Hugard's D E V O T E D VOL. I
S O L E L Y
MAGIC Monthly T O T H E I N T E R E S T S
O F M A G I C
J U N E 1 9 4 3
A N D
M A G I C I A N S 15 C E N T S
THE W A A C S AND THE DOUGHBOYS A story trick illustrating the adventures of a party of W.A.A.C.S and a bunch of doughboys quartered for the night at the same hotel. They indulge in some compromising situations but in the end everything turns out to be on the strict q.t. Requirements: Any deck of cards and five business envelopes, or five pieces of newspaper about envelope size. Working': Begin by sorting out the four queens, the four jacks aind the king of clubs, throwing them face upwards on the table, as you say: "The queens and the jacks will represent a party of W.A.A.C.S and a bunch of doughboys respectively, the king of clubs a crusty hotelkeeper and these five envelopes the empty rooms in a country inn." Pick up the four queens, fan them faces outwards and place them, on the top of the pack in your left hand; take up the jacks in red, black, red, black order, show them fanned out and, in placing them on top of the queens, slip the tip of the left little finger under the third jack. Arrange the five envelopes in a row, a few inches apart, the ends pointing away from you, and lay the king of clubs face upwards near the first two envelopes at the left of the row. "Remember we have here in the waiting room first the four dough-
boys, one, two, three, four and next the W A A C S." Square the pack with the right hand and under its cover push the first three jacks a little over the side of the pack diagonally, Fig. 1; push them off with the left thumb and take them in the crotch of the right hand as you count "One", Fig. 2; take off the next card, on top of them, at the count of "Two", the next at "Three" and the next at "Four"; square the packet by tapping its side on the table, hold it between the thumb and fingers by the right side and show the red jack at its face. With the left thumb push off the top card of the pack and with the packet in the right hand flip it face upwards on top of the pack, showing a queen; push off this card and the next one tor
gether and turn them, face, upwards in the same way, showing a second queen and turning the first queen face downwards. Tiuxn the second queen face downwards with the packet and at once drop this packet on top. The cards will now be in this order from the top down: Q Q J J J J Q Q. "The proprietor comes along and with profuse apologies claims that he has only two rooms vacant. He shows the doughboys into # 1 , the W A A C S into # 2 and bids them pleasant dreams." Pick up and show the king of clubs, and replace it face upwards near the first envelope. Count off the four top cards into the right hand, taking the second under the first and so on, square the packet, show the red jack at the face and slide the- four cards under the first envelope at the left. Count off the next four cards in the same way, square them, show the queen at the face- and slide them under the second envelope.' Pick up the king of clubs, point with it to the first two envelopes and then place that card on the pack. "Finding four to a bed too crowded for her, one of the W A A C S decided to find out for herself if all the rooms are occupied. She slipped out, (Continued on page 4)
Editorial My object in publishing this sheet is to set forth fully, clearly and conscientiously the best things in magic so that if my readers absorb the instructions and carry them out in practice they will acquire a repertoire of good magic that will last a lifetime. In choosing material for publication, quality will be considered first of all. There will be no straining after novelty, merely for the sake of novelty but due attention will be given to new tricks if they are good. There is, however, a vast field of magic lying untilled and in this field I propose to delve diligently. Above all else, attention will be given to presentation, with instructions detailed to the fullest extent, in fact, I hope to provide blue
prints of execution which will bring the finest results. It is my experience that hundreds of magicians know thousands of tricks and these they never master in their feverish hurry to acquire the latest novelty. The magician who really knows a comparatively few tricks, and by knowing I mean that he can perform them perfectly at any time under practically any conditions, is the man who gets the most out of magic. My project, therefore, is not to tell how tricks are done but to instruct my readers how to do the best tricks as a good magician should do them. I would like them to regard this sheet as a letter to a friend giving him information he has asked for
and I will endeavoi to invest in it the same quality of friendliness and intimacy which a personal correspondence has. May I say, finally, that I hope to be of service to my friends in magic â€”and I regard everyone interested in magic as my friendâ€” than which there can be no feeling more pleasurable, none more delightful.
Hugards MAGIC Monthly
PRESENTATION Shakespeare wrote, "The play's the thing wherein I'll catch the conscience of the king." A magician might well paraphrase the saying thus: "The presentation is the thing wherein I'll catch the customers." Reams have been written on the theory of the presentation of magic but the application of the many precepts given lags far behind in actual practice. Example being so much better than precept, I propose to show, from time to time, how the simplest tricks can be transformed into feats worthy of the attention of the most fastidious artists merely by giving them proper presentation. The trick I have chosen for this month's treatment is one which has been explained many times in public print. It is based on a mathematical principle which is puzzling even when the trick is done in bald fashion, with proper presentation it becomes a miracle. Here is the original trick: A spectator is invited to take the pack and think of a card, remembering its number from the top. The performer places the pack behind his back, and under pretence of mixing the cards, transfers 15 cards from the top to the bottom. He then returns the pack to the spectator asking him to count off cards to his number, to note that his card is no longer there and to place the cards counted off on the bottom of the pack. Again placing the pack behind him, the performer transfers 15 cards from the bottom to the top; the spectator's card will then be the bottom card and he can reveal it in any way he pleases. The trick, in this form, has naturally been d ; sdained by most magicians, yet it -can be transformed into an entertaining mystery. Begin by asking for the assistance of a poker player. A spectator having confessed to that soft impeachment, hand him the pack to shuffle and, as he does so, ask him if he has a good poker face. Of course he thinks he has and you propose to put him to the test. Take the pack, say that "you will count the cards from the top, one by one, and request your victim to
TORN NEWSPAPER TO BOUQUET After tearing the newspaper and balling the pieces, hold up the bundle and ask, "What is it that is black and white and read all over?" Pause—then holding bundle in left hand and pointing to it with right forefinger, "A newspaper, black and white", toss it into the air and as it changes to bouquet, "and red all over". Of course, the bouquet must be made up entirely of bright red flowers.
