27 C W T I R S - * COMPUTE ROUTINES-77 IttUSTRATHMS COMPLETE SILK ACTS RfiViSED ANO eNLAI©CO 8V
our ngertips
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Dear Arlene: You a r e now fifteen years old. When I first dedicated this book to you, you were only a month old. Through the years you have grown and improved, and so has the GRAND FINALE. I'll always be proud of the improvement in both of you.
Love. DAD
All Chanin's Routines Are Audience-tested as Performed by Chanin
When In Doubt About Magic Consult Chanin
Copyright 1952 By Chanin, Philadelphia,Pa. U. S. A.
Page 2 Books By
HELLO SUCKER Encyclopedia of the 3-shell game Seven in one card routine Further adventures of 7 in 1 Jaysee Silk Color change supreme Ball-o-tube mystery J. C. cigar magic Cigar manipulations J. C. rope tricks Three in one J. C. coin routine Handle with gloves J. C. grand finale Silks at your finger tips Encyclopedia of sleeving Sleeve magic Etc. "Because of their unusual cleverness and originality in presentation, these books by Chanin will live as long as magic -- and that is forever. Edward M.Massey
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FRANK LANE 8c CO. BOSTON,
MASS.
To all my Friends in Magic: At Jack's request, I am writing a little "ad lib" frontispiece for his new.book on silks. And I would be remiss if I did not say in earnestness that it is a distinct pleasure for me to be singled out to do this, and I'll tell you why. I met Jack at the convention in Albany a few years back. Late the last night, it was hot, and muggy, one of those days that you might like, but personally I'd rather do a show for five dollars. Well, Bob Weill and I were walking around with nothing in particular on our minds . . . we even had left our hats in our rooms . . . and we wandered into Jack's room, where he was displaying his wares . . . and although it was one o'clock in the morning, and the stickiest night we'd had for a long time, Jack kept us in a state of uproar for two hours, and although I have trained myself not to laugh aloud, as most of my work is dry, deadpan stuff, my training was forgotten and I enjoyed myself most thoroughly for one hundred and twenty very fast minutes. Jack, beside being very funny and original, is also one of the cleverest boys with his hands I've ever seen. He is originator of literally hundreds of "moves". To see him do the pea and shell trick is a classic. And although I haven't seen the manuscript of this new book of his, I heartily will recommend it, knowing as I do the quality of his other books and works. To me, Jack Chanin is one of the boys who, when we speak of ability, is at the top, and I go on record now of wishing him sincerely everything that is good, in his magic work and life. FRANK LANE Boston, Mass., Nov. 23, 1939.
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STUDIO OF MAP' OEATOI Or MAGICAL EFFECTS
•
AUTHOI OF MANY MAGICAl IOOKS AND KOUTI
TWICE WINHEI OF THE HOUOINI ClUI OF FttllAOElFHIA AWABD
ROOM
Society of American Magicians International Brotherhood of Magicians
3 2 2 WITHERSPOON
Jean Hugard, Dean of American Magicians, 2634 East 19th Street, Brooklyn 29, New York
•
110 SOUTH JUNIPER STREET, PHILADELPHIA 7, P
August 15,1951
THE NEW GRAND FINALE
Dell 0 DellFriend! of Magic Club The Yogi Club of Philadelphia Magiciani
BUILOINO
Dear Jean Hugard:
Magicians Alliance of Eastern States
I remember talking to you while on the train to Chicago about my GRAND FINALE.
Winner of "Certificate of Award" from Philadelphia Council of Defense
As I told you then I intended to rewrite it and include all my ideas which we discussed.
Winner of "Certificate of Honor" Showtime Magazine War Time Instructor t Magic of the U5O, Inc. Member of United Entertainers Club of Philadelphia Member of The Magic Dealers' Association Member of The Magicians Guild
Since I am aware of your great interest in the production, I am glad to send you the manuscript so that you can see for yourself the many new and startling additions to the original GRAND FINALE. You will note that the ideas a r e up to date particularly for the present - day performer. I am sure that you will enjoy the material in this new GRAND FINALE. 'Til we see each othej^again, I remain Sincerelv CHANIN
EX. 1930 T.I. No. Kl 6-136J
WHAT'S
YOUR
PROBLEM?
CONSULTANT O N ALL FORMS OF MAGICAL PRESENTATION.
