Hugard's DEVOTED
SOLELY
Mo thll
" J
TO
Vol. XVII, No. 1
THE
INTERESTS
OF
MAGIC
AND
MAGICIANS
JUNE, 1959
50 Cents
Y FAVORITE 4-ACE TRICK Every branch of magic has its classics. In card magic, one of the great classics, acknowledged by magicians the world over, is the famous 4-Ace trick. It is one of the oldest mysteries in the entire field of legerdemain, dating back probably 400 or 500 years. There is a record of a book published in 1584, "The Discouveries of Witchcraft," in which a 4-Ace trick is explained. Different Variations Since that time magicians from all over the world have made changes, different moves, simplifications, complications, until today the number of variations of the 4-Ace trick is legion. The popular theme of most 4-Ace tricks is to cause three Aces to vanish from their respective packets and join Ace in packet selected by spectator. The effect about to be described differs from most of the others, mainly in its theme, and especially in its surprise climax. The routine is simple, easy to execute. You do not have to be an expert card man ... and you will not have to spend months practicing complicated sleights. All the sleights required are easy to handle. They appear in the standard card books and are well known. I believe that, if you master this routine and perform it for lay audiences, it will be a reputation builder. EFFECT: Four stacks of cards are dealt on the table with an Ace in each stack. The Aces vanish from the first three stacks. Attention is directed to the last stack, which has not been touched, but when the cards are turned face up, they are four indifferent cards. The Aces have completely disappeared. The magician suggests that they must have jumped back into the dack and he deals out five stacks and lets the spectator himself select the one which he thinks contains the four Aces. But when the selected stack is turned face up, once again they are four indifferent cards.
By MAX KATZ Now the magician explains the reason for the failure. "I have been trying to bring back the lost Aces by Magic. But Magic is not strong enough. To bring back cards that vanish so completely a miracle is necessary." You now offer to perform this "miracle" by causing these four indifferent cards to change right in front of their eyes, one at time, until they become the lost four Aces! And that is exactly what you do for your "Miracle Climax." SLEIGHTS USED: Buckle Count, Left Hand Palm, False Shuffle, False Count. REQUIRED: Any deck. It may be borrowed. PREPARATION: None. Just start the routine immediately. ROUTINE: 5 to 6 minutes.
C
FIG. 1 - PRODUCING THE FIRST CARD
Depending upon circumstances, you can do this either seated at a table or standing up in front of it. You have borrowed a deck. The spectator has just shuffled it. You look through the face-up deck and deal the four Aces, face up, on the table in a row. The spectator arranges them in any order he likes, so he will remember where each Ace is, and turns them face down. Now state you will deal a few cards on each Ace. Apparently deal three face-down cards on each Ace, but
actually deal four, using a simple false count.* Now you have four stacks on the table containing an Ace and four indifferent cards. The rest of the deck is placed aside, to your left. Point to the first stack and ask: "Do you still remember which Ace is in this stack?" Pick up this stack, show the Ace on the bottom and place the cards into the left hand, face down, in position for an overhand shuffle. Overhand shuffle the top two cards to the bottom, square the cards and replace them on the table face down. Repeat this with the second stack. Then apparently repeat with the third and fourth stacks but, instead of shuffling two cards to the bottom, shuffle three. In the first two stacks the Aces are in the center while in the last two stacks the Aces are second from the top. You are now ready to vanish the Aces by the Buckle Count. The Buckle Count Pick up the first stack, hold it in the left hand directly above the second stack and with right fingers snap the edge of the card to make the "magic pass." Ask the spectator to name the Ace in this stack, place it into the left hand in dealing position. Now the left thumb pushes off the top card. The right hand takes it at the right edge with thumb on top and first two fingers below and places it face up on the table in a horizontal position. Deal the next card on top of the first one in the same manner. (Continued on page 8) *The card books have explained this sleight with full directions and diagrams and you no doubt have them in your library. But, for the purpose of making this article complete unto itself, without having to refer you to outside sources, the different sleights will be explained in the July issue.