think of any one card and also to remember its number from the top. Warn him that you will watch his faqe closely and that, no matter how he tries to keep a poker face, you will discover the card by the minute change in his expression as he chooses a card mentally. Hold the pack in dealing position in your left hand, take the top card with your right hand and show its face, counting "One"; take the next card under the first, showing it and counting "Two", and continue in the same way until you have taken off and shown 15 cards. Stop and ask if he has fixed upon a card and a number. On his reply "Yes", confess that you have failed and warmly congratulate him on his marvelous facial control, saying that it is the first time you have failed, although you have tested hundreds of people—"I wouldn't like to play poker with you", you add, and while talking, casually cut the pack at the break which you have held under the 15 cards and complete the cut. You have thus brought the 15 counted cards to the bottom of the pack. "My trick has failed," you continue, "so I shall have to resort to magic." Shuffle the cards in this manner: Begin an overhand shuffle with the whole pack and continue to shuffle genuinely until some 20 cards remain in your right hand, throw these intact a little forward against the top joint of your left forefinger (in technical terms you outjog the packet), seize the cards below the packet, undercut and shuffle off; the bottom portion of the pack, therefore, remains, undisturbed. "My experience has been that most people suspect the simplest action of a magician, even when shuffling. Let me show you, however, that I have really mixed the cards and that your card is no longer in the same position. What was its n u m b e r ? Ninth? (for example). Watch." Count off cards from the top, showing the faces, and the spectator admits that the ninth card is not his. Show the faces of a few more and replace the cards on the top of the pack. Continue, "So the card you thought of is lost in the pack; the thing to do now is to find it." Address yourself to another person, "Do you know the card this gentleman is thinking of? No? Will you help me find it? Very well. This is what I shall do—I'll deal the cards one by one like this (hold the pack in your left hand as for the glide, show the bottom card and openly deal it onto the table). You, sir, (addressing the first spectator), will think intently of your card, and you, sir, (to the second spectator) will call "Stop" whenever you feel the urge to do so." In the meantime you have made a very intricate (?) calculation by subtracting the number of the thought card from 15. We have supposed that the spectator thought of the ninth card; substract 9 from 15 and you get 6, therefore you have to deal six
Hugard's MAGIC Monthly A monthly publication devoted solely to the interests of magic and magicians.
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cards off the bottom to arrive at the thought card which will be the seventh. Arrange your patter so that you lower the pack gradually and are holding it face downwards when you arrive at the card before the thought card. Having dealt this card, glide the next card back and continue to deal from above it. When the second man calls "Stop", bring out the glided card and hold it face downwards. Have the first man name the card he thought of, accentuate the fact that the second man called "Stop" of his own free will and turn the card face upwards. "The very card," you exclaim, in pleased surprise. "My congratulations! I knew I was choosing a man with exceptional mental ability," and you shake the second man's hand warmly. It will be found, that, presented in this way, the naming of the number of the thought card, on which the whole trick depends, will carry no significance to the audience and the surprising discovery of a card merely thought of will remain a deep mystery.
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Hugard's MAGIC Monthly
TORN PAPER CLASSIC This feat, as performed by Ching Ling Foo, created a perfect illusion and was as puzzling and intriguing to magicians as it was to laymen. Foo's method remained his own secret but the introduction of the thumb tip made the trick an easy one to "get by" with and this method has been widely adopted. Unfortunately, the correct handling is practically unknown and, instead of being an illusion, the feat has become just another trick. The effect to be aimed at is this: A strip of paper is torn into a number of pieces and then, without these being removed from sight for a moment, the strip is drawn out to full length, wholly restored. This illusion can be created by the following method: Requirements: Two strips of tissue paper about one inch wide and three feet long; a thumb tip. Preparation: Fold one strip in accordion pleats of 2Vi inches, leaving the last fold a little shorter so that the end can be folded over the pleats, Fig. 1. Roll the pleated strip loosely, flatten the roll and push it into the thump tip so that the end A is at the mouth, Fig. 2. Fold the other strip in the same way and place it with the thumb tip in a vest pocket, the tip being mouth upwards in one corner so that it will stay put and can be stolen in removing the strip. Working: 1. Take the strip from the pocket and steal the tip on your right thumb. Seize one end between the right thumb and first finger and pull the strip between the left thumb and first finger, stretching it out to its full length, Fig. 3. Hold the palms of both hands towards the audience, hiding the tip behind the first finger and the strip. 2. Drop the left end, grip the paper between the left first and second fingers at a point about two inches from the right end, slide these fingers along the paper to about an inch beyond the middle, and let the right end drop. Fig. 4. With the right thumb and first finger start a tear at the middle. Slide the hands a few inches apart and complete the tear. Separate the hands and show the paper unmistakably torn into two pieces, the tip being hidden behind the right end, the palms towards the spectators and the ringers spread apart.
3. Place the two pieces between the left first and second fingers as before; start a tear in the middle, slide the hands apart a little and complete the tear, again separating the hands. Repeat these movements, smoothly and deliberately, twice more so that you have 16 pieces. Place them, well squared, in the left hand, the greater part of their length protruding to the front, Fig. 5. 4. Bring the right hand over and grasp the pieces between the first and second fingers just outside the left fingers, thus bringing the right thumb behind the left fingers. Grip t h e thumb tip with the left thumb behind the left fingers and withdraw the right thumb, pulling out the duplicate paper onto the lower ends of the torn pieces, Fig. 6. Push the tip of the left thumb over the mouth of the thumb tip and with it hold the duplicate paper against the lower ends of the torn pieces. 5. With the right fingers fold the pieces over three times towards the front, making a bundle about the same size as the duplicate strip and resting right in front of it. Press them firmly together and turn the two little parcels over towards the front, bringing the duplicate strip into view. Take care not to cover the papers with the fingers during these moves. It should appear to the spectators that the original strip has never left their sight for a moment. 6. Pull the packet of pieces back a little with the right thumb and let the mouth of the thumb tip rest on the duplicate packet, Fig. 7, then with the left thumb push the tip forward, the pieces going inside it and the tip itself going onto the right thumb. This is the work of a moment, the duplicate strip remaining in full view. Unroll the duplicate, holding the lower ends of the folds between the left thumb and first finger. Display them thus, then seize the end of the strip folded over at the bottom and slowly draw the strip out to full length between the hands, Fig. 3. If the moves have been well done, and there is no reason why they should not be, the effect on the spectators is that they actually see the ends of the torn pieces magically join together and the feat will intrigue them no matter how often they see it.