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Hugard's
MAGIC J V I / % W
I Vr-
Monthly
2634 East 19th Street - Brooklyn 35, N. Y. JEAN HUGARD
—
PUBLISHER
"EXPERT CARD TECHNIQUE"
Dear friend Jack: "The original edition contained some remarkably good effects with silks and I shall look forward with great interest to the additions that you have made for this volume, as I am sure they will be well worth the attention of any practical magician." Sincerely,
JEAN HUGARD
DEVOTED
SOLELY
MAGIC
TO THE INTERESTS
A N D MAGICIANS
OF
Page 6 THE AUTHOR SPEAKS To all my friends in magic, it gives me great pleasure to present to you an improved version of my original silk act, known as "J. C. Grand Finale" or "Silks At Your Finger Tips." This was originally worked out by me about 1936 and published in 1940. The success of this work was so tremendous that the original copies published were sold in less than a year's time. Since then this book has been out of print. At the present time I have back orders and hundreds and hundreds of requests from dealers and individuals who have heard of this easy-to-do silk act production. Having other tricks that I wanted to publish, as they were newer to the magic profession, I did not republish the original work. But, as time went by, I have learned many other things about the GRAND FINALE SILK ACT. During the Second World War, when I did much work for the Armed Forces, on many occasions I did not have the proper facilities to work; therefore it was necessary to discover newer methods so it could be performed with the help of the audience as a means of covering up where the silks came from. I have personally worked this out where I have increased the production to 12 large silks instead of the original three 36" silks. It was a hit every time I performed it. I have also finished up with one silk 8 x 8 ft., which is almost the size of a small stage. For the best effect it was necessary to use an assistant. Since it was
Page 7 not always possible to have one, I have worked out a method of using an assistant from the audience. As will be explained later, the assistant does not know where the silks come from. But there will be times where there is no time to get an assistant or it is just not possible. I have finally worked out a method where the entire act can be performed by the magician himself with the aid of a small gimmick that is adjusted to your table (as described in Chapter #22 As times change, so taste in magic changes. I have had so many requests lately for the GRAND FINALE that I have decided to revise the old original book and include the new ideas that I have worked out. This is a most beautiful artistic act that any audience will appreciate watching. It is one act that is not hard to do because the act itself is performed simply. There is one surprise after another. I am sure that this act will bring you the desired amount of applause. This act should be practiced in small stages. At first with the small silks, then three of the large silks when this is thoroughly memorized. One silk at a time should be added. I know of several magicians who have been using this act since it was first put out, and I know they are successful. In writing the original GRAND FINALE, my thoughts were not to use any gimmick that could be eliminated. The thumb tip for the production of one silk and a hank]
Page 8 ball for the production of the small silks were the only two gimmicks used. In this, the new GRAND FINALE, you will find a combination of the old GRAND FINALE and the many new methods. In the new GRAND FINALE you will find a minimum of gimmicks which are absolutely necessary. None of the gimmicks are seen by the audience, so you are safe in handling them. In this book, THE GRAND FINALE, I take great pleasure in introducing you to the "Chanin System," also "Action in Transit." I call this the "Chanin System" because I have spent years in developing and working out the various routines and above all, the proper folding of the silks. Every move, every twist, that is necessary, is explained in detail in Chanin's modern up-to-date methods. Another very important phase which I have worked out, and used most successfully, is "Action in Transit." This I believe will be a great advancement in magic if the action is understood. It will make palming action in detectable during the shifting of items to the necessar positions. As an example, in the production of the first silk from the thumb tip, after the silk is pushed out with the thumb and fingers and the left hand takes the silk away at this moment, the thumb tip is in your right hand with fingers curled around it. Now, the ordinary way of getting rid of the thumb tip would be to insert your thumb into the tip and then it would be possible to show the hand empty. Of course, the audience could see that something had happened. They do not know what, and neither coulc
Page 9 they see what happened. But some unnecessary movements of the fingers were made. Now if you drop vour right hand from the position that it occupied originally as the silk was produced, your right hand drops to the side and comes up again to the left hand to take the corner of the hanging silk to display it better. During this action of dropping and raising the hand (which must be done in a naturay way) your thumb goes into the thumb tip. This is what I mean by "Action in Transit." To me it has been the finest bit of business that I have discovered and developed. This is only one instance where "Action in Transit" is of value. I hope to explain more of this in other works that I intend to do where a greater use of "Action in Transit" is made, especially with small items such as coins, balls, etc. In closing may I wish you the greatest of success. I certainly hope that I will be in the audience when you are performing the GRAND FINALE. jncerely, 'CHANIN'
The author reserves the right to manufacture the apparatus used in the GRAND FINALE or SILKS AT YOUR FINGER TIPS
Page 10 AS SEEN BY THE AUDIENCE If you were to sit in the theatre, here is what you would see. Here is the "effect." The lights dim. The overture begins. The curtains rise. Then the spotlight picks out the magician coming on stage. As he reaches the centre of the stage he bows to acknowledge applause. Slowly and carefully he shows both hands to be absolutely empty. From the first and second finger and thumb of his left hand a silk materializes. Once more hands are shown to be absolutely empty. This silk is vanished and again is produced mysteriously. From this single silk he begins to multiply other silks of various brilliant colors, until the stage is filled with dozens and dozens of silks, while there is tremendous applause from the audience. This in itself is wonderful, but wait, there are more surprises to come. Now the master magician begins to pull out yards and yards of brilliantly colored ribbons, (more applause Once more he shows his hands void of anything that could possibly help him in his mystery. He takes up a piece of ribbon and it changes to a large three-foot silk. This silk is dropped and another silk magically appears between his fingers. This silk multiplies itself into three brilliantly colored silks.