June, 1959
Hugard's MAGIC Monthly
BACKSTAGE with FRANK JOGLAR
Last month there was just time enough to give most of the names of the performers booked for the SAMIBM Combined Convention July 1-4 at the Sherman Hotel in Chicago. Here are further facts from Bob Parrish's letter... Also in the British party coming over: Al Koran, Stanley Thomas, Arthur Culpin and Elizabeth ... Ed Miller's Museum of Magic will have the largest space ever allotted to a historical display... Twenty-five dealers have registered ... There will be a seminar for mentalists, a meeting of the IBV and special facilities for amateur photographers ... All three headliner shows will be presented at the air-conditioned 8th St. Theatre... In early May registrations topped 600 ... Rush your reservations to Hal Sparks, 325 W. Huron, Chicago 10, 111. TV Topics
Young Peter Pit, the Dutch deceptionist, was introduced as British on the Ed Sullivan Show. His time was short. He opened with a floating cane routine, followed and closed with a many-bottle Passe Passe routine... Chan Canasta repeated with his card tricks on the Jack Paar Show. Sports columnist Jimmy Cannon assisted him. Cannon cut the deck several times behind his back. Put the top card in his right coat pocket, the next card in his left coat pocket. Canasta showed several cards to the camera, had the studio audience shout out two cards. Cannon chose which pocket which card was to be in, he pulled them out, the feat was successful. Next a girl took a batch of cards from the deck. Canasta called off their names with machine-gun speed. Too fast for me to hear. The girl said he had named them all correctly... The Magic Clown is now on Channel 13 at noontime. Harry Lorayne
A batch of reproductions concerning Harry Lorayne's mental agility in the mail. Impressive stuff. Jim Bishop's column from the N. Y. Journal-American, Agnes Ash's piece from The New York Times, a. page from the National Enquirer and a feature story from the Long Island Sunday Press. Also a list of the many papers which carried the full page ad for his book
"How to Develop a Super-Power Memory." Dick Ryan
De Kor See (W. L. DeCoursey) of Pittsburgh, writes: I noticed an article in your column to the effect that Dr. Weiss reports the exposure of some tricks by a Dick Ryan... we had this fellow recently at our Rotary Club weekly meeting. He exposed the same things which you mentioned. I went up to him after the entertainment and cautioned him severely about his actions and said I did not think he was playing fair with the fraternity. He just laughed at me and told me it was his business and not mine. It seems that some action of some sort should be exercised toward a fellow of this kind." Jottings
Paul Morris is feeling much better. He writes: "The May 22 Open House was a big success with Cliff Green lecturing and Dai Vernon helping him. Chester Morris was on TV's "Masquerade Party." He conducted himself like a fine gentleman and an expert magician." Paul applauds Harris Solomon's recent article in The Linking Ring. Says it points out the same fact the Open House has had in mind for years... George Johnstone types: "Was very pleased with your kind words. The only remuneration one gets from these articles is the knowledge they are read and enjoyed... and eventually will find a small slot in the history of our art. Some time ago I wrote an article "Trouping with the Levii" The mail response was so gratifying I set to work on a whole series of 'trouping' articles. We have a new crop of youngsters today (my own son among them), who will never see an illusion show as we knew them. Magic, to them, is card tricks and hanky-panky effects. We do have our magical dreamers, tho, who think a vaudeville come-back will revive a lost art... Under some guise should vaudeville make a rebound, magic will never regain the position it once held what with the real magic of electronics, satellites, etc., all about us. It will take more than two silk hankies changing color or a couple of metal rings linking together to keep the coming generations entertained."