REPETITIONS Almost one hundred and fifty years ago Decremps, the first technical writer on magic, laid down the precept, "Never repeat the same trick before the same audience on the same occasion." Yet in this year of grace, 1943, we are treated to the repetition of the same tricks by two, three and even four performers during the same public performance. In too many cases such repetitions amount practically to exposures. The element of surprise is lost and, knowing exactly
what to look for, the spectators are enabled to arrive at the solution. If the officials in charge of these magic shows find it a too delicate matter to edit the programs of the performers they engage, they should, at least, declare a ban on certain tricks which deserve a well earned vacation. I do not have to specify the tricks in question, anyone who has attended recent magic shows can make out a list at a moment's notice.
STRIKING EXPERIMENT By John Batton EFFECT: A book of matches is borrowed from a spectator who first marks it for identification. The magician opens the book, spreads t h e matches well apart, and drops the book into a glass of water. When it is well soaked, he takes the book out of the water, removes a match and strikes it on the cover â€” it lights. He repeats this with a second match and then hands the book to the owner who tries in vain to strike the remaining matches. It is impossible. METHOD: In your pocket you have a match book coated with white vaseline. You may begin by saying, "Confucius says, 'Nothing is more worthless than a wet match,' but I have found that even the great Chinese can be wrong." Take out your match book, look at it for a moment and then say. "On second thought, I'd better use borrowed matches," but, in the meantime, you have secured a coating of vaseline on your right thumb and first finger. Replace the book in your pocket and borrow a book, first having the owner tear off a corner of the cover as a precaution against substitution. Spread the matches apart, giving the first two a coating of vaseline, and also draw the right thumb over the bottom, giving the striker a similar protection against the water, but leaving the rest of the book unprotected by handling it with the left hand. Place the book in a glass of water and soak it well. Remove it with the left hand and wet the thumb in doing so. Tear off one of the protected matches and light it. Do the same with the second. Rub your left thumb over the striker to remove the vaseline and return the book to the owner who will try vainly to strike any of the remaining matches.
Hugard's MAGIC Monthly THE W.AAC.S AND THE DOUGHBOYS (Continued from page 1) peeped into the next room, found no one there and took possession". Lift the end of the second envelope nearest to you, slide out the bottom card (a queen), allow a casual glimpse of its face, lift the end of the third envelope and slide the card underneath. "Seeing that the first one did not return, one of the other ladies decided to try her luck. She peeped into #3, saw someone there, went on to #4, found it empty and promptly installed herself there." Slide out the bottom card of the three in #2 (a queen), work the same business of allowing a glimpse of the card, making it peep into #3, then into #4 and slide it under that envelope. "The ladies have made themselves more comfortable, two here in #2 one here in #3 and one here in #4. In the meantime the men, though used to close quarters when training, think it too bad to be so crowded in a hotel. One decides to have a look-see for himself. He slipped out. He doesn't look into #2, knowing that the wo men are there, but he peeped into #3 and seeing only one person there, decided that two would be much more comfortable than four so he slipped in." Slide the top card from under #1 (a queen) and without allowing a glimpse of its face, go through the business of passing by #2 and peeping into #3, then slide it under that envelope. "The first man not coming back, a second doughboy slipped out to scout
for himself. He passed by #2, peeped into #3 saw two persons there, peeped into #4 and seeing only one there, he slipped in." Take the top card of the three under envelope # 1 (a queen) go through the business with it, finally sliding it under #4. "One of the ladies remaining in #2 was a very restless sleeper; she tossed and turned until her roommate could stand it no longer. So out she came, peeped into #3 and #4, then finding #5 unoccupied, with a sigh of relief she went in and settled down." Take one of the two cards in #2 (a jack) slide it out and, after the same peeping business, push it under #5. "One of the two doughboys in #1 wanted to go to sleep, the other insisted on talking. Finally the sleepy one stalked out in disgust. He peeped into #3 and #4 but finding only one person in #5 in he went." Take one of the two cards under #1 (a jack), go through the peeping business and finally push the card under #5 after allowing a casual glimpse of its face. "The talkative doughboy came out to see if he could find someone to argue with but there was nobody in sight so he went back to bed." Slide out the card under # 1 , give a glimpse of its face and slide it back. "Now the lone, restless lady in room #2 is a sleep walker. She leaves her room and wanders about and quite by accident walks into room #1." (Suit the action to the words.) "The hotelkeeper, a suspicious old guy, having heard stealthy footsteps decided to investigate. Going to #2 he rapped on the door, getting no answer, he opened it and found the
Hu-gardenias To Lt. Haskell for his perfect presentation of Elmer Applegit's Masterpiece "One Card Pete", and for his brilliant innovation in the performance of the de Kolta Vanishing Cage which gives new life to this somewhat hackneyed feat. To Spaulding for his Penetrating Silk effects. As presented by these performers, the effects are not mere conjuring tricks but real magic.
room empty. "Aha," he muttered, "I knew those hussies were no good the moment I saw them." Stalking to #1 he threw the door open, dragged the two occupants to the floor and found two perfectly innocent doughboys." With the king of clubs turn over #2 lengthwise, then move it to # 1 , turn the envelope and flick the two cards face upwards. "Rather taken aback, still he was not satisfied. Going to #3, he opened the door, shook the sleepers and found he had to deal with two very indignant W A A C S . In #4 he found the other two ladies and in #5 the other two doughboys gave him a very warm reception for disturbing their innocent slumbers. "The moral is — appearances are often deceptive and evil be to him who evil thinks." The last moves speak for themselves.
must submit trick or book to Jean Hugard with copy. No advertiseClassified Advertisements Dealers ments will be accepted without his full approval. Minimum 3 lines, $1.00. ENDORSED DEALERS OFFERINGS Holden Recommends: "VISHNU"—The Perfect Rope Trick. New method is the best yet for cut and restored rope. No gimmicks necessary. Can be done anywhere, any time, without preparation. It fooled me! Complete illustrated instructions, only $1.00. HOLDEN'S MAGIC SHOPS "First with the Best". 220 West 42nd St., N. Y. City. 120 Boylston St., Boston, Mass. 117 So. Broad St., Phila., Pa. TARBELL'S CHINESE ROPE CHAIN MYSTERY. Dr. Harlan Tarbell's latest multi-cut and restored rope effect. No gimmicks used. No props of any kind. Just borrow your neighbor's clothes line and start in. Price, postpaid, for well illustrated, offset instructions and a complete line of patter — $1.00 Send stamp for lists of exclusive Quality magic and large free book catalog. Thayer's catalog Number 9 will be issued in five parts at 25c each or all five for one dollar. Part One will soon be ready. THAYER'S STUDIO OF MAGIC Box 1785 Wilshire La Brea Station Los Angeles, California.
