Hugard's D E V O T E D
S O L E L Y
MAGIC T O
VOL. V L No. 1
T H E I N T E R E S T S
M A G I C
Monthly A N D
M A G I C I A N S
J U N E 1 9 4 8
A NIKOLA PRESENTATION by JEAN HUGARD
From time to time I receive requests for tricks or routines based on the Nikola System. One correspondent writes â€” "To my mind some of the strongest card tricks that can be done are based on the Nikola System . . . I think you would be doing the art a real service by trying to stir up interest." Possibly the main reason why the Nikola System is so little used by card conjurers is that it is thought to be very difficult to learn. This misconception probably arises from the array of tables with which the student is confronted at the very outset. At first glance they do appear to be complicated and too often the reader dismisses the system as being too difficult or requiring too much time to master. The fact is that there is a small amount of memory work necessary but this is made easy by the aid of mnemonics. For example, it doesn't require a very great effort of memory to recall that the letter 'n' which has two down strokes represents the number 2, while the letter 'm' having three down strokes stands for the number 3. The other mnemonic aids are as simple as that. The basis of the system is that the 52 cards of the deck are arranged in a certain order and each card is assigned the number at which it stands.
Thus 1 is the six of Diamonds, 2 the five of Clubs and so on to the 52nd card which is the eight of Hearts. Once this arrangement has been learned, an easy task thanks to the mnemonic aids given, when any number from 1 to 52 is called you can instantly name the card at that number or any card being named you can call its position in the deck at once. That is the A B C of the system. However, the routine which follows will give some idea of the effects that can be presented with its aid. THE ROUTINE Requirements: Mastery of the Nikola System; ability to make a false shuffle; a giant cigar; three pairs of comedy spectacles; any deck of cards. Procedure and Presentation: If you use your own deck, beforehand place the first four cards of the system, 6#, 5 * , K * , JV, on the top. If you use a borrowed deck get these cards to the top in counting the cards to see if it is complete or in searching for the Joker in order to discard it. In your pockets you have the cigar and the spectacles. Begin by inviting four spectators to come forward to assist you and line them up facing the onlookers. False shuffle the deck and force the top four cards, one on each man.
(The handkerchief force is a quick and easy method). Turn away from your assistants and instruct them to show their cards to the audience and you ask the spectators to try to memorize the four cards. This done, tell your assistants that after noting their cards themselves they are to hold them backs outwards by the extreme ends against their chests, Fig. 1. When they are ready turn towards them and explain that you will count three; at the word "Three" they are to turn their cards face out and back again as fast as posible. Illustrate the action with a card. To the audience say, "The quickness of the hand deceives the eye! Nonsense! Til prove that the eye is quicker than the hand by recognizing all four cards in a single instant." To the four assistants: "Ready? One! Two! Three!" They flash their cards and turn them backs out again. "I think I got all four," you continue. "I'll prove it by giving my friends here the whole deck and I will call for every card except the ones they now hold." Rapidly give each man 12 cards and have each of them shuffle his card into his packet. "Let's make a contest of this and see who is the smartest," you say, (Continued on page 435)
ROUNDABOUT WITH FRED BRAUE News & Notes: D. Fitzkee reports that Bessie Houdini admitted to him that she'd written Winchell that Houdini had come back... IBM Ring 26 now has 'Lab 26', another magic clinic. Good! . . . Frakson to Gay Paree . . . Haskell into LA, out of show biz . . . Don't tell Bert Allerton that a trick is cute. He'll moider you. "Cute," says Bert with great restraint, "means bowlegged!" . . . Scarne lecturing SAM Convention. Where's McDougall? C. Rawson's new "Clue" is a superduper review of spook-of-the-month stuff; you'll like it . . . Carter Dickson (J. D. Carr) detectiveer and magic aficionado, is now living in Mamaroneck, by heck, a block from Rawson. Gad, sir, to see Merlini and old H. M. sniffling brandy from a brandy snuffler! . . . Abracadabra's Goodliffe into USA for SAM Convention. Welcome! Carl Jones, who pioneered fine magic books, has a must-have coming up . . . Emil Jarrow, who worldtraveled on a lemon, honored at a sardine-pack May 16th. A wonderful showman, they say . . . Leslie Guest, demon auctioneer, absentmindedly sold three authors at an Openhouseparty. Hugard, Tarbell, Crimmins! . . . Open Letter to Dr. Daley: Come again, soon! Random Reflections: Stewart James new Jamesway Poker Deal, they say, is a kudo-katcher . . . That loud shouting is account the argument over Fitzkee's "Card Expert Entertains". But you can't argue when he says that if a trick isn't good, it's bad — throw it away . . . The Wonderful Mrs. B., asked if she remembered a certain Eastern act, replied, "Oh, I didn't like him." "Why not?" "Well, he was good, all right, but he started with that awfully dirty story." Moral? . . . Will a new magic magazine be published in green, yellow, purple, orange, magenta and shocking pink? . . . Applause: Paul Fleming writes: "Anyone who wants to learn how to present magic charmingly, so that it will delight an intelligent audience, can learn much — very much — from Ade Duval. He is tremendously clever in taking the audience into his confidence, employing really clever patter, and making little improvements in standard feats which make them definitely his own . . . His act was the biggest magical treat I've
