Pages from hugard's magic monthly vol 14

Hugard's J \ f l A G I C Monthl DE

vo TE D

S O L E LY T O T H E I N T E R E

s TS

O F M A G IC

A N D M A G IC I A N S

JUNE, 1956

Vol. xrv. No. 1

50 CENTS

1

THE ENCHANTED CYLINDER When my old friend and magical confrere, Jean Hugard, asked me to contribute an article for the first number of the fourteenth volume of his magazine, I was rather embarrassed for the simple reason that I have no material on hand which would be suitable. After I published my book "Okito on Magic" there was very little left for publication. Now that I have passed my 80th birthday and retired from the actual stage it seems that I am getting exhausted in creating new effects. Yet being very fond of Jean I could not refuse his request and I came up with the idea of explaining a trick from the very old days.

In my estimation there are quite a lot of good tricks which were performed by the old masters and "The Enchanted Cylinder of Benaiah" is one of them. This particular trick was performed by my late father. Incidentally, it appeared some time ago in "Triks," the leading magical magazine in Holland. The writer claims it was invented by Buatier de Kolta, but I know that de Kolta never performed similar tricks; I have witnessed his performance several times in different theatres. My father told me that he purchased this trick from Monsieur Voisin, in Paris, who was the leading magical dealer at the time.

As to who invented it I have not the slightest idea.

When I started my career as Okito (in 1893) I had no money to buy expensive apparatus so my father loaned me his equipment and, amongst it, was "The Enchanted Cylinder." I performed this effect till 1902. It was effective and spectacular and especially suitable for a silent act. If the cylinder is properly made by a sheet metal

OF BENAIAH

By OKITO worker, it will be foolproof. I suggest the cylinder be painted a nice bright color. Mine was a rich yellow with red decorations.

And now for the trick itself: Effect: Cylinder is shown to be completely empty by passing a wand or fan several times from top to bottom.

With the cylinder held in a slanting position, above empty glasses, the content of a water pitcher is poured through the cylinder into the glasses.

Result: the first glass receives red water, the second remains colorless and the third turns to blue.

As the red liquid is poured into the cylinder, a red silk handkerchief is drawn from underneath the cylinder.

Turning the cylinder upside down it is shown that the liquid has vanished. The colorless liquid is then poured into the cylinder and a white handkerchief withdrawn from underneath it and, finally, the same is done with the blue liquid and a blue silk produced in like manner.

Once more the wand is passed through the cylinder.

Finally all three foulards are pushed into the cylinder from underneath and a large flag is produced from the top.

Requirements: A prepared, nicely decorated metal cylinder, three empty water glasses, a glass pitcher full of water, 3 colored silks (red, white and blue) and a silk flag.

Method: Glass one and three are prepared. The first has a few grains of red aniline dye, the third blue aniline dye.

The content of each glass is poured into space D. After turning the cylinder, the silks are produced from space B, through opening C. Finally, the three silks are pushed into space D (by holding the cylinder upside down) from underneath, and the flag is produced from space B via opening C. The wand or fan is repeatedly pushed through space A. The cylinder is 9 inches high and 5 inches in diameter.

The water from the pitcher is poured through space A into the three glasses by holding the cylinder on a slant.

C opening is one inch in diameter.

The divisions of the places between the partitions are as follows: E, 2% inches diameter. D, 1% inches and A one inch. (See drawing for correct modus operandi.)

433

Hugard's MAGIC Monthly

BACKSTAGE with FRANK JOGLAR "Magicana in Havana," the first international S.A.M. convention took the sun-baked Cuban capital by storm.

Even before the festivities officially opened Milbourne Christopher, swathed in bandages and a black hood, pedaled furiously down the Malecon to deliver an invitation to President Batista to attend. Radio and TV cars flanked his bicycle and pedestrians stared at the strange sight. Front page coverage of this and Christopher's depositing of a sealed envelope which he said contained the winning number for Havana's $100,000 top prize National Lottery had the town talking... Many magicians checked in at the Nacional days before the Night Before Party, Tuesday, May 29.

To the clink of frosted glasses filled with daiquiris and other beverages the Night Before wizards exhibited their wonders. Rudolph Derka, Alexander (Machado), Jose Echea, Hans Landay, Jack Gwynne, John Platt, Phil Thomas, Ronald Haines, Johnny Paul, Jane Clements, Dick DuBois, Bill Griffiths and Harlan Tarbell showed their specialties while waiters hove to with fresh cocktails, popcorn and tidbits for the spectators. . .

Wednesday afternoon a pair of lecturers drew plaudits. Christopher ranged from a new twist on the knotted handkerchiefs, vanishing coins in glass and rope knots to a chalk gimmick for two-person telepathy. Dai Vernon talked on card handling as only he can and carefully explained his technique with Ramsey's coins and cylinder and the bells-in-hand s t u n t . . . The tremendous newspaper and TV publicity caused a sell-out at the Radiocentro Theatre for the Public Show Wednesday night. . . Those with extra tickets were getting twice the admission fee in front of the impressive showplace... A young, talented Cuban impressionist paced the production. Suave Rudolph Derka opened with giant card four aces and paper tricks. Hernandez followed in Mexican costume with Cantu-like dove productions after every trick.

Christopher, with Jose Sousa as interpreter, featured the remote control card game and three predictions on a slate. Slydini, talking in Spanish, highlighted the paper balls over the head of a baffled spectator. . . After intermission Johnny Paul racked up a laugh hit with the snake basket, vanishing candle comedy and banknote magic. . . Dai Vernon manipulated coins and cards, then donned a magnificent Chinese mask and robe

for his unusual Chinese ring routine. Gwynne and Co. topped off the evening with fast fish bowl wizardry, the sand trick and his new trunk trick. This is much smaller than the usual trunk and after it's locked Gwynne, behind a curtain, gets in i t . . .