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ENDORSED DEALERS OFFERINGS HOFFMANN SPECIAL: "Modern Magic", three great cloth volumes, 1759 pages in all, $5.00; Holmes' "The Magic Art", cloth, 235 pages, $2.00; Neil's 'The Modern Conjurer", cloth. 390 pages, $2.00; Hatton & Plate's "Magicians' Tricks", cloth, 344 pages. $2.50. Free lists. Free samples of PAUL FLEMING BOOK REVIEWS. Fleming Book Co., Berkley Heights, New Jersey. LEON MAGUIRE'S MIRACLE MAGAZINE TEST. At last the perfect method — straightforward — no figure j u g g l i n g — absolutely convincing. Spectator freely inserts business card halfway into magazine; instantly you know contents of both pages so chosen. No memory work. No formulas. The working is automatic. Can be done instantly on receiDt of instructions. A Genuinely Professional Trick for $1.00 AL BAKER, 322 - 88th St., B'klyn, N. Y. MAGIC INSTRUCTION SPECIAL INSTRUCTION in Advanced Magic. Prof. JACK MILLER, 178 Webster Ave., Jersey City, N. J.
Hugard's D E V O T E D
S O L E L Y
MAGIC Monthly T O T H E I N T E R E S T S
VOL. I NO. 2
O F M A G I C
J U L Y 1 9 4 3
A N D
M A G I C I A N S 15 C E N T S
SPECTACULAR FLASH OPENING In the good old days, aspirants for honors in vaudeville were advised thus: "Make your opening bright and snappy, finish with a smashing climax and the rest of the act will take care of itself". This advice applies with peculiar force to magic acts, since it is essential for success that the full attention of the audience be gained at the outset. A dull, uninteresting opening trick will so antagonize the onlookers that the performer will find it difficult to recover the ground so lost; but if, with his first trick, he can convince his audience that he knows his business and is worth watching, then half the battle is won. I shall give, from time to time, examples of opening and closing effects, beginning w i t h an opening series which served me with invariable success before all types of audiences for many years. Effect: The performer enters carrying in his left hand three pieces of tissue paper. With his right hand he produces a lighted match from the air and with it he sets fire to the papers. As they burn he pulls up his sleeves, changing the burning papers from one hand to the other so that it is plainly seen he has nothing but the papers in his hands. Suddenly quenching the flames with both hands, he throws out three long streamers of bright ribbon apparently produced from the ashes of the paper. Quickly coiling these ribbons, a large silk foulard suddenly materializes, stretched out to its fullest extent between his hands and from this he flashes out a Chinese umbrella gaily decorated with ribbons.
Twirling the umbrella over his head with his right hand, the mass of silk and streamers bunched in his left, he stands bowing his appreciation of the plaudits so striking an opening is certain to evoke. Requirements: Three pieces of white tissue paper, about 8 in. by 4, folded lengthwise in accordeon pleats a n d twisted tightly at one end. Do not use colored tissue, the coloring matter leaves an oily ash which soils the hands. Three bright silk ribbons of varied colors, each about 4 yards long and IV2 in. wide. The ends of all must be sewn to a piece of black sateen a little wider than the ribbons and 3 to 4 in. long. A large foulard or flag; a Chinese umbrella, w i t h brightly c o l o r e d ribbons dangling from its ribs, which when closed should be about 20 in. long, with the handle protruding some 4 in., finally, a match fake for the production of a lighted match. Preparation: Roll up the ribbons, starting at the free ends and rolling each one separately for about 18 inches, t h e n rolling all together, with the black sateen as a final cover. At the free end of the sateen make a hem and sew into it a wooden match so that a quick grip of it can be taken. Place the ribbon roll in your left arm pit. At two adjacent corners of the foulard sew two buttons, fold the foulard in half bringing the buttons together, then fold the whole in accordeon pleats, 2 inches wide, making a long roll. Beginning at the end away from the buttons, fold this roll also in ac-
cordeon pleats to within a foot of the button end and finally roll up tightly. Tie the bundle crosswise with a weak black thread and separate the buttons on the outside. Place it under your vest on the left side. To the top of the umbrella fasten a ring big enough for the easy insertion of your thumb and put it, handle end downwards, under your vest and top of your trousers on the left side so that the ring will come just to the top of the vest opening. Finally place the match fake under your vest on the right side or under the right lapel. Take the three tissues in your left hand, spread apart, and you are ready for the adventure. Working: With the loads in position, make your entrance. The position of your left arm, half bent, with the forearm in front of your body, you have no reason to fear that any bulges in your clothing will be noticeable. However, it is advisable to begin operations at once, without any preliminary palaver. Make your bow, at the middle of the stage and well forward, seize a match and, as it lights, reach o u t with your right hand, apparently plucking it from the air. Display it for a moment, then set fire to the tissues. As they begin to burn, transfer them to the right hand and with the left hand pull up the right sleeve, seizing it high and tugging it to bring the left hand well up into the right arm pit. Take the burning papers again with the left hand and with the right hand pull up the left sleeve in exactly the same (Continued on page 8)
Hugard's MAGIC Monthly
UNKING RING CLIMAX The classical finish to the linking rings by linking all the rings into the key ring and then, holding the key ring in both hands with the opening downwards, letting all the rings fall through the opening to the floor, has been discarded by most performers. While the clatter of the falling rings is effective, the fact that all were linked into one ring and then fell from it, is too suggestive of the main secret. Another finish, now used by some magicians, is to link all the rings into the key and then to hang the key ring on the left arm, exiting with the remark that it is an easy way to carry the rings. This is a weak finish since it also accentuates the fact that all the rings are linked into one ring and it loses the effect of the jangling clash of the rings hitting the floor. The best plan is this: When preparing for the climax by linking all the rings into the key ring, take them in the following order â€” first the set of three, then the set of two and, lastly, the singles. At once seize one of the singles with the left hand, the key being in the right hand and, holding these two rings firmly, vigorously shake the rings, clashing them on the floor and raising them high in the air using plenty of actions, then in making half a turn to the left, release the single from the left hand, grasp all the other rings with that
hand and, in swinging around to the right, disengage the key with the right hand, place it behind the other rings and hold up the whole set high in the air with the right hand. Hold the position for a moment â€” then let the singles fall separately to the floor in quick succession, followed by the set of two, the set of three and finally the key ring. For stage work that is the best finale to the trick yet devised, but for parlor or open platform work the dropping of the rings to the floor must perforce be eliminated. Instead, hold