had in many a day." . . . Fleming also reports that "Magic with Small Apparatus" (D'Hotel) is still wildfiring, is Fleming Book's biggest seller to date. Lund Short Poem Contest: Carroll Lisby enters the fray with: Ode to the Man Who Always Makes the Same Reply When Asked When He Will Repay a Certain Debt. "Payday." Jean Hugard sends along two: Song of the 20th Century Man Fly. Not Shortest but Intriguing Flutter by Butterfly. And Eric de la Mare, of Oxford, England, sends an item culled from the London "Opinion": Progeny? I advise you to dogeny. — Sally Shrimpton. This contest closes June 25th; so if you have an entry, send it along. Here & There: Thoughts after reading Eric de la Mare's letter: Why does the average English magician have a better writing style than the average American? Are we in too much of a hurry? Note the leisurely pace of the Shrimpton item above. An American would have "punched" it: Progeny? Dogeny. Ben Braude new prez IBM 26 . . . Hope the Open Door won't mind this item-lifting of Leon Maguire's improvised card stand: Double a fullsized newspaper over the back of a chair. Tear half-circles the width of a card through eight sheets or so, forming tabs into which cards can be placed slantwise for display . . . Thanks, Charles Harbutt . . . Steve Shepard reported dropping $6,000 when SF's Cafe Society folded . . . F. Clinton honorary member Magic Circle, England . . . Good News: Abril Lamarque back to NY shortly . . . Aside to Bill Kelly, Bavaria, Germany: The method in Royal Road is pretty close to it . . . Sam Horowitz and Al Minder having Fun in Bed. Get well quick, fellows . . . Finest thread for reels can be had from Deknatel Surgical Co., Queens Village, L.I., N.Y. Ask for finest black, size A. Lengthy spool, $1 . . . Just came upon Sid Lorraine's Six Repeat Rabbit Cards. Cute — (all
right, Bert!) —Good idea. Abbott has them . . . Doctors count pills by 3s and 10s, thus: 3-3-3-1. Do the same when thumbcounting. Looking Around: Bob Stull does Curry's "Power of Thought" with two cards at the same time and quadruples the effect. Same handling each card, of course . . . Look up Kaplan's "Cagliostro's Card", Greater Magic, p. 486. Astounding effect . . . Frank Chapman has cards drawn face down from his 52 card Miko pack . . . I Won't Believe It until I See It Dep't: Those unbelievable tales Le Paul and Allerton tell of Johnny Paul's torn dollar bill. Must be a supersockalalapaloosa . . . Bill Morton doing terrific biz with his Asylum of Horrors down South. In July, out with an illusion show under canvas . . . LA's Harry Mendoza, ill, had Charlie Miller do a club show for him. "Tell them you're Mendoza — they don't know me." Months later, same club again wanted 'Mendoza', and the Mendoza they knew — Charlie — couldn't play the show. What to do? Mendoza played it, explained that Mendoza was ill and that he was — Charles Miller! Thanks, Tony Kardyro . . . Frank Rigney now one of New Hampshire's landed gentry . . . Norman Jensen, winner of Loew's talent contest, on WHN May 4. Good! . . . Congratulations to Bill Woodfield on garnering a lovely bride, the former Nancy White . . . There are several fine and showmanly feats in "The Magic of Louis Histed" and the patter is wonderful — to pattern after, not copy. And Histed writes engagingly . . . Now It Can Be Told Dep't: Bill Larsen Jr., at Thayer's, demonstrated his "self-sealing, examinable" Linking Rings key ring (a regular key ring) to R. Himber. "Let me see those rings!" screamed Richard. Unlatching the counter door, young Bill switched rings, let our Richard examine solid rings to his heart's content — and depart, talking to himself! . . . It's old, but you have to chuckle when you recall Al Baker's demonstration of Six Repeat, using a pack of 52 cards. On the count of five, you drop 47 cards on the table — thud! . . . Another very oldie: placing a double-backer at the top of the pack, asking a fellow cardician to show you how to make a card turn face up by dropping the pack . . . Ah, fun & games, fun & games!
THIMBLE TELEPATHY by MILTON BORGER
I do not think thimbles have ever before been used as adjuncts to a feat of mind reading. Their use enables the performer to spring a final surprise that is sure-fire. Effect: The mentalist shows five thimbles, each of a different color, red, white, blue, yellow and green. A spectator is asked to choose mentally any one of the colored thimbles. Having fixed upon a color he prints secretly the first two letters on a slip of paper, folds the paper and gives it to another spectator to hold. This is done, it is explained, to aid in concentration and also as a guarantee of fair play. Taking the thimbles one by one the mentalist places them in his left hand which he holds clenched. The spectator is told to concentrate on the color he has chosen and then thrust his forefinger into the mentalist's closed hand. Retaining this position, he names the color he chose, this is checked with the written slip, the mentalist opens his hand and the thimble of the chosen color is seen to be on the tip of the spectator's forefinger, the other thimbles have vanished! Requirements: Five thimbles colored as stated above. A folded newspaper which has the under side of the top right hand corner prepared thus — sprinkle a little talcum powder on it and rub this in briskly with the finger tips, then brush off any surplus powder. By tearing off this prepared corner and having someone write on the unprepared side a clear impression of the writing will be left on any polished surface on which it is placed. The impression will not be noticeable to anyone but yourself. This subtlety is one of Al Baker's and was published by him in that fine book, MAGICAL WAYS AND MEANS and is given here by his permission. If you haven't bought this book I strongly recommend you to get it at once. It is full of equally subtle and original effects. Procedure: Before beginning the trick choose the polished surface on which you will have the writing done and so arrange that it will appear perfectly natural for you to tear off the corner from the newspaper for the spectator to write on. If there is no table with a polished surface you can have the spectator take his stand near a piano so that its top will be used as a writing desk. Set the prepared newspaper accordingly.