News and Notes
Gerry Kaufman reports the magic outing at Phil Sevush's Eldorado Hotel was a success. Al Flosso was the only public performer. He racked up another hit. As a result of the enthusiasm, Lou Tannen plans a big magic gettogether at the hotel next year a la the Percy Abbot affairs in the midwest... Ballantine drew cheers at the Deauville in Miami Beach ... Fine reports coming in on Doc. Tarbell's lecture tour across the sea... Variety covering the Circus Kuie in Zurich says: First-act finale shows magico Chefalo in a colorful potpourri of illusionistic tricks aided by two shapely gals plus a male. One femme 'disappears' out of a parrot cage and turns up inside a huge rocket, et al. Some turns are fairly familiar, others have real novelty appeal. Good for visual media, but unsuitable for small boites due to large array of oversize props."... Same journal in reviewing the 365 Club show in San Francisco notes "Carazini, a good magician."... He's a new one to me. What does he do, Westcoasters? ... At the Olympia in Paris: "Silvan is a suave magico in tails who does expert sleight-of-hand and materializes birds and rabbits at will from handkerchiefs. This is a fine number." ... Paul Duke entertained at the 40th anniversary of the N.Y.U.'s College of Dentistry in Town Hall... Variety in a front page short from Zanzibar told of Sorcar's African tour and his audience which included the Sultan of Mascat. They pegged him "S.S." Sorcar. Obviously a typo. Okito
Writes:
"It may be of interest to you to know that I am engaged to perform at the Eighth St. Theatre during the coming convention. I will perform an extract of my former Okito repertoire. In my estimation it is rather rare that a man of 84 years of age (born in 1875) is still active, and so far as I can remember no professional magician in America has performed at that advanced age. Being the sixth generation, I am the only Bamberg of all the generations who is still performing. My late father gave his last performance at the age of 82." (What about David, Theo?) Predictions
An A.P. dispatch from Nashville heralded the Kentucky Derby predictions of Dr. Spencer Thornton. The
June, 1959 geegees came in just as he said. Tomy Lee, Sword Dancer and First Landing. The written prognostication had been sealed in an envelope in a bank vault... Two other predictions missed. That a major plane crash would take place in the New York-New Jersey area the following Friday and that an uprising would take place in the Dominican Republic within five weeks... The N. Y. Sunday News played the story with a more or less straight face May 17 under the heading "Sixth Sense—or Nonsense." Here we learn he worked his way through Wake Forest College in Winston Salem, N. C. by giving a memory demonstration and "combining it with the showmanship of vaudeville mentalism—the old mind-reading bit" ... Thornton presents his turn as telepathy, says almost anyone can learn how to communicate with the mind ... Let's face it, boys, you're wasting your time with regular magic. Pick up a few mental tricks and hit the headlines! Into Thin Air Variety's London looker caught BBC-TV's telecast of the thirty-minute magicer "Into Thin Air": "Presenting three of America's leading conjurors with host Peter Haigh in informal chatty fashion, here was a diverting filler that could stand near-repetition. Precise repetition wouldn't be good enough: though the tricks performed involving coins and cards and cigarettes and all, would certainly bear seeing again, the presentation wasn't all that hot. Camerawork was erratic and the patter appeared to be unrehearsed, while one or two of the illusions were prolonged beyond worth. The three performers came across as genial characters, with movie director Cy Enfield holding his own with his more regularly-practicing colleagues." Bits and Pieces Well, Herman Hanson did it again! Loud hurrahs echoed down from Boston's John Hancock Hall where he staged the annual SAM Spring Magicale. DeLage and Margaret, Al Flosso, Elwyn Shaw, Tony Marks, Celeste Evans, Roy Benson, Phillip Morris and Co., Dorothy Rankin and Co., and Paula Dolan were the acts. All, attendees tell us, were outstanding and the routining was topnotch... Abril Lamarque was a standout again in the Society of II{Continued on page 12)
Hugard's MAGIC Monthly
THE WIZARD'S VARIATIONS By AL STEVENSON
The dealers'counters hold many wonderful effects. Unfortunately, most instructions leave much to be desired. Many good commercial tricks fall by the wayside for lack of presentation, "spark," "punch." Call it what you will, I refer to that "bit of business" which changes an effect from being just another trick into an entertaining mystery or even a minor miracle. Many magicians purchase a trick, read the instructions and proceed to do it their way. "The Wizard's Variations" will bring you some of the ways we hope you will want to adopt. To start out, I'd like to introduce you to THE BLANKA DECK*
The "Blanka" deck is based on a fresh approach to the Svengali principle. However, the alternate cards are blanks instead of duplicates. The method of handling is the same as with the Svengali but the effects are based on the short cards having no faces. The basis for the "new" Blanka Deck was born of my conviction that the Svengali deck is now so familiar to the general public (I have seen it advertised in the catalogues of at least two mail-order houses) that it no longer surprises nor mystifies. In addition, proper routining of the Blanka will prove effective camouflage to throw off those who "know how it's done." For example: The card shows what's on the spectator's mind. You rub the spots off a card. A concealed handful of small, sparkling stones is revealed as the "diamonds" you have removed from the face of the card. You deal out Poker hands, the victim gets five blank cards. Mental printing press: You "print" a deck of regular cards from the blank cards, etc., etc. Let's do a couple in detail: Detachable Diamonds EFFECT: Magician shows the 54 lying on top of the deck. He tells a story about a notorious jewel thief who was so good he could even steal the diamonds from a deck of cards. To illustrate, magician takes top card from *U.S. Copyright pending for title, effects and routined instructions.