the left hand below the rings and let them fall one by one, apparently separate, into that hand, counting them as at the start of the trick. This final count gives further proof (?) that the rings are solid, single and separate, that no addition has been made to them and leaves the whole set in hand to be put aside without delay. Recently an entirely new finish has been devised by Mr. J. Marsters, which is no mean achievement considering the thousands of magicians who have worked this classic feat. Mr. Marsters begins his routine in the usual way by linking and unlinking the singles, then proceeds to the long chain, keeping the various figures with the key and the set of three to the last. Finally he forms the photo frame (Fig. 1), adding to it by linking a single on each side, letting them fall to the two middle rings, then, seizing the lowest ring he brings it up against the top ring as in making the familiar sphere but the two singles spread apart and the whole forms a good representation of a wire basket (Fig. 2). Displaying this figure in his left hand, with his right he steals a packet of large de Kolta flowers and, in transfering the basket to his right hand, he releases the flowers so that they fall into the basket, instantly expanding and filling it. This sudden and totally unexpected appearance of the brightly colored flowers is quite startling and gives the performer an effective exit as he leaves the stage gaily swinging his basket of flowers.
THE LONG AND SHORT OF IT A SURE The ancient custom of "pulling straws" can be made into an effective force where the choice is limited to one of two objects. It is necessary only to have a method whereby the spectator must take the short piece, and this is how you manage it: We will suppose that you have two cards face downwards on the table and you wish to force one of them. In your vest pocket you have three wood matches; bring out two of them. Break off the head and about an inch of one and discard the longer piece. Turn away for a moment and arrange the whole match and the head piece between, your left thumb and first finger. Point to the card you. wish to force and say that the short piece will designate that card, the whole match the other card. The
FORCE spectator makes a free choice and draws the short piece. Why? Because when you turn away you break the whole match in two, the head piece being the same length as that broken off the other match. Arrange the three pieces between your thumb and forefinger so that the two heads project, the third piece being below them and the juncture being hidden by the thumb. No matter which he takes, the spectator gets a short piece while you show a whole match. At once take the short piece from the spectator and drop it on the card, at the same time replacing the broken match in your vest pocket. A moment later you can bring out the third whole match to light a cigarette.
JEAN-ERALITIES At the notion counters of department stores you can obtain a cotton cord which is the very thing for the Cords of Fantasia Trick. It is about half an inch thick, soft and pliable and being white shows up well in large auditoriums. Fred Braue passes on a tip for second deal experts. Instead of using
the sleight as an exhibition of dexterity or an exposure of gamblers' methods, sight the top card, have the spectators name a number and pretend to read the card at that number through the other cards with the finger tips. Then second deal to the number named. The trick has a surprising efect.
Hugard's MAGIC Monthly A monthly publication devoted solely to the interests of magic and magicians.
JEAN HUGARD Editor and Publisher 2621 East 27th Street, Brooklyn, N. Y. Subscription Rates 1 year, 12 issues, $1.50 (8 issues for $1.00) This publication is prepared for any type of binding. Magicians who collect each issue will have a most valuable addition to their library. Paper conservation has reduced our print order to a minimum, a n d w e therefore suggest that you subscribe immediately â€” through your dealer, or direct to us. Copyright 1943, Jean Hugard
Hugard's MAGIC Monthly
THE FLAP SLATE The production of spirit writing on a slate by means of a flap, for which we have to thank the fraudulent spirit mediums, is still a startling effect, provided that the flap is so disposed of that its presence has not been suspected. In the following subtle method the effect is that writing appears on an examined slate while it is in the hands of a spectator. Two slates and a flap are used. On one side of one slate (call this A) write the name, message or number as required for the trick you propose to do. Cover this with a piece of plain white, opaque paper, cut to the exact size of the writing surface of the slate and make it adhere by means of tiny pellets of wax at the four corners. Cover this with the flap and place it on your table together with a second slate (B), a duplicate piece of paper which has tiny pellets of wax at the corners, and a duster. When it becomes necessary in the course of your trick, take B, clean it with the duster and hand it to a spectator. Pick up A, with the flap, and clean it also. Announce that the phenomenon you are about to producerequires complete darkness and, for that reason, you will place a second slate on the spectator's slate. Take B and holding it flat, place A on it with the flap side uppermost. Hold both slates up to your eyes and peer at the sides of the frames. Affect to notice that one is slightly warped and allows the entrance of rays of light which would ruin the experiment. Slide A off and hand B back to the spectator. Hand the sheet of paper to the spectator to examine and then to fasten on whichever side of the slate B he pleases. This done, place slate A, flap side down, over the paper-covered side of
B, square the two slates together, turn them to a vertical position and have the spectator hold them above his head so that two long sides rest on his scalp. After a moment, decide that the slates should be flat and turn them so that the lower side of B rests on his head, thus the flap falls from slate A and covers the paper he has just affixed to B. Hesitate, then take the two slates, turn them to a vertical position so that A is toward the spectator, open them bookwise and hand A to him with the request that he place his initials on the paper WHICH HE HAS JUST FASTENED TO THE SLATE so that the experiment will take place under the strictest test conditions. This actually appears to be the case for the flap now hides the paper which he placed on B, the slate you now hold yourself. If the actions are carried through in a casual, off-hand manner, the various turnings of the slates will so confuse the onlookers that they will have no suspicion that a change has been made and the holder will initial the paper on slate A in perfect confidence. Now you decide not to use a second slate since the paper is perfectly opaque and you have the spectator hold A flat on his head, paper side downwards, with both hands. In the course of your gestures, allow both sides of B, that is to say, one side of the slate and one side of the flap, to be seen, but pay no attention to this slate yourself. Place it aside and conclude the experiment with the appearance on the spectator's slate of a message, a name or a number according to the routine you are using. Let the spectator remove the paper himself and you will have a satisfactory climax to your trick.