The audience was enthusiastic. Many Americans were baffled by the Spanish spoken and no doubt the Cubans were baffled by the English. Forgetting language barriers, it was a varied show and one that was enjoyed. . . Thursday A.M. the conventioneers were driven to the Institute Civico Militar. After a tour of the buildings and grounds and a typical Cuban lunch a show was staged in the attractive ICM theatre for the youngsters at the school and the visiting mystery workers. Pelayo Riera was the bi-lingual m.c. Alexander led off with silk and ribbon tricks.

The Wurtzells vanished a wand, made a bottle change places with a glass.

John Platt pantomimed with fire-eating, cut rope, stringing beads and tube production. Lil Griffiths burlesqued magic, in Spanish learned for the occasion. Dick DuBois drew roars with funny gestures and high-pitched voice as milk vanished, a bill turned up in a cigarette and a snake came up from his basket with a selected card. Bob Offenbacher's tricks hadn't arrived, so with borrowed props he worked in English and too close to the front of the stage. Resulting shadows made it hard to see what was happening.

Tarbell was the smartest showman on the bill. He dropped his talk, worked deftly in pantomime with egg in paper, giant cups and balls and silk color change . . . I almost forgot: on Wednesday a group of magicians at President Batista's invitation performed for him and another group staged a show for his children and their friends in a theatre on a nearby military post. Among those who participated were Bill Griffiths, Christopher, DuBois, Jimmy Grippo, Alexander, Joe Irving, Jose Sousa, Tarbell, Mrs. Doren. . . The papers covered the event with photos and stories.

Newsreel and TV cameramen han-

The opinions, criticisms and approvals which appear in this column have the full endorsement and are the sole responsibility of the editor and publisher, Jean Hugard.

Hu-Gardenias to SLYDINI for his beautifully flawless Magic on the Public Show and close up during the First International Convention of the Society of American Magicians held at the Hotel Nacional in Havana, May 29th through June 1st 1956.

Slydini's superb presentation and masterly misdirection with silks, coins and cigarettes should serve as inspiration to all who aspire to the title of "Magician."

died the action e n d . . . Thursday night Dai Vernon, Johnny Paul, Slydini, John Platt and Vynn Boyar showed their best close-up tricks at the Nacional. This session alone was worth the prize of the trip. . . Friday A.M. National Council meeting. Chic Schoke elected president, Christopher, 1st V-P, Elmer Applegit, editor of M-U-M. Next year's convention will be in Hartford, Conn. Bassett Mordecai had registration blanks on hand and was busy accepting advance book-^ ings. . . Another free luncheon and drink session Friday afternoon at the Cerveceria Modelo. Tarbell lectured at the Nacional. Tricks with ropes, vanishing banana, looped ball manipulations, a twist on the object in ball of wool using ball of rope and other nifties. . . Final event, banquet and show at the fabulous Tropicana, open-air night club. Regular lavish Tropicana show, speeches, presentations and tricks by Gwynne, Slydini and Johnny Paul. A night to remember. . . Saturday afternoon Christopher's prediction was opened. It was the right number but too late for us to cash in on the $100,000 prize.

CONVENTION SIDELIGHTS The Nacional had two pools, the weather was wonderful throughout the affair, but few magicians got even slight sunburns. Late sessions and a busy schedule kept them indoors. . .

Hardest workers: Jose Sousa, Pelayo Riera, Chic Schoke (who lined up the shows) and Blanca Lopez. The last named prints this magazine, belongs to the Parent Assembly. She spent most of her time helping at the registration desk, translating for (Continued on page 443)

434

Hugard's MAGIC Monthly

ZERO

This vanish is performed slowly and while wrist is held by spectator to prevent the possibility of quick motion. The hand opens and the currency is gone. Not a trace of it in either hand. No sleeves, no trouser cuffs, no gimmicks. Reads like a dealer's ad.

With the following advantages: you won't have to send away for it, you won't have to pay for it and you won't have to wait for it. Just read on while I detail the method.

Place a half dollar in the left hand, close the fingers and then pass the right hand below the left hand rather quickly giving the impression that the right hand has caught the coin though you seek to convey the idea that it is still in the left hand and is about to be vanished. The left fingers start a rubbing motion when suddenly you stop and look at the audience. Shaking your head you say, "That would be the wrong way to vanish anything.

Certainly there'd be nothing magical if the coin was to disappear in that fashion. Please observe, the right hand is empty and the coin is still in the left hand. To make the effect truly mystifying we shall do it very slowly and with the proper precaution against any motion that might be classified as resembling the quickness of the hand."

Close the fingers over the coin, making sure that the edge of the coin is near the two middle finger tips when you've closed the hand. Now

turn the hand so the fingers face the floor and as you do so nudge the coin out of the closed fist and toward the wrist, holding it flat. Now droop the fist slightly and your chatter goes something like this, "I'm going to ask one of you to hold my wrist." As you say this, your left hand turns back to its original position.

The hand merely turns back without modifying the droop of the fist, which prevents the spectators in front of you from getting a flash of the coin (see illustration) and your right hand

ROUNDABOUT

to brush up, you grab a pack and run through the tricks listed thereon.

With FRED BRAUE

MAX MALINI TRICK

CARD INDEX It isn't easy, when you're in the newspaper-columning business, to find time for anything else.

Because you have so little time for card magic, you become selective.

About six years ago, I went through my files, tossing out all inferior card effects and listing only those which were sure-fire audience pleasers.

How many? About 175.

Well, that should be enough. Allow two minutes per trick, and you can do card tricks for about six hours, or until you've driven your spectators screaming into the street. Even if each and every trick is a guaranteed sensebuster.

But how do you remember 175 tricks?

I worked out a pretty good system, and you may like it.

You type up lists of 10-12 tricks each. These you paste on either side of card cases. I have eight packs, with lists on either side. When you want

Max would have a spectator select a card, which the spectator looks at.

Max then took the card, saying, "I didn't want you to see it," topchanging the card and tossing the indifferent card in the man's lap.

Then Malini would force the first card, cautioning the spectator not to look at it.

"Now, what card did you take the first time?" Malini would ask.