deck, places it face down on the back of his fist and rubs it there. Turning the card to the spectators they see it is now completely blank. When magician opens his fist, five "diamonds" fall to the table. METHOD: The top card of the deck is a blank. Next below it is the 5 ^ . With this deck (as with the Svengali), a double lift is automatic so you proceed to do one idly showing the 5 • as the "top" card. This reminds you of the clever thief mentioned above. While pattering, casually put your hand in your pocket and steal the stones you have concealed there. (The perfectionist will devise his own more "subtle" or more "magical" method. In my opinion, proper misdirection and timing will be ample cover for this so natural action.) The rest of the working is obvious. VARIATION: Cut matching pips from duplicate cards and "remove" them from the "chosen" card. For instance: Spectator "selects" 6»fr. Drop six cut-out clubs.
"Psycho"-Kenesis Patter about psycho-kenesis, the inevitable Dr. Rhine and the mysteries of thought projection. Explain that concentrated, powerful thought can cause physical manifestations. Have each of five or six spectators thrust a finger into the deck as you riffle it and touch the back of a card. Have each card thus selected placed face down on the table in front of the person who chose it. Do not allow them to look at the faces. Direct your volunteers to stare intently at the back of their cards and concentrate. Their thoughts will, through psycho-kenesis, manifest themselves on the faces of the cards. After an appropiate, few seconds' interval, ask your five assistants —all at the same time— to turn their cards over and allow the rest of the audience to see "what was on their minds." The five blank cards usually evoke laughter. That's enough for a sample. The Blanka Deck has as many —if not more— possibilities as the Svengali. The principle is well known and so the new presentation has two big advantages: 1, No new sleights or handling to learn; 2, Brand new effects. The editor and I hope you like it.
3
Hugard's MAGIC Monthly
June, 1959
MILBOURNE CHRISTOPHERS COLUMN In April I wrote about magic and the circus. Just the other day it was announced that the Moscow State Circus would open a six-week run in London in early June. The headliner is Kio, Russia's most famous illusionist. Pin-Pointed
Emil Lowe told me about the presentation he uses for Joe Berg's Ultra Mental Deck. He shows a small slip of paper on which are printed miniatures of the fifty-two cards in a pack. He turns the paper face down and invites a spectator to thrust a pin through the paper anywhere he wishes. The paper is turned face up. The pin is seen protruding through one of the cards. Emil takes out his Ultra Mental Deck. All the cards are face up—except the one which matches the impaled miniature card. Instruction Sheets
The instruction sheets which come with many of the tricks dealers sell are soon lost unless provision is made for their care. Most magicians, at first, keep the trick and the instruction sheet together. When the trick is used frequently, however, the two are separated. The trick takes its place in the magician's bag of magic and the instruction sheet is tucked away in a place the performer can seldom remember when he wishes to refer to it. The sheets will be readily available if you put them in a spring binder. Different binders for different category of tricks simplify matters.
cept for many jottings in pen on pages and the inside flyleafs. In this condition they brought only a fraction of the price he would otherwise have offered. If the notations were by the author of the book, or by a Houdini, Hoffmann or Evans their value would have been enhanced. But as the notetaker was not a noted performer, author or inventor of magic each time he wrote in a book his collection lessened its value.
cation I got two copies of the issues I planned to cut up. This enabled me ro keep a file of the publications and special files of clipped tricks or articles. What interests you today and what will interest you a few years from now may be very different. In the future you may turn to a magazine and find that the most fascinating article is only partly there, partly on the unavailable back of another article pasted in a scrapbook.