Editorial It is my pleasant task this month to record my warmest thanks and gratitude to the members of the Open House for sponsoring and supporting so wholeheartedly the launching of this magazine — to the Committee of the Open House without whose unstinted co-operation and expert advice I could never have attempted to enter the magazine field — to my confreres of the other magical publications and, more particularly, to my friend Bill Larsen for his enthusiastic send-off in the Genii — to the dealers for their support in the circulation and advertising fields — AND to all the friends known and hitherto unknown, whose kindly letters have given me so much pleasure and encour-
agement. T h e favorable reception given to my first number has exceeded my fondest expectations; I am very grateful and can only say that I will do my best to deserve a continuance of the support of all my friends in magic. It has been said that there is a good story in the life of every man; I am sure that every magician has at least one trick or sleight, all his own, which is well worth passing on for the good of the art. We all are indebted to those who have gone before for their unselfish revelations without which the art of magic could never have attained its present status. Therefore I will welcome contributions from my readers, not necessarily of absolutely
new tricks, but of material of a practical nature relating to the presentation and transformation of the tried and true principles which have stood the test of time. Finally, a word as to the purpose ot the small section devoted to classified advertisements; it is hoped that this will be used, not only for the advertising of new tricks but by readers who have apparatus they wish to dispose of or exchange. There are so many items which are no longer obtainable through the regular channels that the oportunity thus afforded of getting in touch with other magicians will be a welcome one to m a n y readers. — JEAN HUGARD
Hugard's MAGIC Monthly
SPECTACULAR FLASH OPENING (Continued from page 5)
way, thus securing the ribbon roll; keep your eyes fixed on the burning tissues throughout the actions. They will have burned down almost to the twisted stems, clap your hands together, quenching the flame, seize the end of the sateen with the right hand, swing both hands back to the left and then, with a sharp upward throw of the right hand, release the roll, making the ribbons fly out at an upward angle of about 45 degrees. Their ends having been rolled separately will fall apart as they reach their full length with pretty effect. It will be impossible for the most obstinate spectator to prevent his eyes following the flashing ribbons, so you have a perfect opportunity to steal the foulard with the left hand which has been brought opposite its hidingplace. Simply take the load in your half closed hand and bring the hand forward to take the end of the sateen from the right hand. Quickly gather in the ribbons with the right hand, throwing them in loops about a foot long over the left fingers into the crotch of the thumb. Reaching the ends of the ribbons, keep the hands together for a moment, grip one of
Hu-gardenias To the Kedhills for their brilliant application of the ultra violet rays and fluorescent lighting effects to the trick of the wetted tissue papers fanned dry in the air. The beautiful finish given to the trick by the lady member of the team made it the highlight of the S. A. M. Annual Show of May 23rd.
the buttons with each hand and separate the hands sharply, the foulard will expand to its fullest extent, covering the ribbons looped behind it in the left hand. Display the foulard by holding the corner in your right hand against the opening of your vest opposite the umbrella ring, the left hand stretched out to the left. Insert your thumb in the ring and rapidly stretch the right arm upwards and to the right, the left
bringing its corner of the foulard against the right shoulder. The umbrella is thus dragged out and dangles from the right thumb behind the foulard. Grip the handle with the left hand through the foulard, disengage the right thumb from the ring, then grip the handle with the right hand behind the silk, bundle silk and ribbons with the left hand and throw the umbrella open with the right hand. There is a knack in throwing an umbrella open with one hand: Take a firm grip of the handle, twist the wrist sharply outwards, raise the arm to full length and then give a sharp downward jerk, the umbrella will fly open. The twist sends the ribs away from the handle and the air resistance caused by the downward jerk does the rest. Finally twirl the umbrella over your right shoulder and, holding the mass of ribbons and silk in your left hand, you smile and bow as you receive the plaudits of the onlookers. There is not a difficult move in the whole combination but it must be done with confidence and dash, then it is guaranteed to secure the undivided attention of the whole audience for the rest of your program. In the August issue a novel closing effect will be fully explained.
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"ROPE EPIC" (Hen Fetsch) — LATEST VISIBLE RESTORATION. Show 4 pcs., darw thru hand, come out in one piece 4 times longer. Easy. Complete $2.00. MAGIC COIN BLOCK - ESCAPE a la HOUDINI. Newest pocket trick selling like hot cakes. Spectator can't remove coin but you do and win the bet — 60c. KANTER'S MAGIC SHOP, 1311 Walnut Street, Philadelphia, Pa. GRBAT BOOKS ON MAGIC I Baker's "Magical Ways and Means", #3.50; Booth's "Marvels of Mystery", #2.50; Downs' "The Art of Magic", #5; Hilliard's "Greater Magic", #10; Hugard's "Modern Magic Manual", #3.50; Hugard's "Expert Card Technique", #5; T«rbell's "Volume I " (#5) and "Volume 2" (#6.50); all handsomely clothbound, postpaid. New Bargain List (No. 5), just out, free. FLEMING BOOK CO., BERKLEY HEIGHTS, N. J. ROPE EPIC Hen. Fetsch A modern miracle in rope magic. You've never seen anything like it before. Four pieces of rope are counted, one by one, and before your very eyes they visibly change into one solid length of rope. No gimmicks, tricky knots or cuts, threads, pulls or holdouts used. It sounds unbelievable, it is unbelievable — and yet it happens. Just the thing for close-up, Night Club or platform, for it's brilliant, snappy and clever. Highly recommended by Christopher, Dell O'Dell, John Mulholland and others. Complete with routine, #2.00. HOLDEN'S MAGIC SHOPS 220 West 42nd Street, New York City 120 Boylston Street, Boston Mass. 117 So. Broad Street, Philadelphia, Pa.