When the card was named, Max would tell the spectator to look at the card he is holding. The fun came when, finding it was the card the spectator thought was in his lap, he makes a grab for that card and finds it an indifferent one.

Max loved this stunt.

A COIN VANISH

By CLIFF GREEN

VARIATION Paul Rosini used a variation of this in 1946. He would bring a peeked card to the top, then have a second card peeked at and bring this to the top, too.

comes over and takes a grip on the wrist to illustrate the hold you want.

The left hand is raised slightly and the coin is permitted to slide down the wrist where it will be stopped by the side of the right hand. This may seem precarious but in fact it isn't and after a little practise it won't be necessary to watch the slide. Your right hand now comes away leaving the coin on the wrist.

Now looking to the right and gesturing with your open and empty right hand that, "I'd like the help of one of you gentlemen. "Won't you come up and hold my wrist." Again your right hand takes hold of the wrist, illustrating the action, "like this," your right hand drops to waist level with coin finger palmed and with fingers curled and palm exposed to audience, as the spectator takes over the grip on your left wrist. Your right hand now goes to his left shoulder which is nearest you as you ask him to come a little closer and stand with his right side to the audience. Leave the coin on his shoulder as your hand drops.

Open the fingers of the left hand slowly, permitting the audience to observe that the coin they saw in your hand but a moment ago has evaporated into. . . O. Retrieve the coin in the same way that you put it there or you may, with your thumb guide the coin into the subject's outer breast pocket for a later effect of your own choosing.

Then he'd show the first peeked card, claiming it was the second. The spectator would say no, it was the first card. In the meantime, Rosini would have topchanged and could now show that the card was indeed the second card. This kind of bewildered the spectator, got good laughs.

ROSINI SHOW For the record, the show Rosini used at the Bal Tab in 1941 was this: Egg bag.

Card in Cigarette.

Thumbtie, for the first show.

On the second show.

Five coin star.

Four card routine (discovering four peeked cards, the last by shaking through a handkerchief. You wouldn't dream of using that oldie, would you?

Well, you should have heard the roaring applause Rosini got as the fourth card popped from the bottom of the handkerchief.)

Dissolving knot, punched by the ''Rosini, you're wonderful," talk.

Encore on the second show: Sucker egg and silk.

435

Hugard's MAGIC Monthly

OUT OF MY PROFONDE

By ARTHUR LEROY SATURDAY AT DUCROTS DIRTY DUMP It was the end of May just seventeen years ago and Frank Ducrot had been buried. It was quiet at 304 West 34th Street for Ducrot. A monument had crumbled. . . a unique period in the annals of Magic had ended. Yes, Al Flosso would take over the premises. Yes, Magic would live where it had lived so grotesquely, so bizarrely, for so many years. The Hornmann, Martinka Combo would go o n . . . Flosso would pick up where Ducrot had left off. But times had changed, and Frank's death was a symbolical finish to an era which could never exist again. A wistful, charming comedydrama had given its final performance, the curtain had fallen, and the cast had disbanded to be swallowed u p by time, space, and the eternal silence which ends all debate, conversation, hate, affection. King Ducrot was gone and his court and courtiers were without a haven.

"Ducrot's Dirty Dump" was a title of love and affection. If the place had been otherwise, half its color would never have existed and New York would have been far poorer in its treasure of magical lore.

Saturday at Ducrot's was a thing apart. It had no parallel anywhere— before or after. The crowded tworoom premises played host each Saturday to the greatest parade of magical talent ever assembled in one spot, at one time.

Some Saturdays the crowd would overflow the shop, cascade down the stairs, leak into Krist's Restaurant on the main floor, and from there into the Automat around the corner. In this restricted area (approx. 1.000 yards) each Saturday would see the birth of new magical tricks, acts, and even shows. In these thousand yards Magic was discussed, planned, and LOVED — LOVED — LOVED. There was the key word that typified and ornamented the amazing and fabulous Saturdays at Ducrot's.

King Frank had been the editor of Mahatma, the pioneer of magical periodicals. At that time he was known as T. Francis Fritz, The Boy Magician. Down through the years his intimates always addressed him as Fritz.

Fritz was a huge, balding man scaling in at close to 300. The eyes shining through the thick, horn-rimmed glasses were full of joy and friendship; humor and laughter were his gifts to all

436

who were a part of his charmed circle.

You always knew when King Frank was on his way because the shuffle, shuffle, shuffle of his carpet slippers announced his entry, like a trumpeter for the approach of nobility. He hated his shoes; he said they squeezed his soul (or sole). At any rate, he enjoyed the pun. If Ducrot were to be depicted in symbols, a wand, a pair of slippers, and a flowing back artist's tie would sum him up. The flowing tie was his trade mark and it went with him to the grave.

Make no mistake, friend, this was not just the proprietor of a trick store.

This was a great magical artiste. His club dates were numerous and his act was much in demand. The shop was his avocation—his vocation was performing. He was one of the great masters of the Thumb Tie, and his final production of a guinea pig from an egg bag after the usual routine had been performed, was a thing of beauty.

In his earlier years he had created and marketed the Dye Tube for the color-change-through-hand. Then he created the method and effect for Twentieth Century Silks. With Billy Robinson (Chung Ling Soo) the Change Bag was originated. The original model was made of a church collection bag and a whip handle. Oh, yes, King Frank had contributed to Magic and there was much reason for the assemblage that paid him court.

Come, spend the day with me at Ducrot's! It's Saturday again and the parade will start early. There will be much talk, many tricks, and camaraderie. Above all, there will be love and devotion for Magic as an Art. The secret is all and the devoted band is wary of outsiders. If a stranger enters as the festivities are progressing, a hush will fall like the cloak of night.

Trade talk will cease and suspicion will be the prevailing emotion.

I remember the day when a well dressed, opulent gentleman entered.

The man had but one purpose. He wanted to buy some tricks for a party.

No Magic, just jokes and the like.

The crowd stared at him like a bunch of moonshiners casing a revenuer.