Begin by announcing an experiment in mind reading. Choose a spectator to act as the transmitter and seat him at the table, near the piano or as the case may be. Show your five colored thimbles and set them up in a row. Instruct the spectator to choose one of the colors impressing on him that once he has done so he must concentrate on the color chosen. By way of aiding such concentration you tear off the prepared corner of the newspaper, lay it before him and instruct him to print the first two letters of whichever color he is thinking of, thus Bl for blue, YE for yellow and so on, just as is done with telephone numbers. This will also, you say, act as a check. Turn away while the writing is done. Next, tell the spectator to fold the paper and give it to someone else to hold. This will take him away from the spot and prevent any possibility of him seeing the impression. There really is little danger of this although the impression will be quite clear to you for you know it is there and look for it. You now go into your mindreading act. Having read the two letters so kindly written for you by the spectator you know which is the chosen thimble. Take them up one by one slowly looking from them to the spectator each time and place them in your clenched left hand. Leave the chosen one for the fourth trip to your fist and nest the first three. Place the chosen one in the fist apart from the nested one and then add the fifth thimble to the nested three and steal all four leaving only the chosen thimble in the fist. Place this one mouth upwards. Stand with your left side to the audience and, holding out your left fist, have the spectator thrust his forefinger into it, Fig. Ask him if he has capped his finger with a thimble and he says he has. "Fine," you say,
JARROW The man who made a LEMON into a PEACH of a trick for his act presented at his birthday party at the Golden Horn, New York, Sunday May 16th. His Bills in the Lemon, his Tobacco Trick and the transformation of a quarter held in a spectator's clenched hand, were done with all his old superb skill. Congratulations and Many Happy Returns of the Day.
MACICANA Magicians, like society in general, are divided into good and bad. Any good magician can write the names of all the other good magicians on the back of a small visiting card. Patter lines—Dollar bill. The ury Department says that the a dollar bill is nine months. so. None ever died on my I can't keep'em that long.
Treaslife of Maybe hands.
A magician should ask himself— "Can I entertain a new idea?" "Can I entertain another person?" "Can I really entertain myself?" Patter lines — Water. "It looks like water." Drink some. "It tastes like water." Wry grimace. "It is water."
"Keep it there and now name the color you chose." We will suppose he says, "Red." Keep hold of his finger and ask the second spectator to verify this from the slip of paper. This done, call attention to the fact that one thimble out of five in your hand has been chosen by the spectator himself. Slowly open your fist and that very thimble is seen capped on the spectator's forefinger — the other four have vanished. A double climax has been achieved which you will find extremely effective.
Hugard's MAGIC Monthly
MILBOURNE CHRISTOPHER'S COLUMN More nonsense has been written about Magic for Cliildren than any other phase of our ancient and usually honorable art. The real secret of successful conjuring for the younger generation is audience participation and presentations that amuse the parents as well as the children. Participation If the youngsters play active parts in the tricks, they enjoy the show far more than if the wizard remains aloof and parades his sleight of hand ability or sets off one mechanical contrivance after another. If there are magic words to be said, let the children repeat them in unison. Frequent questions such as "How many of you want to be boy scouts?" preceeding a rope trick, or "Who would like to play the part of a magician" by way of introduction to the Welsh Rarebit Pan enliven the proceedings. Seldom is a children's audience composed of a single age group and much of the "Ittsy bittsy-fairy tale" patter I have read would be received either with hoots or bored expression by eight and ten year olds and some diffidence on the part of the parents. Taboos Though it seems ridiculous to make a point of it for intelligent readers, tricks with fire, needles, liquor and cigarettes are not advisable. If the house is set afire the day after you leave or if the son of the family swallows a package of needles, there will be those who say that he was trying to imitate your performance. Even the most modern parents see little amusing in tricks with whisky and beer at kiddies festivals, though dozens of conjurers use them. A recent book which contained much valuable advice on entertaining children also featured, to my complete amazement, a vanishing opium pipe. Pleasing parents I mentioned earlier that the parents must be entertained as well as the children. Why? Because they hire you. If you delight the children and bore them you'll have far less chance of a repeat engagement than if matters were the other way around. IF you please them both, then you've done a first rate job. Another reason for making the parents happy. If you show that you can entertain them,, too, at a children's party there's every possibility that you'll be re-engaged for an
adult's affair. So be wary of strictly Micky Mouse-Cinderella tricks in your shows for youngsters. Humor? I read several years ago the suggestion that the wizard should soap the stairs to his stage if he performs on a stage so that the youngsters who come up to help him will slip and slide as they rush up from their seats. No doubt a broken arm or a dislocated collarbone would send this writer into stitches. I have seen performers, I hesitate to call them magicians, roughly shove youngsters around the platform and address them in patronizing tones. It is one thing to have a funny situation or a funny line and quite another to insult guests on your stage. Give-A ways Please check with the parents before you give your rabbits, guinea pigs or doves away. Most parents are pleased by your generosity and will name the animals or birds after you; some, however, regard the prospect of a live pet around the house as pleasantly as they would a case of scarlet fever. A few words in advance will determine the parental line of thought. Even the matter of showering the children with magically-produced chocolates or bon-bons should be discussed in advance. More than one after-show tummy ache has been attributed to the magician's candy and not to extra portions of party cake or ice cream. Applause If your audience is made up of very young children the chances are that they won't applaud after your feats. Not that they don't like them, but simply because they haven't seen live shows before. A technique that I have found useful in such instances is this: I explain that when I finish a trick I'll extend my arms. This is a signal to start clapping, I continue. When, however, I put my finger to my lips that's a signal to stop. We practice this before my first feat. Once the youngsters catch on success is assured. The older generation present enjoy this start and stop business as much as I do. Sucker tricks Sucker tricks â€” the egg bag, slidinb block box, and color cards and mat trick â€” are standout features in any children's show. The world's