Preparation
Almost every professional magician unpacks his bag after a show and prepares for another show. The tricks are reassembled, replacements are made and he is ready and waiting for his next performance. If you wait until time for the next show to prepare you may find that some small, important bit of equipment is missing or that you don't have that extra piece of chalk or folder of paper matches that is so vital.
I recently had the pleasure of seeing the magical notebooks of a noted lawyer. He seldom performs in public, but when he does he approaches each show as he would an important case. First he outlines his routine. Then step by step he describes his technique, with his complete patter. Finally he lists the arrangement of each object he uses. The contents of his pockets, the placement of equipment on his tables and offstage is detailed. Little wonder, though he performs infrequently, his shows run smoothly. Scrapbooks
Writing in Books
Scotch Tape is a useful adhesive for many magical purposes. It is not recommended for magical scrapbooks. Too often rare letters, photographs and programs are defaced by its application. At first the items appear attractive to the eye as they are neatly fastened in a book. Then time passes, the tape deteriorates. Dark sections appear on the items. After a few years the blighted areas are beyond repair. If you must paste things in scrapbooks consult your local library. Use the paste they recommend and the paper they suggest. Most scrapbooks sold in stationery stores are filled with paper which soon becomes brittle and cracks. If you are making a scrapbook the chances are that you wish to preserve the material you put in it. Be wary of rubber cement. It, too, with time discolors newspaper clippings and other material.
I was with Leo Rullman many years ago when a shipment of conjuring books came in from the midwest. The books, which he was offered by a collector, were in excellent condition ex-
Like many another magician, in my earlier days I cut interesting tricks and articles from the magazines of magic. Later, if I wanted to clip from a publi-
Protective Bags
The felt bags with drawstrings at the top which jewelers use are excellent for protecting small pieces of apparatus from scuffs and wear. All of the essential devices are kept together and the bags may be easily marked. Another type bag, which banks use for currency, also has draw strings at the top. These, too, may be used to advantage by magicians.
Magazine
Clippings
Unpacking
Records
The club date magician should keep a list of his tricks, as performed, for each date he plays. When, in a few weeks or a year, he is booked for another engagement at the same place, he can check immediately and see the trick he has, or has not, done. Methodical performers will go further. They will list the amount they received for the show, the type of audience and any data that might be helpful in the future. The Business End
Few magicians take the time to write thank you letters after their shows. Even fewer have new folders, advertising pieces, and publicity sheets made every year. Still fewer regularly mail out their advertising to people they have performed for, or hope to perform for. The very few who do all of the above invariably get more shows, make more money than the others. Introductions
I talked with a young magician who was unhappy because he felt the master of ceremonies on a club date had not introduced him properly. I asked what he had suggested the m.c. should say. "Oh," he replied, "when he asked me (Continued on next
June, 1959
Hugard's MAGIC Monthly
TRICKS, FOR CHILDREN, IN SEARCH OF A MAGICIAN
HUMPTY-DUMPTY By THEO DORl
I am quite aware that the theme of Humpty-Dumpty cannot be considered avis rara among tricks for children but having a need for an effect along these lines and not satisfied with the topical offerings obtainable, the following was worked out: Humpty-Dumpty is pictured within an elliptical frame rather than an ovoid one for the simple reason that the former is easier to purchase or make. Actually, the picture of HumptyDumpty is constructed along the lines of a jig-saw puzzle; i.e., after the picture is drawn on thin beaver-board to the size required it is then cut with a jig-saw—two pictures at once for the purpose of this trick. The picture as viewed, therefore, is one with minute lines drawn across it, and as it is in segments it can actually be taken apart in sections and put together again exactly as you would do with a jig-saw puzzle. The frame is resting on top of a simulated brick wall and leaning against the wall is a small hod. Not the least important are Humpty-Dumpty's arms and legs. These, unlike the picture, are three dimensional and they protrude from the frame proper and slightly to the front and sides. They can also be jigged out of plywood or made with papier mache or stuffed as in a rag doll. They are a permanent fixture of the frame. So, as the curtain goes up, the children see a nicely framed picture of Humpty-Dumpty with protruding arms and legs, all highly colored and resting very com-
the introduction I would like, I just told him to say a few appropriate words." I believe introductions should be short, but also informative. Make up your mind the few words you would like the m.c. to use. When he asks how you would like to be introduced, tell him. He might not follow your suggestions, but the chances are he will. Some acts have the few sentences of their introduction typed on a slip of paper which they give to the m.c. when he asks for information.