John Eggers talking to Ted Annemann used the word "Pass." Eddie Ackerson, the mind reader who played the Coney Island Circuit, froze Eggers with an icy stare and from the side of his mouth issued the words: "Ixnay ackingcray. . . umpcthay," meaning "Shut up! There's a chump amongst

us." Those Saturdays will never live again.

The secrecy extended to the proprietor himself. If a customer wanted to buy a trick he had seen the night before, Ducrot would try to discourage him if he felt that the customer would butcher the item.

Duke would pull a pack of Denver Plaids from beneath the counter.

"Show me a Charlier!" he'd say. The customer would look bewildered if he were not "hep." Ducrot would execute a Charlier and say: "See, you're not ready for the trick you want. You must creep before you can walk. Let me sell you the trick best suited to your skill. Then come back and soon you'l be ready for the trick you want.

Don't waste your money! You'll only hate me." Most of the time this would work. The devotees would watch this transaction with the love and affection usually reserved for national heroes.

One Saturday, Duke carried this approach to its final withering point. A sleek, mustached individual came in.

He said he was in a hurry. Had to catch the 3:14 for Philadelphia. The guy looked O.K., but no one knew him. He wanted a set of Chinese Rings.

Duke looked him up and down. The rings were amongst his own best routines and he didn't want to see the effect brutalized. "Well," said Fritz, "that's a hard trick to do."

It was the stranger's turn. His eyes became glassy, his neck bulged, his face crimsoned—he was good and mad.

"Mr. Ducrot," he screamed, "I am Paul Rosini."

A slow smile spread beneficently over Duke's countenance. "Well," he said, "you can't do any more harm with them than the rest of us."

This disregard for profit extended into the mail order department. Orders would go unopened for months at a time and Duke would remain blissfully oblivious to requests for shipments.

One day Ted Annemann rushed up the stairs breathlessly. '"Fritz," he yelled, "Fritz, you are going to be decorated by the President of the American Medical Society. You have just saved the life of a guy who was pronounced dead."

Ted continued: "This guy sent you an order for a sliding die box twenty years ago. Each morning he gob up and checked his mail. No die box. Two days ago after all these years of waiting he lay dying. It was the end; his eyes fluttered, his heart stopped, the long wait had ended. The doorbell (Continued on page 442)

Hugard's MAGIC Monthly

HANDS ACROSS THE SEA

By PETER WARLOCK Some years back there was an effect marketed which in this country was called the "Last Card." It appealed greatly to those who prefer apparatus to skill for with the effect they were supplied with what looked like part of a sawn-off pin table. Ostensibly serving as a depository for a number of playing cards, it allowed the addition of a number of cards to a shuffled pack (a thing that could have been as easily obtained with the use of the normal palm), and which I call "CHANCE IS A FINE THING" This little effect has the same plot, but the handling makes, in my own opinion, for a more mystifying effect.

This is what the audience sees: On the magician's table stand three stemmed glasses and a pack of cards.

From his pocket, the performer takes a piece of cardboard measuring approximately eight inches by six. On the side which is shown there is a large question mark.

This piece of card is rested against the back of a chair and then the pack is picked up and offered to a spectator for shuffling. This completed, the magician makes a further request that nine cards only be counted off onto his left palm. This is done and, taking these nine cards, they are dealt three into the right hand glass, three into the center glass and three into the left hand glass. In the dealing the faces are shown to the audience, but in placing them in the glass they are turned backs towards the audience.

One glass is then selected and the cards are taken from the remaining two and placed aside. Two of the three cards in the chosen glass are then removed, one being placed in each of the empty glasses.

Again a choice is made, the two unwanted glasses and their contents being turned around so that the cards inside face the audience. Picking up the piece of cardboard with the question mark on it, the performer turns it around and shows on the other side a picture of a playing card, which for the sake of illustration we'll say is the Ace of diamonds.

Turning around the glass holding the selected card, the performer shows that this too is the Ace of diamonds.

Requirements: One pack of cards; three stemmed glasses capable of holding a playing card; a special card which is used to give the prediction.

This last-named article is made of three pieces of thick cardboard meas-

uring 8" x 6" hinged in the manner of a draught screen as shown in accompanying illustration.

On side No. 6 a large question mark is painted in India ink, whilst on side 1 is struck a playing card, say then the ten of clubs. On side 2, the words, "Your card will be" are printed in large letters also in India ink.

Side 3 has another playing card stuck to it, say the Ace of diamonds whilst side 4 has a third card, say the four of hearts affixed. Finally, side 5 carries the words, "Your card will be."

PANEL 3 tS REVERSE SIDE OF PANEL

Now, when the whole affair is dry and it is folded flat, to all intents and purposes it appears to be one piece of cardboard with a large question mark on one side and the Ace of diamonds on the back. If however the card is never turned around and it is opened booklike, one opening will reveal the words, "Your card will be" on the left hand side and a playing card on the right hand side. In this way the conjurer has complete control of three choices.

Preparation: The three cards represented on the prediction card are removed from the pack and slipped into the performer's right hand pocket.

The remainder of the pack is placed on the table together with the three stemmed glasses. The prediction card is slipped into an inside pocket.

Presentation: The performer removes the prediction card from his pocket handling it casually but at the same time making certain that the back of it isn't glimpsed by a member of the audience. This card is then rested against a chair back or something similar that will allow it to be kept in view throughout the trick.

The right hand casually goes to the pocket whilst the left picks up the pack from the table. Handing the cards to a spectator, he should be requested to shuffle and then count nine cards face down upon the performer's left hand. When the cards

have been counted, the right hand leaves the pocket with the three cards palmed backs towards the palm. The right hand comes across and takes the nine cards of the left hand, whilst the latter reaches forward to relieve the spectator of the remainder of the pack.

(The palmed cards are still held in a palm position.) The balance of the pack is placed on the table and then the left hand comes across and, in taking the nine cards, reaches into the right palm taking the three palmed cards as well.