most ancient magic is brand new to the very youngest generation. But don't take for granted that the children haven't seen another magician. Ask the parents in advance. If possible eliminate the tricks other wizards have used for the same audience. Children have no qualms about shouting out the trick's climax if they've seen it before. If you don't have a different twist at the finish this can be most embarrassing. Should you have a novel ending, however, the hub-hub builds the effect to far greater proportions. Presents If the affair is a birthday party the production of the youngster's principal gift magically is a much appreciated bit of conjuring. Let's hope that it's something small and not a tri-cycle or a Shetland pony. Volunteers Once when performing before several hundred children I made the mistake of asking for a volunteer. About half of the audience jumped to their feet, rushed down the aisle and stormed the stage. Now I indicate specific youngsters or have several onlookers hold objects, then step by step direct them up to my side. Curiosity Several years ago an old timer, who during the Christmas season does a fine business with his children's entertainment, told me that his major problem was to keep the children away from the props on his table at the end of his performance. His shows are given for the most part in private homes and his three tables are instant targets of interest when he makes his final bow. I suggested that he produce three large foulards from a phantom tube, then cover each table with a foulard as it appears. To top it off, I continued, pull out a silk with "That's all", "The end" or something similar. He reports that this has almost completely solved his dilemma and that only a rare youngtser will lift the cloth to reach under and examine the apparatus. In closing, if you don't enjoy performing before children confine your magic to other audiences. If, on the other hand, you like to conjure for youngsters, I'm sure they'll reflect your enjoyment and you'll both have a wonderful time.
Hugarfs MAGIC Monthly
THE LINKING RINGS SOME NEWS MOVES
I. THE NO KEY MOVE Fred Braue. The clever move to be described enables the linking ring manipulator to prove conclusively that two linked rings are solid by showing every inch of both rings. Despite this, a moment later the rings are separate. 1. Link the key ring through a single, holding the key in your right hand with the thumb and forefinger concealing the break. Hold the key at right angles to your body which will bring the lower solid ring more or less parallel to your body, Fig. 1. 2. Advance to a spectator and call attention to the lower ring. Grasp it at point A, Fig. 1, with your left hand and spin it downwards rapidly. While it is still spining take it with your left hand at point B and fold it upwards so that the left hand is close to the right hand, Fig. 2. 3. Now throw the key ring into your left hand, the break falling under the left thumb, and at the same instant drop the other ring onto your right fingers which lower it to the bottom: of the key ring, spining it by a rapid downward thrust of the right hand.
L 0OHIN0 DOWN ON RINGS. <V" POINTED INWARD.
You have apparently shown the two rings in the fairest possible manner and proven that they are solid rings. II. RIGHT ANGLE UNLINK Fred Braue. Let's assume that you have shown a key and a single as two solid rings using the No Key Move (above). This unlink is a deceptive method of unlinking the two since the hands never seem to come together and all other parts of the rings are visible. Hence the spectator can only decide that the rings do actually melt apart. 1. Take the key ring in your right hand and the other in your left, the break in the key ring being concealed by the right thumb and forefinger. Turn the hands so that the rings form a V with its point towards you, the planes of the two rings forming more or less of a right with one another, Fig. 3. 2. Next, turn the two hands downwards, using a wrist motion only which will cause the upper parts of the two rings to slide against each other as the fingers of the hands approach each other but do not meet. Return the rings to their original po-
sition. The action simulates the rubbing of the upper parts of the two rings together. 3. Repeat this move several times, finally letting the left ring slide through the break in the key ring separating them. Slide the rings together a few more times, then slowly draw them apart holding them against each other until the final moment of separation. The same move can be used to link two rings. m. THE SWING UNLINK Harry Mendoza. This is another good unlink method. Hold the linked rings at the top in each hand with the break in the key ring concealed by the right thumb and forefinger, Fig. 4. 2. Swing the rings outwards and inwards and, as they swing, bring the hands together slowly, then turning (he left a little to the right, let it slide through the break in the key. 3. Continue swinging the rings but now slowly move the hands apart, keeping the rings in contact until they are free of each other. (Continued on page 436)