fortably on the wall, feet dangling. The picture is first shown from the back which is painted to correspond with the front. Which reminds me that, as far as I know, Humpty-Dumpty is like the moon: no one has ever seen the other side of him. It will hardly be necessary to explain to the young audience what the picture represents but, when you get around to showing the front of the picture, recite the lines.
would like to have a try at it. So the hod is picked up and the pieces placed inside of it. With a whirl in the direction of the frame the hod is shown empty, the scarf is removed and there is Humpty-Dumpty together again. But wait! A piece is missing... he has only one eye, poor fellow! The eye is missing. It must be around somewhere. Everyone starts looking. Oh! There it is! The Magician recovers it in the most unlikely looking place he can think of: in a girl's hair, a boy's pocket, under a child's foot. The piece is replaced and all is as it was in the beginning. This effect is self-contained and represents no problems—and tricks for children shouldn't. You can purchase
TOP EXTENDS TO COVER FEKE SIDES OF HOD HINGES-^ ON COVERS
HOD
Humpty-Dumpty sat on a wall. Humpty-Dumpty had a great fall. All the King's horses and all the King's men Couldn't put Humpty-Dumpty together again! As the last word is uttered, rap the back of the picture sharply and all the pieces fall out of the frame. It is important that the cut pieces fit loosely —but not too much—to create the proper effect. If all the pieces do not fall out, remove those that remain. Now the frame is blank except for the inner piece of thin wood which acts as a back drop for the picture or, rather, a rest for the cutouts. It may be advisable to paint this "shell" a light yellow. The frame is now covered with an opaque scarf which drapes over it completely but does not cover the wall. You and the children now pick up the pieces rather sadly and when they are all gathered (and be sure you get them all) you remark that while "All the King's horses and all the King's men, couldn't put Humpty-Dumpty together again," you, being a Magician,
HANDLED
HOLLOW BOX. SIDE TO.HOLD PIECES
an elliptical frame in any picture store; procure a plain one without decorations and the size you desire. Or jig one out of half inch plywood, making it about an inch, or so wide. The back of the frame consists of a solid piece of thin plywood, with a pin inserted top and bottom so that it can revolve within the frame proper freely. The arms and legs of the figure are more than mere appendages; they are also functional insofar as they protrude from the frame they disguise quite effectively the turning of the inner shell. If the scarf were draped over a flat surface, the movevement of the shell would be noticeable. Humpty-Dumpty's arms and legs prevent this by keeping the scarf away from the frame. Your second cutout of Humpty-Dumpty is glued securely (but with the "eye" section missing and which you, of course, have in your pocket) to the back of the shell. The picture is now covered with a thin piece of felt of the same color as the shell. Fasten a fine wire securely to the (Continued on page
11)
June, 1959
Hugard's MAGIC Monthly
BOOK PROFILES by JOHN J. CRIMMINS, JR. "MY WEST'—compiled by J. G. Thompson, Jr. A 384-page printed book with over 350 illustrations by Tom Fitzgerald. Published in leatherette maroon cover by Louis Tannen, 120 West 42nd Street, New York 36, N. Y. Price, $7.50. The perennial question always uppermost in the minds of magicians is "What's New?" Everyone is constantly seeking the latest trick as though it was the most important phase of conjuring. It's the inevitable greeting between magicians; notes are made and the boys make track to the nearest magic shop to stock up on the newest fads. I suppose it will always be such yet, in truth, there is more "new magic" hidden away between the covers of magic books and magazines than any of us could use in a lifetime. "New magic" in the sense that the originator is doing or has done the trick he describes, yet his trick lies hidden in the pages of some magic book or pamphlet still waiting for the boys to discover it and exploit it. Many of the tricks being sold today as "the latest" appeared some many years ago in print, but are now seeing the light of day for the first time. One knowing sage once said that the best way to protect your routine or original trick was to publish it! That profound contradiction is as true today as when it was first expressed. The above is written by way of an introduction to the latest reprint edition of Jim Thompson's really fine book, "My Best." There is probably more excellent "new" magic in this diversified collection of tricks than you'll find in the newer books published during the past couple of years. Here are 193 tricks, half of which are with cards; the remainder with every other conceivable object usually conjured with including some tiptop mental miracles. 115 magicians gave their "best" effects to this compilation which Jim Thompson originally published in 1945 as "a labor of love" to magic which had given him such pleasure through the years. The book is so huge he couldn't have made a cent on the project, which of course was not his purpose. As a compilation of really fine magic it stands today as one of the finest books in the trade. If you
