

He bobbled this but covered up neatly.

5. Two dollar bills borrowed, wrapped under handkerchief and given to spectator to hold. Both vanished.

One found in an egg, using the mechanical wand; the other found in a lemon.

6. Cardwork: Five or six men on stage for committee. Taking a new pack for each, he forced the queen of hearts. Each man placed his card into his pocket without looking. The last man tipped the card a little to the spectators and it was a spot card.

Later, when all took the card from pocket, each had a queen of hearts, including the last man who put the spot card in pocket: hence, a stooge.

7. A few colorchanges, flourishes.

8. Committeeman looked at a card (peek) and it was brought to the top by sidesteal and shown.

9. Another took a card, replaced.

Card taken by second spectator, not the first man's card. Top change to proper card. (Or rather, bottom change on this one.)

10. Four or five cards peeked at and brought to the top. Pack shuffled, placed on table. Stabbing each card, in turn.

11. Eggbag. A marvelous routine.

12. Tray placed on four glasses filled with water. Tubes rolled of playing cards, placed on tray. Eggs (hollow) placed on each tube. Crying "Hey!" tray snapped to left, eggs dropped into glasses.

Hu-Gardenias to all those hard-working members of committees who carried the combined SAM-IBM convention to such a highly successful conclusion under the able chairmanship of ROWLAND GOODMAN The arrangements whereby all the events and displays were under one roof added greatly to the enjoyment of all. It is impossible in the space available to mention all who worked so hard and achieved such a great success.

To me, the highlights of the whole affair were the displays of close-up magic by TV, arranged and supervised by DICK DU BOIS and AUDLEY WALSH and the very informative and practical lectures which were so ably directed by JERRY LUKINS and delivered by MILBOURNE CHRISTOPHER GEORGE KAPLAN FRED KEATING and ROY BENSON All of the lectures were received enthusiastically by large audiences. This series was, I think, the best that has as yet been given by any convention.

The display of close-up magic

by TV was so well-arranged by having a number of screens in amongst the audience, that everybody could fully appreciate the marvelous and, in some cases, almost unbelievable exposition of close-up magic as done by FRANCIS CARLYLE FRANK GARCIA ROSS BERTRAM CLIFF GREEN SLYDINI and JOHNNY PAUL Finally, the most pleasant recollection that I shall retain of this great gathering, was the opportunity of meeting old friends and so many with whom I had only been in contact previously by correspondence.

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Hugard's MAGIC Monthly

ENCYCLOPEDIA

LONDON LETTER (Continued from page 799) the EXACT center of the loop.

B. Gripping the Knot. There is a tendency to release the knot from the crotch of the left thumb. When this happens, the knot will "jump" to about the center of the loop, greatly detracting from the effect.

C. Do Not Neglect to Lower the Hands! I have taught this trick to several conjurers but, unfortunately, I did not always succeed in making them understand that the hands must be lowered AT ONCE, and that no pause should be made before bringing the loop into the position shown in Figure 4.

Most of them, after having correctly executed the basic "move" (paragraph 4 ante), get the rope into the position depicted in Figure 1 which illustrates the loop held about a foot above the ring. Consequently, the illusion of the rope having penetrated the ring is lost. To the onlookers it seems that the loop is slipped out of the ring very rapidly. In fact, they get a very good idea of how the trick is done!

This is one of the very few tricks in which the quickness of the hand really deceives the eye. (If done in "slow motion", the working would be obvious).

D. The Origin of the Method. As old-timers v/ill have noticed, the trick is based on the String through the Buttonhole effect but, in its new form, it is unrecognizable from the front.

During one of my trips to Paris, I demonstrated my routine to Dr. Dhotel and he was very surprised to learn that it was a version of the little trick with a finger-ring described in his own book. He was delighted with the new method of presentation and, with my permission, he explained it in the May-June (1947) issue of Le Journal, the official organ of the Association Frangaise des Artistes Prestidigitateurs, frankly admitting that he had not recognized the trick upon which it was based. This is another proof —if any were needed— of the vast importance of presentation, detail and "dressing". (See page 264 in Le Journal).

E. Evolution. It has taken four conjurers to work out the routine in its present form, namely, the unknown inventor of the Buttonhole trick; the magician who first did the trick with a wedding ring and a piece of twine; Philippe De Bischop who hit upon the idea of getting the ring held by a spectator; the author of this article who claims originality for using a large ring and rope, and for the lowering of the hands AFTER the basic "move" has been executed. Figure 4.

Of all the additions, or improve-

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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)

ments, De Bischop's is undoubtedly the best .. . and he has never read a single book on the Theory of Magic.

F. With Several Linking Rings. De Bischop gets a lot of fun at entertainments for children with this trick. His plan is to distribute several single rings — used in his Linking Ring routine — and to perform the penetration with each ring in succession. After a ring has "passed through" the cord, he does not remove his thumbs from the loops, but lets the ring slide down to his elbow, and proceeds to collect the remaining rings in the same way. The rings should be slipped, alternately, onto the right and left arms.

If desired, the loop can be passed through the closed chains of two and three.

G. Variations. Many are possible.

For instance, the loop can be passed through the top of an open-backed chair; through a rod, or wand, held horizontally by a spectator; through the arms of a person whose fingers are interlocked.

Instead of a rope, a chain —like these sold by dealers for a version of "pricking the garter" trick— can be used.

Personally, I prefer the routine exactly as explained above, employing a large ring and a length of rope. </

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OF IMPROMPTU TRICKS (Continued from page 803) 19. To empty bottle without removing cork, push cork into bottle.

20. To remove piece of cork floating on liquid inside of bottle, blow into bottle.

21. To crawl into a bottle: Go out of room, then crawl in on hands and knees. You are crawling in — to the bottle!

22. To remove a cork that has been wedged into neck of bottle containing liquid. Wrap towl over bottom, and strike bottom (of bottle) repeatedly against wall.

23. Large neck bottle is upside down over a small ball or marble.

Problem: To move bottle and ball from one table to another without touching anything but bottle. Bottle is given circular motion, causing ball to roll around inside, and is transferred while ball is kept rolling.

24. To drink from a bottle without opening it. Bottle must be type with deep hollow at bottom. Invert, pour water into hollow, drink it.

25. Blow cigarette smoke into empty whisky bottle (using straw or rolled paper). Problem: To get smoke out of bottle in one second, without touching bottle. Drop burning match in bottle. Smoke vanishes with small explosion. Note: There must be small quantity of whisky remaining in bottle. Before trick, warm bottle with hands to create alcoholic fumes.

26. Bottle is upside down and balanced on a coin. To remove coin, strike it with flat blade of table knife, passing blade under bottle.

27. Bottle is upside down on end of dollar bill. Coin is placed on bottom of bottle. Problem: To remove bill without dislodging coin or touching bottle. There are three methods.

(1) Jerk bill out quickly. (2) Roll bill against bottle, the roll pushing bottle off. (3) One hand pulls on bill while other pounds table near bottle.

28. Unperforated nipple for baby bottle is fastened over mouth of filled coke bottle. Problem: To get all the coke out of bottle without removing nipple. Shake bottle vigorously. Nipple will expand enough to hold the liquid.

29. A bottle is balanced upside down on top of another (Fig. 45), with a bill between the mouths. Coin rests on top of upper bottle. Problem: To remove bill without dislodging coin. Hold end of bill with one hand, strike center of bill with index finger of other.

(To be continued)