TARBELL'S CHINESE ROPE CHAIN MYSTERY. Dr. Harlan Tarbell's latest multi-cut and restored rope effect. No gimmicks used. No props of any kind. Just borrow your neighbor's clothes line and start in. Price, postpaid, for well illustrated, offset instructions and complete line of patter — #1.00. Send stamp for lists of exclusive Quality magic and large free book catalog. Thayer's catalog Number 9 will be issued in five parts at 25c each or all five for one dollar. Part One will soon be ready THAYER'S STUDIO OF MAGIC Box 1785 Wilshire La Brea Station Los Angeles, California DEVIL'S TEARS — Robson's Exclusive Miracle, #1.50 CONJURER'S SHOP, INC. 130 West 42nd Street, New York MIRACLE METHODS No. 4. New Sleights and Tricks with cards. Jean Hugard and Fred Braue. Illustrated. The book completes the series and contains many of the authors' most closely guarded secrets; the first book by the authors on general card magic since "Expert Card Technique". #1.00. At all dealers or direct from Jean Hugard, 2621 E. 27th St., Brooklyn. Fred Braue, 1835 San Jose Ave., Alameda, Calif. MAGICIANS SEND for free Bargain lists. Tricks, Books, Magazines Dean Smith, Box #16-M, Monroe, La.
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PUBLIC NOTICES THOMAS MALONEY has adopted the professional name of The Great Chester and uses this medium of so acquainting the magical fraternity. WANT USED Linking Rings 8 or 10 inches. Also double load dove pan. State condition. B. D. Care this magazine. HOUDINI MEMORABILIA Wanted — Photographs. Letters, etc. Send description and price. Dr. J. H. FRIES, 485 Ocean Avenue, Brooklyn, N. Y. WILL SOME reader please help with a routine on the prayer chain. Would like to use it in program preceeding Linking Rings. P. M. Care of this magazine. WANTED SET of golf balls — four or five balls and one shell. Also Sachs "Sleight of Hand". State price and condition. J. G. B. this office.
EXCHANGES HAVE AN Assortment of worthwhile gimmicks and tricks which I haven't used in years. ^^rsh to correspond with other magicians who are in same position. Perhaps we can effect some exchanges which will benefit all of us. G. S., care Hugard's. Monthly
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VOL. I, NO. 3
HUGARD'S A PRETTY CLOSING TRICK The essential requirement for the final feat of a magic act is that it shall form a definite climax to the preceding feats, thus leaving no doubt in the minds of the spectators that the act is finished. It should be spectacular and by "pleasing the eye" should, practically, force the audience to applaud. Having attained this end, do not make the too common mistake of returning to the stage and doing another less effective trick. Be content to take your bows, as many as you c a n legitimately and smile y o u r thanks, unless you have a still stronger effect in reserve, though this, in my opinion, is not a good plan. Finish as strongly as you possibly can but definitely finish. The following effects were planned for the finish of a magic act. They have been used successfully over a long period and the working is not difficult so that the performer can concentrate on the proper presentation. The effect: The performer shows some large sheets of tissue paper already folded for the familiar paper tearing feat and proceeds to tear out a pattern. He drops the pieces into a shallow glass dish on his table and as they fall are seen to be shaped like butterflies. The tearing completed, he opens out the sheets and displays pretty patterns which have butterflies as the main motif. Putting the papers aside, he pours water on the pieces in the glass dish and stirs them around with a chop stick until the mass is thoroughly saturated. Lifting the sodden paper with the chop stick, he takes it in his left hand, first plainly showing the hand empty. He squeezes the paper, draining out as much of the water as possible, then taking a fan in his right hand, also shown empty, he drops the ball of wet paper onto it. For a few moments he juggles the paper on the fan, tossing it into the air and letting it drop on the fan, then takes it again with his empty left hand, squeezes it once more and waves the fan over it. Suddenly, perfectly dry tissue butterflies are seen to fly from the left hand into the air and flutter to the stage. The fanning
15 C E N T S
and the flight of the butterflies continue as the performer moves slowly across the stage. Finally with a more vigorous wave of the fan a veritable cloud flutters into the air, the performer making his exit as they fall onto the stage. Requirements: Three large sheets of tissue paper, red, white and black; a dressmaker's wheel; a shallow glass dish; a jug of water; a chopstick and a stiff Chinese fan. Preparation: Place the tissue sheets together and fold them in half, in half again, then twice diagonally, arriving at the figure 1. With the dressmaker's wheel prick out the patterns as shown by the dotted lines. The marks will not show at a little distance. In the middle of the fan paint a black circle a b o u t 3% inches in diameter and around it paint various Chinese characters, Figure 2. Cut out a hundred
or more tissue paper butterflies; you can do this very quickly by placing a number of sheets of tissue paper of varied colors one on the other, folding them in half and then cutting out the half butterfly shape shown in Fig. 1. Open out the butterflies and pile a hundred or more on the black circle of the fan. Press them down tightly and over them place a circular piece of black tissue paper the same size as the black circle on the fan. Fasten the edges down in four or five places with tiny pieces of Scotch tape. Do not gum the edge all around the circle, use only a sufficient number of pieces of the tape to hold the tissue down and conceal the butterflies underneath. Place the fan, thus prepared, on your table so that it rests upright with the prepared side towards the audience; the preparation will be invisible. On the table also you have the glass dish, the jug of water, the chop stick and the folded tissue papers. Working: The time having arrived for your final effort, you may remark that you always like to include in your program a trick you can explain so that everyone will be able to do it. Take the folded tissue papers and, as you continue talking about the simplicity of the trick, you first rip off the part marked "A" in fig. 1, then tear out the triangular pieces marked "B". The perforations made by the dressmaker's wheel will enable you to do the tearing instantly. Next, tear out the half butterflies and, as you rip out each lot, open them out with thumb and finger and let them fall separately into the glass dish. It is essential that the audience shall see that the pieces are shaped like butterflies. The tearing completed, recall that you promised to tell how the trick is done, so you explain that it is simply a matter of tearing the holes in the right places and they will make the pictures. Begin this statement quite seriously, then finish it with a smile and the audience will appreciate your little joke. After displaying each paper, lay them aside. Call attention to the butterfly tissues in the glass dish. (Continued on page 12)