The left hand turns the packet of cards that it is holding so that the faces of the cards are towards the spectators. The right hand comes in and with the words "I'll place three cards," the three cards are counted

SIDE OFMHGED CARDBOARD

off from the rear of the packet, their faces being shown. These three cards are, of course, the three that were added. The right hand then, in placing them onto the glass on the right hand side of the table, turns them backs outwards to the audience. The next three cards are similarly counted off and placed in the center glass. This leaves the conjurer with apparently three but actually six cards held in the left hand. The two rear cards are pushed off one at a time and taken with the left hand, the four remaining cards being shown as one and placed behind the other two. All six cards are then dropped into the left hand glass.

At this point the conjurer comes to the selection of a glass and it is essential that the one to be chosen is the right hand glass containing the three known cards. An equivocation is used. "Please select two of these glasses." If the one containing the three cards is not chosen, the rest is plain sailing, the cards in the chosen glasses being removed whilst the contents of the third glass are split amongst the three glasses. If however, the two glasses chosen contain the wanted glass, the conjurer adds the words, "And now will you please choose one for me?" According to the nature of the reply, the wanted glass (Continued on page 444)

437

Bvgard's MAGIC Monthly

ENCYCLOPEDIA OF IMPROMPTU TRICKS PENCIL—Stunts and Gags (Continued from last issue)

By MARTIN GARDNER

it will not be noticeable. Others of course are unable to make the cardboard spin at all. This intriguing little toy is very old and descriptions are found in many old books and magazines.

(28) A full size pencil may be taken from vest pocket simply by having a hole in pocket to accomodate the pencil. A tiny purse, also with hole in base, may be carried in pocket with end of pencil inside it. Take purse from vest pocket, concealing projecting pencil, then open it and take out pencil. Or pencil may be concealed in left hand. Right hand takes purse from pocket, shows it freely, then places it in left hand, the end of pencil going up through the hole.

Open purse and extract the long pencil.

(26) Several balancing stunts with pencils and pocket knives are illustrated in Fig. 761.

(27) Mystery propeller. Notch the side of a pencil as shown (Fig. 762) and attach a small cardboard rectangle (3 by 31/4") to eraser by means of a pin. To make the cardboard spin counterclockwise, run another pencil

â&#x20AC;˘'<)J))"II.

767

LEFT THUMB IN FRONT. PEAfC/L IN CROTCH OF RIGHT THUMB. PIVOT RIGHT HAND OVER BACK OF LEFT.

THUMB TOUCHES SIDE OF PENCIL

back and forth across the notches (Fig. 763). Tip of right thumb must slide along side of pencil, otherwise propeller will not spin. To reverse direction of spin, simply shift right hand slightly so that instead of thumb, the tip of right forefinger slides along pencil on the other side of the notches.

With practice you can make propeller go first in one direction then the other, as commanded by spectators, without stopping the rubbing and with such a slight shift of right hand that 438

Puzzles (29) Pencil is held in crotch of thumbs (Fig. 764), then hands are twisted in a peculiar manner, bringing pencil to Fig. 765. Not easy for others to duplicate. Fig 766, A, B, show the moves. Reversing the moves brings pencil back to former position.

In making these moves the pencil is gripped firmly at all times by crotch of right thumb while crotch of left thumb slides around it. Pencil rotates counterclockwise as you look down. Try bringing pencil up in this manner, then bring it down again not by reversing the same move, but by making a mirror-image of this move.

In other words, the pencil rotates in a continuous counterclockwise motion as it moves up and then down. With practice the pencil can be shifted up and down, up and down, always rotating in the same direction in a continuous action that makes an effective bit of jugglery.

TURN LEFT HAND TO BRING BOTH PALMS TOGETHER.

KEEP PENCIL BETWEEN THUMB CROTCHES.

7^.7668

(30) "Find the gimmick" pencil.

That was what Joe Berg called the pencil when he introduced it on the magic market more than twenty years ago. It has since become a staple novelty store item in many different forms. The trick can be performed impromptu with pencils of the type shown in Fig. 767. Moisten tips of finger and thumb, pull pencil almost out of case. By squeezing thumb and finger the rounded metal end of cap is made to shoot from the fingers like a cherry seed, snapping pencil back into the case as though pulled by invisible spring. Twist pencil back and forth each time before you make the snap, as though trying to catch it on this secret spring. Spectators are unable to "find the gimmick."

(31) Pencil in buttonhole. Sam Loyd (the elder) claimed to have invented this puzzle and he may well have done so. Cut a groove around pencil below eraser, then fasten loop of string (Fig. 768). It can be looped quickly through a lapel buttonhole (Fig. 769). Victim is left with the difficult task of removing pencil without cutting string.

PEPPER (1) Shake pepper into glass of water until entire surface is covered. With

Huaard's MAGIC Monthly and jerk your hand away quickly, causing him to slap his own hand on the pie.

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LAPEL THROUGH LOOP. PENCIL THROUGH BUTTONHOLE.,

LOOP THROUGH BUTTONHOLE

PIN (1) Right hand poises pin over back of left (Fig. 771). Spectators do not know that pin has been attached to right thumb by pushing it through a small bit of surface flesh. Move pin up and down a few times then appear to slap it into back of hand. This is done by opening right hand and slapping its palm on top of left. Right thumb extends toward you, hidden from spectators by your left hand. Without moving left hand, reach underneath it, bring thumb and forefinger together once more, pretend to extract pin from center of left palm.

end of paper match, draw a cross on the surface. The pepper separates where it has been touched, leaving mark of a cross on the water. No mark results when others try. A bit of ear wax on end of match does the trick.

PHONOGRAPH (1) Weird sound effects are obtained by (a) Playing record backward (pianos sound exactly like organs!) (b) Attaching two needles to the arm so that one plays in a groove ahead of the other (c) Using an offcenter hole that you have bored in the record.

(2) If needle is clenched in front teeth and held against spinning record, the music can be heard distinctly.

(3) A record can be played without needle or machine. Stick a short pencil through the hole, then spin record (on eraser end) like a top. For a

77O "needle," use a small square of stiff paper folded diagonally and held as in Fig. 770. The music is faint but audible. (This and other stunts above are from "Gramaphone Tricks," Strand magazine, Vol. 49, p. 358, 1915).