don't have a copy, take a tip and get one of the latest edition. You'll treasure it, and you'll find plenty of "new" magic to whet your appetite. JACK MILLER'S EGG BAG ROUTINE—by Jack Miller, a 10-page manuscript of instructions published by Louis Tannen, New York. Price $2; with Egg Bag, $8. You who have seen Jack Miller present his unique Egg Bag Routine will need no urging from me to add his presentation to your act. Those who haven't, might note that this particular routine is by far the most baffling and, at the same time, the most humorous one we know of. I've seen more audiences "taken in" by Jack's presentation, which practically makes a new trick of this classic. Frankly, I always thought he depended upon his famous "holdout" to get the fantastic effect he accomplished, but now that I've had an opportunity of studying the trick I find I've "been sold"—and hoodwinked, too. No sleeve holdout is used; it's much simpler than that! Your best buy would be to purchase the entire outfit, for you'll really use it. However, if you have an Egg Bag, you can gimmick it from the instructions, pick up the other things needed, and be in business in a day's time. It's truly an unusual routine, baffling to the extreme, and with sufficient by-play to mystify the best posted magicians. Its strong point is its entertainment value! One of its highlights is the humorous bit where the magician drops the egg up one of his sleeves, wiggles a bit and apparently has it cross his shoulders and drop out of the opposite sleeve. That's just a sample. Get the routine and you'll have a real feature for your act. THE MANUAL OF THE THREE SHELL GAME— by Eddie Joseph. A 30-page printed book in large format with 86 illustrations by Jack LaMonte. Published by George Armstrong of Magic Wand Publications, London, England. Available at your magic dealers. Price $2.00. This is one of the best expositions of the Three Shell Game in print, and is particularly welcome in that it contains a wealth of new moves and sleights. Of course all the better basic moves are explained
in detail and are so well done that you'll undoubtedly pick up some worthwhile pointers in the early chapters. The new moves will appeal to those versed in the routine since they offer a fine postgraduate course to those interested in this classic table trick. To give you an idea of the scope of this treatise, I might mention that the author covers some twenty-four moves with complete thoroughness. You just can't help mastering them. In addition, Eddie Joseph explains three extensive routines. One of the fascinating things about the Three Shell Game is that it violates one of the cardinal rules of magic... that being "never to repeat yourself." However, in this trick you continuously repeat your moves (or so the audience believes) thus aggravating the situation but at the same time you improve the proceedings by stimulating greater interest. As the author points out this psychological factor gains in charm with each repetition. Yes, the whole technique of the Three Shell Game is here for those who want to master it, as I'm sure many of you will. FOR PUZZLE ADDICTS I can recommed the reprint of the long out-ofprint "Mathematical Recreations of Lewis Carroll" just issued by Dover Publications, Inc., 180 Varick Street, New York 14, N. Y. The present edition is in two volumes: "Symbolic Logic and The Game of Logic," and "Pillow Problems and A Tangled Tale," priced at $1.50 each in the paper edition. From the titles you can see they embrace four separate books, or the complete set as written by Lewis Carrol who is famous as the author of "Alice's Adventures in Wonderland" and renowned as Charles L. Dodgson the distinguished professor of mathematics at Oxford. The first title "Symbolic Logic and The Game of Logic" is intended as an entertaining approach to the study of classical logic and contains an actual game to test the truth of the author's sample syllogisms. The second volume contains two collections of Carroll's mathematical thought-twisters. "A Tangled Tale" is a series of brain teasers hidden in a typically Carrollian nonsense story. The "Pillow Problems" are a series of bedtime puzzlers that Carrol solved in his head as a substitute for sheepcounting. Answers to all the problems are given in the back of the books. {Continued on page 9)
June, 1959
Hugard's MAGIC Monthly