BOOK PROFILES by JOHN J. CRIMMINS, JR. OPEN SESAME... by Eric C. Lewis and Wilfred Tyler. Published by Goodliffe of Birmingham, England. 8 chapters. 154 pages with 61 illustrations and 12 humorous "spot" sketches by Dennis. Cloth bound. $6. This is a book on entertaining children by two of our English compeers who have specialized in this branch of magic with considerable success. At this date, OPEN SESAME has acquired the distinction of being a controversial book, but so far as I can see, and I have read it through twice, it is without question just about the best book on its subject available today. True, the price of $6 seems rather high, but to the performer who seeks engagements and enjoys entertaining at children's parties, the book is undoubtedly worth the price. I've heard several magicians remark that the material described may be all right for English children, but is not suitable for American youngsters. With this viewpoint, I ani definitely not in agreement. There are but two or three items (out of 26 effects and bits of business) that I would consider possibly a bit slow, whereas the majority of them, specifically "Monkeying with a Monkey (hand puppet)," "A Spelling Puppet Routine," "The Children's Penelease," "Little Bo-Peep," "The Paint Book," "The Jumping Clown," and "Noah's Ark Production" would be, I'm sure, a "hit" with any children's audience I've ever seen or entertained. It's just a matter of child psychology and knowing how to apply it — and I take my hat off to the Messrs. Lewis and Tyler for a fine job, well done. Aside from the colorful tricks and the routines, the introductory chapter is one every magician would do well to study. It is probably the best essay on the art of entertaining children I have ever had the pleasure of reading. In its 32 pages are crammed the fruits of the authors' years of experience in this specialized field. Their suggestions and tips are sound, right to the point, and very worthwhile, and explain how to be a successful performer, what appeals to children of different age groups, how to routine your act so as to appeal to a mixed age group (which is the first reasonable solution to this problem I've ever run across), and how to interject comedy, situation, suspense and repetition in your program. Also some s;ige advice on audience partici-
pation, dressing up volunteers, the value of circus color, and the advisability of working in some educational features. The second chapter, likewise, offers considerable worthwhile material by introducing a good selection of magicgags and bits of business most performers will welcome. All in all OPEN SESAME is recommended to those who either entertain children professionally, or who, like most magicians with youngsters, are faced with the prospect of doing a kiddie show from time to time. RIGHT UNDER YOUR NOSE... by Douglas Francis. Published by Studio of Unique Magic, London. A printed booklet of 3f> pages with soft board covers. $1. This unpretentious little booklet by one of England's busiest professionals will appeal to many performers, as each of the 10 close-up effects described may be done at a moment's notice — under any conditions — and with but a few vest pocket props and borrowed articles. The tricks dealt with are a double coin transposition, a coin penetration through the hand, a very cute and surprising coin feat, entitled "Change Given," (which Percy Abbott claims is worth the price of the book, and with which I'm inclined to agree), a production of a glass of Scotch whiskey from a handkerchief, a series of color changes and the eventual sleight-ofhand production of 4 vari-colored thimbles, an unusual fountain pen trick, and four card feats — "DuoCoincido," a novel color change with sucker angle, a "flip" card discovery, and a card transposition. Each effect is well conceived and well routined with experienced and adequate misdirection, although all are not new tricks by any means. However, they are all good tricks to have handy when "show us a trick" puts one on the spot. You, too, will agree with the author's views when he says, "I have been amazed on several occasions that an otherwise brilliant performer, when asked to perform a trick on the spur of the moment, has been quite at a loss to do anything. Consequently, his prestige has suffered somewhat of a setback. I cannot stress strongly enough the great publicity values of acquiring a few such effects, etc." And so this little pamphlet was written to fill such a need! Furthermore, John Ramsay,
one of Britain's greatest exponents of close-up magic, has seen most of these effects presented by the author and recommends them highly in his introduction to this little booklet. No more need be said! TWENTY-FIVE FOOLERS WITH A FOO CAN... by Johnny Sayer. A manuscript of 5 mimeographed pages (including the cover). Published by the author. $1. This little manuscript which has just been issued will probably appeal to the apparatus magician, and to those who have a Foo Can among their props. The author has devised, and otherwise collected, an assortment of effects based on this wellknown prop. Quite a few of these will undoubtedly appeal to those who have long sought some other use for the Foo Can aside from the "one" they are accustomed to present. The majority of the ideas, of course, deal with liquids, although a few find new use for the can in conjunction with eggs, nylons, rice, and rope. No padding is employed, and the twentyfive descriptions are concise, clearly written, and workable. If you use a Foo Can at all, you'll get good value for your dollar. A DEVILISH MIRACLE... by Ed Mario and Carmen Damico. Published by Sedghill Industries, Chicago. 8 printed pages with 17 illustrations. Glossy board covers. $1.50. This little booklet describes but one card feat, but gives two methods of accomplishing it. It's a close-up table trick in which two selected cards play a part. One of them vanishes right under the nose of the audience from a group of five cards, reappears, vanishes again, and finally transposes itself with the second selected card in the deck. This brief description does not really do justice to the actual effect which, although not difficult to do, has a surprising two-way climax that should appeal to all lovers of card magic. The handling is clean throughout, and the effect has all the earmarks of being the acme of sleight-of-hand. Furthermore, it may be done with anyone's deck, any time, and any place! Books for review should be sent to John J. Oimmins. Jr., 265 Park Hill Avenue, Yonkcrs 5, New York.
THE "COCK-EYED" COMPASS by FRANK J. RIGNEY Here is something for magicians in the way of close-up misdirection. Trace the outline of the illustration, Fig. 1, and transfer the tracing to a piece of stiff carboard. Cut out the
KNOB OH EACH^s. R SIDE ;-~'
ARROW O/V TH£ REVERSE SIDE
hexagonal figure. It should be one inch along each of the six edges. The edge angles are 120 degrees and the opposite points are two inches apart.