PEE (1) Hold your hand over victim's piece of pie and say, "Feel that heat!"

When he holds his hand over the pie, squash the pie by slapping his hand down on it. If victim knows this adolescent prank, he may try to slap your hand when you first pretend to feel the heat. Anticipate this

In similar fashion you can appear to slap pin into your forehead. In this case, pin must point in opposite direction from that shown in Fig. 771. Stand with left side toward audience. Pretend to slap pin into forehead, reach behind head and appear to extract it.

(2) Pin is placed in crotch of arm as in Fig. 772, pointing either direction. Arm is closed suddenly, then opened. The skin is undamaged. Looks dangerous, but actually nothing happens at all.

(3) See Annemann's Practical Menial Effects, p. 22, for Dr. Jaks' use of a hat or corsage pin for an excellent pellet switch.

PING PONG BALL (1) A ping pong ball coated with rubber cement offers many possibilities. Pretend to balance it on tip of cane (also coated with cement), then do a walk-off with cane held horizontally, ball still sticking to the end.

Jack Miller once got credit for some skillfull juglery by coating a ping pong ball with cement and also applying cement to side of his middle fingertip. Holding hand as in Fig. 773,

he was able to make ball apparently roll to tip of first finger, roll underneath, down crotch of thumb (as shown by arrow), then back up along the same path!

Bill Nord suggests preparing ball and one side of ping pong paddle with cement. Bounce ball in air a few times with unprepared side of paddle, swat it suddenly with prepared side. Ball seems to vanish in mid-air. Show both sides of paddle by using paddle move.

Produce ball on paddle by reaching behind your back or under table.

(2) Ball is apparently rolled back and forth on small piece of rope held tautly (Fig. 774). Black thread is attached to each end of rope and kept a short distance from rope by the index fingers which are between rope and thread. When rope is tilted slightly, ball rolls along it.

(3) Ball rolls mysteriously across table cloth. Accomplished by small ring of cardboard under the cloth. A thread attached to the ring runs away from you, down over far edge of table, then back toward you beneath the table.

You pull thread with one hand while other hand gestures over the ball. Or thread can be operated by an assistant in various ways.

(To be continued)

MAGIQUOTES The first rule to be borne in mind by the aspirant is this: Never tell your audience beforehand what you are going to do. If you do so, you at once give their vigilance the direction which it is most necessary to avoid and increase tenfold the chances of detection. â&#x20AC;&#x201D;Hoffman in "Modern Magic"

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BOOK PROFILES

by JOHN J. CRIMMINS, JR. ROUTINED MANIPULATIONS (Part I) — by Lewis Ganson. A 118-page printed book with 53 line drawings and 105 photographic halftones. Published in soft board covers by Louis Tannen, 120 West 42nd St., New York.

Price, $2.50. Those who were not fortunate enough to get a copy of this excellent book when it was first published in England in 1950 now have an opportunity to rectify this mistake thanks to Lou Tannen who has produced an excellent reprint edition for the American trade. As you may know, this is one of the first of a series of finely illustrated books on pure manipulation by Lewis Ganson, and Book Two will shortly be coming along under the Tannen aegis to complete the first volume.

As the title implies, the book deals entirely with expert manipulation of various articles from the Three Shell Game to a fine routine with the Linking Rings. As the author says in his Preface: the "object of the book is to set down, in permanent form, routines of the manipulative order which have been audience-tested and found to have appeal and real entertainment value. These routines have been accumulated over the years . . . many of them have been published in the 'Gen,' and in 'Abracadabra,' but all have been revised and brought up to d a t e . . . and the text has been illustrated with plenty of photographs and the descriptions worded in a manner which, it is hoped, will give the reader the next best thing to personal instruction."

In keeping with the above promise, which the book certainly fulfills, is the professional background of the author whose choice of material is first rate and whose views on presentation offer considerable more value to the student of magic than is usually found in the average book of tricks.

All the routines bear the authentic mark of the professional and carry out the belief Mr. Ganson expresses early in his introduction, i.e.: "It is my belief that two of the main secrets of successful manipulations are natural movements of the hands and simplicity of the manipulations themselves, so that the attention of the performer can be concentrated on the presentation of the mystery and not upon performing complicated hand contortions."

R O U T I N E D MANIPULATIONS (Part 1) opens with a fine, down-toearth essay on presentation running

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to 11 pages. He has divided this into three parts: 1. The Performer — his dress, personality, behaviour, speech, make-up, and care of the hands. 2.

Outside Aids — covers stage settings, lighting, music, and apparatus. 3.

Technical Ability — which the r e mainder of the book consists of, with the reminder that from this wealth of material one should make up three different acts so as to be prepared at all times whether for intimate work, banquet, or full stage presentation. It's an excellent and very worthwhile chapter.

From here on and through the next one hundred pages he teaches the following: "The Production of Lighted Cigarettes" complete with clear descriptions of all the necessary sleights plus a full-length routine. Next comes a card routine "How Right You Are," which utilizes a "rough and smooth" pack; then a full description of Al Koran's "Torn and Restored Newspaper," which is followed by two fine chapters of giant Card Fans.

From fans he swings to "The Multiplying Lighted Candles," then back to cards again with "The Invisible Riffle Pass," and a pet of his called "Gambler's Luck." Next comes two complete explanations of "The Walnut Shells and Pea," and Ken Brooke's version of "The Cups and Balls."

"The Egg On Fan," "A Dice Routine," "The Smoking Clay Pipes," some coin sleights plus a coin routine, and a version of the paddle trick done with matches come in for attention. Interspersed between these are some very good card tricks and manipulations such as "Card Production Supreme," "Readapack," "My Name— Your Name," "The Solo Aces," and "Thought Prescient." And, as already mentioned, the final chapter deals with "The Linking Rings."

Truly a remarkable collection of exceptional magic to suit all tastes, and to please any audience. It's all magic you'll like, and I heartily r e commend the book.