Hugard's MAGIC Monthly
DOUBLE The discovery of two chosen cards, by causing them to reverse themselves in the pack, is not, in itself, new, but this presentation by Mr. George Pittman h a s several striking improvements which make it well worth adding to any performer's repertoire of impromptu card tricks. Any pack can be used provided that the backs of the cards have white margins. Here is the procedure." 1. Have the pack thoroughly shuffled by a spectator, then have him place it face downwards on your left hand, cut off about one half and retain the cards so cut. 2. Call attention to the fact that the top card of those remaining on your left hand must be considered a free choice, make a double lift, turn the two top cards as one and show; let us say, the six of spades. This card, you explain, is to be remembered as your card. Turn the two cards face downwards, slide off the top card, an indifferent card, take it with your right hand and insert it, face downwards in the packet held by the spectator, asserting as you do so that you are placing your card, the six of spades, amongst his cards. Push the card flush with the others and have the spectator shuffle his cards. 3. Invite him to hold his packet face downwards and from it take any card he pleases, look at it, not letting you see its face, and commit it to memory. Warn him that if by chance he takes your card, the six of spades, he is to return it and take another card. This, of course, is misdirection, since the six of spades lies safely on the top of your packet. 4. While the spectator is carrying out your instructions, square y o u r packet and, under cover of the action, grip the top card between the ball of your right thumb at the inner end and the top joints of the fingers at the outer end, drop your left thumb under the rest of the cards and with it turn them face upwards under t h e t o p card, the six of spades, and resume the action of squaring the packet. The move takes but a moment, it should be covered completely by your right hand and your whole attention should be directed to the action of the spectator in selecting a card from his packet. 5. We will suppose that he takes the jack of hearts, though the card is not shown to you at the moment. Hold your packet, squared perfectly, a n d invite him to place his card in it face downwards. Push the card flush and again square your packet, pointing out that his card is thus lost amongst the others and that you cannot possibly know what card he has taken. Since this is the truth you can make the assertion with the utmost sincerity. 6. Have the spectator cut his packet
REVERSE and hand one half to you. Take these cards, turn them face upwards and place them under your half of the deck so that one half of the packet protrudes to the front. Take the rest of the cards from the spectator and place them face upwards on top of the cards you hold so that they will project for half their length to the rear, Fig. Call attention to the fact that your original packet r e m a i n s face downwards while the two parts of the spectator's packet are f a c e upwards. Hold the cards upright, t h e f a c e d cards outwards, and very openly push the packets flush, then square t h e pack and turn it over. 7. Explain that this disorderly mixup, face up, face down, face up, is
very uncomfortable for the cards and that given the slightest chance, they will rearrenge themselves in the order in which they came into t h i s world, that is to say, all face downwards. Take the pack in your right hand, lift it a few inches and spring the cards downwards into your left hand. Repeat this little flourish inviting the onlookers to w a t c h the face-up cards right themselves, then square the pack, turn it face upwards and make a fairly tight fan. The two cards which are reversed w i l l not show up, their white margins only will be visible. 8. Square the pack, turn i t f a c e downwards and place it on the table. "Remarkable, isn't it", you say, "but let me show you something even more wonderful. You remember, I chose the six of spades; I take it from the pack like this", pretend to take a card from the pack with the tips of your thumb and fingers, "I turn it face upwards, so", turn your hand, " and I push it back into the pack", make that motion. "You don't believe that? Try it for yourself. What card did you choose? The jack of hearts? Very (Continued on page 12)
The vanishing of a wand by wrapping it in paper, which is then torn to pieces, is an effective trick, but the usual reproduction, by baldly taking the real wand from the breast pocket, is an anti-climax. The wand has been vanished by magic, it should be rep r o d u c e d magically. The following method, devised and used by Mr. Fred Braue, is extremely effective. Beforehand place the solid wand in a vertical position, its lower end in your lower right vest pocket, the upper end resting at about the peak of the lapel. When you have vanished the faked wand, you remark to the audience, "Have you ever noticed the curious actions of a magician? For instance, he wants to show you that his hands are empty. He doesn't do this â€”." You show your hands on both sidesâ€” "instead he does it the hard way, like this." Extend your left hand at your left side and, with a flourish, show it back and front several times. In the meantime, grasp your coat collar with the right hand, the fingers curling naturally under the coat and around upper end of the wand. "Then," you continue, "to make certain you really do understand that the hand is empty, he points at it with his right hand." Retaining your grip of the upper end of the wand with your second, third and fourth fingers and thumb, move the right h a n d downwards and to the left and point the forefinger at the left hand. The half of the wand protruding from be-
hind the coat is concealed by the right forearm which is in a horizontal position. The lower end of the wand remains in the vest pocket which still supports it. "Next, he shows you that his right hand is empty." Move your hands, which should be close together, from the left side to the right side of your body. Hold the outer end of the wand with your right hand until both hands are at the middle ef the body, then release the grip of the right hand and press the palm of the left hand against the outer end of the wand. Continue . the movement of both hands towards the right, the wand pivoting on the end in the vest pocket under cover of the left forearm and hand. Show the right hand with the typical back and front movement and poirit at it with the left forefinger. "Of course you, as spectator, ask yourself 'Why does he do that?' The answer, ladies and gentlemen, is that the magician is about to reproduce that solid ebony magic wand from nothingness. Like this." Grasp the end of the wand in the left hand and withdraw it entirely from under the coat as you move the hand to the left. At once grasp the other end with the right hand, press the ends against the palms of the hands and display the wand. This last action should be done quickly, the hands moving forward almost to full length with the wand between them.