Hold the cut-out cardboard between the finger and thumb at points A and D and draw or paint an arrow running from the center to the point F. Now, still holding at A and D, pivot the cardboard and draw a second arrow pointing in what appears to be the same direction as the first arrow, that is, inwards towards the finger, Fig. 2. In reality this arrow is pointing in a different direction as shown by the dotted line, Fig. 1. Glue a small button or knob on each side at the center. This knob you pretend to wind so as to make the arrow on the opposite side of the cardboard change its position. Procedure: Hold the gadget as in Fig. 2 and pivot it a few times. The arrow will keep pointing to the finger. Now "wind" the button and take the cardboard between finger
CARD MEMORY The Saturday Evening Post, in its issue of April 24, has an article on memory work which should be read by every cardman interested in using the set-up pack. It describes the findings of Samuel Renshaw, an Ohio State University psychologist in the field of memory, and creator of the war-time Renshaw Recognition System for spotting aircraft. Renshaw is a disciple of the Gestalt school of psychology, which holds that memory is a matter of pattern, or "structuring" — the remembrance of the over-all pattern rather than the individual parts. In other words, t^e theory holds that the best way to memorize something is to create a structure, or pattern, for it. Psychologists use playing cards in their tests because they arc "nonsense material" — they do not create emotional reactions. One of Renshaw's experiments has been with the feat of memorizing a genuinely shuffled pack of cards in twenty minutes. On the evidence offered, if the "structuring" plan is used, this is not nearly so difficult as has been believed. The theory is this: The student visualizes a column of 52 numbers. A shuffled pack is held face down in the left hand. The top card is turned every 3 seconds and its name spoken aloud as the student looks carefully
at it. Native memory fits it into its place in the column of 52 places. Using this theory, Renshaw took 50 students of varying intelligence and taught them the 52 card memory feat in 13 lessons of 20 minutes each. His procedure was this: An observer and student worked together, the latter being advised not to become anxious, or 'press'. The student accepted the shuffled pack and turned a card every 3 seconds, calling its name aloud. When he had gone through the pack, he turned his back and named the cards in order as nearly as he could, calling out any cards that came to mind, until he named what seemed to him like 52 cards. The observer told him how many he had got right. This was repeated for 20 minutes. Two students mastered the feat in the first session; two more in the next; seven more in the third. At the end of the sixth session, 32 had the knack. Only one of the 50 required the full 13 sessions. Renthaw finds that it is not necessary to think of a definite number, say 24, to remember the card. This may actually throw the memorizer off-stride. "The linking is more with a place or space in the over-all structure than with literal numbers," the article points out. Again, Ren-
and thumb at two other opposite points, B and E. Pivot one turn over and the arrow shown will be found pointing in an entirely unexpected direction.
Changing your hold to opposite points will cause the arrows to point in many ways and usually in a different direction to that guessed by the spectator yet by changing to your original hold you can show both arrows pointing exactly the same way.
shaw likens it to remembering a popular song. You listen and repeat it, aloud or mentally. Later, thinking or hearing one part of the melody recreates the entire structure, the individual notes falling into place "as if by magic". As in memorizing the pack, you need not count to 24 to know that a certain note is 24th in the melody; the subconscious does that for you. Cardmen who have tried the Nikola system and later switched to straight memory will agree that the mnemonic system is a hindrance rather than a help. It is interesting to note that Renshaw states that mnemonic systems are inferior, actually weakening the basic memory powers. His concept, basically, is, "Let go and let nature take its course." — Fred Braue.
MAGICANA Small boy's definition — "Water is a wet substance that turns black when you wash it." * * • Humans have five senses — sight, touch, taste, smell and hearing. Magicians must have two more — horse and common. • * • Said the cynic: "Well, if I have to go crazy I guess I'd better join a Magic Club. Nobody will ever notice it there."
Hugard's MAGIC Monthly
GAMBLER vs. MAGICIAN (A New Handling) By FRED BRAUE A part of the handling of Dr. Daley's "999th Ace Trick" pressed a button and resulted in the concoction of this surprise ending to Jean Hugard's "Gambler vs. Magician" — which is the best kind of card magic you can do. Secretly gather the four aces and four kings. Place them at the top of the pack in this order from the top down: K, A, K, A, K, A, A, K. 1. Tell your story of the gambler who challenged the magician to cut four of a kind in a shuffled pack, offering to wager $500.00 that the magician couldn't. A3 you talk, false shuffle and false cut. 2. "The magician accepted," you continue, "and flipping over the top card, turned a king. "Will the kings do?' he asked the gambler. 'As good as any other card,' the latter replied." Drop the king face down on the table. 3. Make another false cut. Doublelift, showing another king. "The second king!" Turn the two cards down, thumb off the ace at the top and drop face down on the table. Now make the side-cut as described in Step No. 2, page 422, of Daley's ace trick, placing the king at the bottom, the stock returning to the top. "Another cut." 4. Double-lift, showing another king. "The third king!" Turn the two cards down, push off the ace and drop it face down on the table. Again make the sidecut, taking the king to the bottom and returning the top stock. 5. "About this time, the gambler had a bad case of jitters; he saw that the magician would win the wager and he therefore nudged a confederate, who distracted the magician's attention while the gambler sneaked another card from, the pack—" (here you backslip the ace now at the top to the center, in cutting; thumb it off and drop it face down on the table) "—and cut the king back into the pack." So saying, pick up the first dealt card, the king, and drop it on the pack. 6. Make another sidecut, taking the king to the bottom and returning the stock to the top. "The magician made a final cut." 7. Double-lift, showing the 4th