NICK'S TABLE TRIX — by Nick K. Trost. An 11-page mimeographed pamphlet with 19 illustrations. P u b lished in soft boards by the author, 540 Horton Ave., Tipp City, Ohio.

Price, $1.00. Most readers will recognize the author, Nick Trost, as the contributor of the lead trick in the April issue of this magazine which bore the title "Fantasy Flight." Of the nine effects given, seven are with

cards and the remaining two are concerned with matches and a ring and rope routine. All are for close-up presentation with the card tricks being quite a bit off the beaten path either in effect, presentation, or original routining of some ingenious subtleties. Two of the card feats which particularly appealed to me were "Lost & Found," which is a clever card location, and another, which is a real gem, called "Anyone Card Control." You'll even fool yourself with this one which infallibly lands the chosen card on top of the deck to be dealt with as needed. It's a sort of slop shuffle idea which works automatically, and it can also be used for causing the chosen card to r e verse itself in the deck. This is a dandy and well worth the price of the manuscript. The booklet can be obtained either from the author or from your magic dealer.

NEW TRICKS: Max Andrews has just issued Eddie Joseph's latest effect called "Mirage." It's an extremely clean vanish of a card, a couple of coins or other small objects from the hands. Coming with the special gimmick is a 4-page manuscript describing two complete routines in Eddie Joseph's thorough style of presentation. While the idea is not new, it's certainly practical and every magician should have one of these gimmicks for close-up work. Price is $2.00 and Holden's has a supply of them. Holden's also has another English import which is quite unusual called "The Pincushion Balloons." In this you run a long hatpin thru an inflated balloon (honest, you do), yet when the spectator tries it he only succeeds in bursting the balloon. It's a real novelty and sells for $1.75. Stanfield of "Colorfusing Knife" fame has just released a new trick called the "Linking Coat Hangers." Don't know the price, but the effect, of course, is the Chinese Linking Rings done with coat hangers. Actually the coat hangers are not as clumsy to handle as one might imagine and for the fellow who wants something different these may be just the thing. A complete routine is given in an accompanying booklet of 7 pages with 26 illustrations. The "key" hanger in this case is so cleverly faked that the slit is not noticeable even a foot away, and a person might actually handle it without discovering the gimmick. I do think, though, that the coat hangers might well have been supplied in natural steel color for greater visibility rather than in the Japanned(Continued on page 444)

Hugnrd's MAGIC Monthly

MILBOURNE CHRISTOPHERS COLUMN Some time ago Tannen made up the giant can opener which Robert Orben mentioned in one of his patter books.

The performer, after remarks about his "big opener," produces the huge implement from a foulard or thin air.

You can add to the effect if you solder a Bingo shooting device to the handle of the can opener. After the initial laugh say: "I always get a bang out of that." Release the catch on the shooting device and the resultant explosion adds to the amusement.

BLACKJACK PUZZLER During his close-up demonstration in Havana at the recent Society of American Magicians' conference, Johnny Platt used this clever blackjack stunt.

He dealt a card face down to a spectator, then one to himself. As usual the next card was dealt face up. The spectator got a 10; Johnny got a 6.

When the spectator peeked at his hole card he had another 10. Naturally he refused any more cards. So, too, did Johnny. He didn't admit defeat however, instead he announced he would win. To any hardened blackjack player this seemed to be impossible.

Johnny flipped over his hole card.

It was the 15 of diamonds. Fifteen and six are twenty-one!

Most magic dealers sell the 15 spot cards.

This will cause considerable consternation among your blackjack playing friends before you reveal your hole card.

E.S.P. SOLUTION The best method submitted to date in the E.S.P. contest comes from John P. Hamilton of Manchester, N.H. I quote his letter in full: "In the May issue of Hugard's MAGIC Monthly magazine you ask for methods of performing an E.S.P. effect. As you have outlined it I think it would work if you arranged the cards in pairs, i.e. a square and a cross, a triangle and a circle, etc. I would have the back of one and the face of the other roughened a la Brainwave Deck so they would stay together during an overhand shuffle. Then if the sender showed a square you would know the next one would be a cross, if he showed a triangle the next one would be a circle, etc. The sender would sit opposite the magician and competitor.

The sender would shuffle the cards overhand and place the deck face down and then turn the cards up one at a time so that he would not see

the face of but one card at a time to enable him to send it better. The competitor would try to get it and then he would hold up a card of the design he receives then the sender would hold up the card with the design he was sending and they would both turn them around and see if they matched.

The magician would note the card the sender was holding and thus know what the next card would be as all cards as explained are in pairs. The cards would be printed on a stock heavier than a playing card so that they would not bend easily thus doing away with the possibility of a riffle shuffle. It would be best to use all different designs so that the spectators might not catch on by the necessary repetition of the pairs."

COMMENT John Hamilton's idea has possibilities, but I, for one, would hesitate having the spectator shuffle the rough and smooth pairs. Again the matter of him separating the pairs when he lifts off the cards would have me worried.

CLOSE-UP MAGIC Most magicians when they perform close-up magic simply improvise as they go along. One trick follows another as they think of it. Sometimes the intimate show builds to a climax.

More usually the last trick is the least impressive of all, and is the last because it happens to be the last trick the performer thinks of.

The magician who wishes to create a strong impression will arrange his intimate exhibitions with as much care as an elaborate stage performance. His

SHADOW MAGIC

first trick will be dazzler, one that captures interest immediately. His last trick definitely will be the best —the most effective feat— he performs.

Admittedly it is fun to improvise, to haphazardly do magic with any objects that happen to be at hand. But if you intend to do impressive magic —magic that your audiences will remember—• even your apparently impromptu shows will be well thought out, carefully planned.

Those who do not plan their closeup routines will invariably do a number of feats with the same general plot. Methods will be repeated and there will be an abundance of the "take a card" type of tricks.

Think about the problem a few minutes and you will see the logic of planning in advance.

Almost every magician carries a few pet close-up props. The sponge balls, thimbles and the color-changing knife are some of the objects most usually carried by those who entertain their friends.