THE BIDDLE CARD VANISH By ELMER BIDDLE Every so often a sleight comes along which is easy of accomplishment and wholly illusive. The following card vanish, by Elmer Biddle, of the Unique Magic Company of Los Angeles, is such a sleight. First published in Genii magazine for April, 1947, it is given here for those of my readers who may not have seen the original explanation through the kindness of Bill and Gerrie Larsen, who have generously permitted re-publication. Mr. Biddle has given his sleight the name "Transcendent"; but since it should henceforth be a standard utility move, I suggest that its originator be recognized by referring to it as the Biddle Card Vanish. The effect is this: Five cards are drawn from the face of the pack, one of which is an ace. The cards are placed face down on the table. A moment later, when the cards are examined, there are only four — the ace has vanished. Obviously, the move has great utility value. Some of the uses to which it can be put will be found in the issue of Genii already referred to, together with photographic illustrations. 1. Hold the deck face up in your right hand between the second and third fingers at the outer right corner, and the thumb at the inner right corner. The tips of the fingers and thumb extend below the lowermost card. 2. Bring your left hand, palm up-
wards, to the pack and place its thumb on the face card, the left fingers automatically going under the pack. 3. Draw off the face card into your left hand. Draw off a second card onto the first. This card, say an ace, is the card that will vanish. 4. Now, in drawing off a third card in the same way, the cards in your left hand move directly under the pack and the second card is grasped and retained by the tips of the right fingers and thumb, as the left fingers draw the first card away to the left simultaneously with the removal of the face card by the left thumb. The latter falls onto the first card, covering it and concealing the fact that the second card is no longer in the left hand but is now the lowermost card of the pack. 5. Similarly, draw a fourth and fifth card into your left hand. You now hold four cards, supposedly five, in your left hand. The ace will be the top card when the pack is turned face down. Mr. Biddle suggests that a chosen card be controlled 12th from the bottom and that two groups of five cards be drawn from the pack as above. A third group of five cards is taken but this time the Biddle Card Vanish is used when the second card is stolen. Ask the spectator if he saw his card; when he indicates the third packet, have him count the cards to discover that his card has vanished. Palm from the pack and produce from the pocket, wallet, etc.
king; turn the two cards down, push off the ace at the top and table it face downwards. 8. Make a final sidecut, as before. 9. "There!" cried the magician. 'I've cut to four of a kind!' The gambler turned over the ace. 'On the contrary, you've lost the wager. This card is an ace.' 'So it is,' the magician admitted. 'But these other cards are aces, too!' "
tom palm, p. 60, Ex. Cd. Tech; -but any palm may be used. 11. " 'You must be seeing things,' the magician continued. "There were no kings on the table — only aces. Look — here are the four kings in my pocket.'" Plunge your hand into your pocket and withdraw the four kings. At the risk of seeming to be plugging "Show Stoppers with Cards", there's only one double-lift to use in a trick of this sort, and that is the no-get-set lift described in this book. It's easy, fast, certain and — best of all —there's no fumbling around before each lift to warn the most acute spectator that there's trickery afoot.
10. As all attention is concentrated on this surprising denouement, and attention is relaxed, palm the four kings from the bottom of the pack. The palm I use, and a good one for this type of work, is the Braue bot-
A NIKOLA PRESENTATION (Continued from page 427) addressing the audience. "You'll be the judges and a valuable prize goes to the winner." Tell the assistants that as you name a card they are to see if they hold it and if so to give it to you as quickly as they can. "Spread your cards," you say, "Are you ready?" Begin by calling the fifth card of the system, the 5<|k and continue to the 52nd card as rapidly as the cards are handed to you. Stand at the left of the line, take the cards with your right hand and place them face up in your left hand. Make the contest as lively as possible by urging greater speed, making short asides to the audience if there is any fumbling and so on, complimenting one, chiding another. When you have called for the 8 V each man will have one card left. Begin with the one at the right. "I had a flash of a red picture card. The Jack of Hearts. Is that right?" He shows it and you take it adding it to the top of the cards in your left hand. Name the next two cards and take them, adding them to the top. For the last card, turn to the audience and ask, "Can anyone remember what this card is?" If anyone calls it, compliment him and show the card. If not, name it yourself, take and put it on top of the deck which will then be complete and in the Nikola order. "Now to see who was smartest." Go behind the line and ask the audienec to applaud as you put your hand on each man's shoulder, the one getting the loudest applause to be the winner. When this has been decided, hand the winner the giant cigar and to each of the others give a pair of comedy spectacles as consolation prices. Have them put the spectacles on and wear them to the end of the routine. Naming the cards at any numbers called Carry on by making a false overhand shuffle. "Let me give you a further test. I have merely to take one glance at the cards, so—" Fan the deck, glance at it, close it and turn the cards face down. Ask the first man to call any number from 1 to 52. Suppose he calls 33. Have the next man call a number and we'll suppose he says 17. Always take the smaller number first, in this case 17 — "The 17th card is the 24 and the 33rd card is the
." Very openly count down to 17, keeping the cards in the same order. Lift the packet and hold it face outwards showing the 2 4 . Don't look at the card yourself. This may seem to be a minor point but it impresses the audience. Continue the count to 33 and show the A 4k in the same way. Naming the position of any card called Square the deck false shuffle, fan the cards and take another rapid glance at the faces as before. Address the third man, "Will you name any card in the deck?" Suppose he says 5V. Have the fourth man name a card. Suppose he says Q«fr. Take the one nearest the top of the deck, first, in this case the QJfr. "The Q * is the 18th card and the 5V is the 36th card." Count down and show each card as before. Naming the number of cards cut by a spectator Square the deck and false shuffle. Place the cards on your left hand face down. Ask the man next to you to PACKET PUSHED TOWARD YOU BY SPECTATOR
ff/CMT THUMB UNDER END OF PACKET.
push back a small packet of cards from the top towards you. Take the packet by the inner protruding end and, in lifting it, glimpse its bottom card. This instantly gives you the number of cards out. Pretend to weigh the cards carefully and call the number. For example, you have glimpsed the 44, the 13th card, so you call 13. Count them very openly and drop them) on top of the other cards. Repeat this with another man. A hand at poker. To the audience say, "Let's see how these gentlemen are at poker." Have them hold out their left hands, flat and palms upwards. Deal to each man as in poker laying the cards on their outstreched hands. Tell the fourth man that the hand you deal to him is to be your hand and since he holds it there can be no suspicion of trickery. The deal completed, have the first
man look at his hand. He has a straight 2 3 4 5 6 so he stands pat. The second man has 5 9 10 J Q so he draws one card and gets an 8 giving him a straight also. The fourth man has a full house — Ks and 9s. He's satisfied. Put the deck down and take your hand from the fourth man. Don't look at it. Ask the first man if he will bet his prize cigar against a dollar that his hand will beat yours. Make the same bet with the other two, your dollar against their spectacles. Have them show their hands in succession "Looks kinda bad for me," you say, then you show your hand, a royal flush of Hearts! There's your climax and you should reap your full reward. Collect your cigar and spectacles, thank your assistants and shake hands with them as you dismiss them.
IMPOSSIBLE (Continued from page 412) If you have occasion to repeat the trick at some other time before the same group, the finish can be varied in this way. After you have dealt off cards in unison with the spectator and the chosen card lies on the top of your packet, pick up the packet and in squaring it get ready for a double lift. Do not have the card named. Say "And here, believe it or not, is the very card you chose!" Make the double lift and turn over, showing an indifferent card without looking at it yourself. Immediately turn the card(s) down and thumb off the top card face down onto the table. You are at once challenged and told you have found the wrong card. Pretending astonishment you say, "I have never failed before. What was your card?" Suppose the answer is "the five of Clubs." "But that is the card I showed you," you maintain. "No. You found the Jack of Diamonds (say)." Stoutly maintain your position, finally have someone turn the card which is lying on the table. It is the five of Clubs. "I knew you were mitsaken," you exclaim. "The Jack of Diamonds is an unlucky card for me and I put it into my pocket before I began the trick." So saying you thrust your hand into your pocket and bring out the Jack of Diamonds. At the moment when all attention is centered on the turning of the table card you palm the top card of the packet, the Jack of Diamonds.
Hugard's MAGIC Monthly
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 29, N. Y.
Subscription Rates 1 year, 12 issues, $3.00 (6 issues for $1.50) Copyright 1948, Jean Hugard
THE LINKING RINGS The illusion is that the rings are linked until the last possible moment when they are seen actually to be separated. The swinging of the rings gives this method an appearance of absence of effort which is most effective. IV. THE TRANSPOSING RINGS
Harry Mendoza. Fve used this move, which is really an optical illusion, for a good many years and can certify that it's worth having. The effect is that two rings of a chain of four change places. 1. Take your set of three rings and attach the key holding it in your right hand. Grasp the lowermost ring of this chain of four with your left hand and carry it to the position shown in Fig. 5.
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You will note that the two lower rings lie in a shallow V which points either towards the audience or towards yourself. Announce that you will cause these two rings to change places magically. 2. Let's assume that the two lower rings point outwards. Turn the two upper rings outwards, points A and B moving away from each other. This will cause the two lower rings to swing around so that the sides formerly nearest your body will now be towards the audience. Although the two lower rings merely turn on their axes the illusion is that they transpose. If the V formed by the two lower rings points inwards, turn the upper rings inwards to effect the 'transposition'.
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(Continued from .page 431)
shuffled deck (they may be marked), and cards are returned to deck. PERCY THE PENGUIN is introduced and the deck is dropped into the tall hat. Percy the Penguin reaches into the hat with his bill and brings to view the first chosen card. He brings a card out backwards — this is replaced — and then he brings it out face toward the audience. He has difficulty getting the last card. Magician feeds him a fish and he successfully brings out the last card. It's Great Magic!—and it holds the full interest of the onlookers. It's New — It's Different It's Easy to Work! PERCY THE PENGUIN is 14 inches high finished in Black, White, Green, and Yellow lacquers. Positively self-contained •— Perfect Precision Apparatus. Price (We Pay the Postage) £12.50 ABBOTT'S CONJURER'S SHOP 130 We»t 42nd Street, New York 18, N. Y. "DOING MAGIC FOR YOUNGSTERS" written on diis subject. Includes Eric P. Wilson's "Conjuring TO Children". Total 122 pages, illustrated, cloth — worth $100, but only JS3.5O LOUIS TANNEN. 120 W. 42nd St. Rm. 1403 New York 18, N. Y. (Phone WI. 7-6137) SHOW-STOPPERS WITH CARDS Featuring At last! At last! At last! THE PERFECT DOUBLE LIFT No get-ready! Just lift two as one! and tncks by Bert Allerton, Stewart James, Neil Elias, Bob Madison, Bert Fenn and Fred Braue. Printed with illustrations $1.00 Order from your favorite dealer or Fred Braue, 1013 Lafayette Street, Alameda, Calif. Jean Hugard, 2634 East 19th Street, Brooklyn 29, N. Y.
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