Sit down and jot down a list of ten tricks for a close-up show. Arrange the tricks so that you can build to a dramatic finish. Here and there you can include an unplanned trick with a glass, a salt cellar or a beer cap, by way of illustration, but establish a foundation act first.

Once you have the program mapped out, gather the props you will need.

You will soon find that you can distribute the props in your various pockets so that you can get them immediately and, more importantly, so that the props for one feat aren't in the way of the props for another.

Now go through the routine, trick by trick. Even your first time through the routine will enable you to learn by the doing several points which you may have overlooked before.

The next step is to get a story line for your routine. Don't memorize the exact words you will use—just the general idea. Unless you're a professional, that is. If you're a professional, you'll memorize not only the various moves but the words that go with them. Matter of fact even the parttime performer can help his performance by following this rule.

By storyline I don't mean you must tell a fairy tale with every trick. Far from it. You should have conversational patter; funny if you are a comedian; interesting whether you're a comedian or not.

Resist the temptation to do too many tricks. Leave your audience, (Continued on next page)

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Hugard's MAGIC Monthly

MEXICO'S BUSKING CLOWN May 30, 1956 Mr. Jean Hugard, 2634 East 19th St., Brooklyn 35, N.Y., U.S.A. Dear sir: In the April issue of Hugard's MAGIC Monthly and under the title "South of the Border," Mr. Ben Dalgin writes about his peculiar experience in Magic while traveling thru Mexico.

The object of this letter is to try to complete Mr. Dalgin's article as I believe he missed the best part. In the following I don't intend to offend in any form to Mr. Dalgin, who deserves my sincere sympathy.

The beautifully dressed clown performing in a main street in Mexico City (Av. Juarez), was undoubtedly FIRULAIS, the professional name of Sr. Federico Ochoa y Ochoa. He is member of one of the oldest and richest families in this part of the country and a former student of dramatic art of an Institute in U.S.A.; speaks fluently both English and French beside his own language—Spanish.

PATTER Collected by CLIFF GREEN

Propaganda is baloney disguised as food for thought. *

•

*

Figures don't lie but girdles condense the truth. * • • A man should work eight hours a day and sleep eight hours.. . but not the same hours. * * * With proper care, the human body will last a lifetime. *

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The clever guy makes hay with the grass that grows under other men's feet. * * * Nothing reminds a woman of all that needs to be done around the house like a husband who is taking it easy. *

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A race track is the only place you'll find windows that clean people. *

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It takes will power for a man to quit his bad habits but a lot of wives have that will power. * * * Tossed salad: She was wearing a low cut gown with ample reasons...

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Sr. Ochoa was a member of the IBM until some months ago and his ability as a Magician is great and Mr. Dalgin had a chance to appreciate it.

Now, as far as passing his hat for a liberal collection of "Pesos and centavos" is concerned, in Sr. Ochoa's case, he lives not of his family and relatives wealth, but of this "hat collections," really liberal (and possibly the envy of many a stage Magician), and it is his pride that thru Magic he can make an honest living.

It is a pity Mr. Dalgin does not speak enough Spanish nor he knew FIRULAIS or Sr. Ochoa spoke English as he missed the opportunity to interview him and write a big article "EXCENTRIC MILLIONAIRE THAT IN HIS DEVOTION FOR ART, SUICIDES TO BECOME FIRULAIS THE CLOWN STREET MAGICIAN." Sr. Ochoa was born at Guadalajara and is a member of the former Circulo Magico (now, Circulo Magico Tlacanahualli) which we intend to turn in an IBM Ring.

We take advantage of this opporEavesdropped: "I told her I was a gogetter but she was looking for an already-gotter"... A pessimist is an optimist on his way home from the races . . . Sign in a florist shop: "Every Bloomin' Thing". . . The best thing to save for your old age is yourself.

CHRISTOPHER (Continued from previous page) even if your audience consists of only one or two people, wanting more.

Don't overdo it.

A few sparkling tricks can make you the life of the party. A long program can ruin the evening. Better offer a bright five minutes than a boring hour.

If you wish to acquire perfection don't vary your program. Get a good routine and continue doing it until it is polished and second-nature.

After you have a first-rate basic routine you can add a new trick from time to time. When you do, however, see that the new trick is in its proper place. Make sure you maintain your pace and build to that sure-fire finish.

tunity to invite Magicians touring thru Mexico to visit our circle, you will be sure to receive a heartly welcome from our members.

Yours in Magic, Miguel G. Almeida

OUT OF MY PROFONDE (Continued from page 436) rings. It is the postman with the die box. The poor dead man is shocked into action, he jumps out of bed, borrows a hat, opens both doors, sighs contentedly and falls back into bed.

He died in peace, Dukie, he died in peace."

Duke said: "Hmph," and shuffled into the back room.

The Great Nicola, owner of the world's largest illusion show, visited whenever his schedule brought him into New York. He would always seek out Fritz for information and advice on the small tricks which were used in his colossal show. He would stand around and watch the regulars swapping card tricks. He much admired Annemann, Vernon, and Sam Horowitz and would always wind up fooled, and saying: "Well, I can't make any money here," and off he'd go.

Roland Travers who had one of the fastest and flashiest illusion acts in vaudeville felt the same way. He'd watch the passing parade of card tricks, sit in a corner, and mutter: "What does it get them, what does it get them?"

This attitude had its reversals too.

Like the day Howard Thurston appeared on the scene. The Master of the Mighty, who owned hundreds of tons of illusion show was obviously upset. He was very nervous.

"Duke," said the Master Illusionist, "help me. I have a spot in the show and I can't resolve it."

"What's the trouble?"

"Jane has to vanish a handkerchief.

She's in evening dress, tight, no pockets, no jacket. What can she do?"

"Here," and Duke handed the Great Howard Thurston —whose illusion show carried 35 assistants, horses, mules, lions, elephants, and 100 tons of props— a Stillwell Hank Ball.

"What do I owe you?"

"Forget it! I can't have Jane on the stage with no way to get rid of a hanky."

(To be continued)