HASKELL'S "FLY AWAY, FLY AWAY" This effect by Bob Haskell is enormously effective and while designed primarily for platform and stage, still it can be used for smaller gatherings. Here is a card illusion the presentation of which has been perfectly organized by a top-flight entertainer with all important points clearly stressed so any audience can follow what is happening. In Bob Haskell's hands the effect of the trick is stunning. I've seen him perform it for an audience of 1,000, with two assisting spectators on-stage and, with it, earn roaring applause. The effect is this: A spectator is handed a pack of blue-backed cards to safeguard. Five red-backed cards are shown and one of them chosen by chance. It vanishes, only to reappear at a previously-designated number from the top of the blue-backed pack, which has been in the spectator's hands from the beginning. PREPARATION: Before the show, place a red-backed card, say the J*, eighth from the top of a blue-backed deck, then replace the cards in the blue case and place it on your table. Next, take any five red-backed cards one of which is a duplicate, red-backed J4». Write the name of each card on a slip of paper about I"x2". Place the slips on a small dish or tray, then place the dish and the five red-backed cards on your table. Make your opening statement: "Ladies and gentlemen, you have all heard the expression "The hand is quicker than the eye'. As there are always skeptics in any gathering, I'd like to present an effect that may con-
PATTER Collected by CLIFF GREEN
Youngsters today insist that their elders treat them as grownups; not a bad idea if only the kids would return the compliment. * # * Poise is what it takes for a girl to wear a mink coat as if it had been paid for out of a stenographer's salary. * * * The older we get, the easier it is to fall into the habit of overlooking basic concepts. I guess that's why the fresh, pen-
By FRED BRAUE
vince all of you that there is some truth in the saying." 1. "Before starting, let me first ask you, sir, to call out a number between one and ten. Any number at all. You say you wish number six? That's fine. I'll give the deck a quick shuffle and then return it to its case which will be placed in your keeping. Sir, place it in your pocket and remember this: You are actually holding the blue deck before the trick even started." The action as you say the above is this: Display the blue deck and point to a spectator, requesting that he call out a number between one and ten. Remember that the duplicate red J * is already the eighth card in the deck and hence, if he calls that number, you merely hand him the cards. If any other number is named it is a simple matter, in the course of an overhand shuffle, to add or take away the necessary cards to place the ]4» at the desired number. Return the cards to the case and have the spectator place it in his pocket. 2. "Let me call your attention to these five red-backed cards and five slips of paper." Fan out the five red-backed cards and replace them on the table faces upward. Display the five slips of paper, replacing them on the dish. 3. "Will you pick up one slip and read aloud what it says? Now fold it twice and drop the folded slip on the dish. Is this the card you called out?" This is self-explanatory: You ask a spectator to pick up a slip, read the name of the card written on it, then etrating insights of the young seem a little startling to us. Like the answer of the third-grader who was asked to give the chief use of cowhide. His reply: "To hold the cow together." #
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These are the good old days you're going to miss in '79# * * It's only logical that the wedding gift should be addressed to the bride. Who ever heard of a trophy going to the deer that was bagged? # * * Now that jet airliners are commonplace, the two-hour taxi ride to the airport takes three hours.
fold the slip twice and drop onto the dish. When he reads the name of the card, pick up that card from the table and show it to the audience. Place it face downward in your left hand. 4. "Now pick up another slip and read it aloud. And here is the second card. Fold and drop the slip on the dish." You show the proper card, and place it face down in your left hand. 5. "And let us do the same thing with the next three slips." You show the cards named, in order, placing them in your left hand, as he drops folded slips on the dish. 6. "Will you please hold these five cards? And may I ask you to select one of the five folded slips. May I have it? Thank you." Before handing the assisting spectator the five cards, mix them so the J4» is the third card. Give him the cards, then ask him to hand you one of the five slips. 7. "It bears the name of the Jack of Clubs." Open the slip the spectator hands you and, regardless of what is written on it, read off: "Jack of Clubs." Refold the slip and drop back on the dish. 8. "May I have the five cards? One, two, three, four. One card is missing, and that card is the Jack of Clubs." Take the five cards from the spectator. Hold them in your left hand, faces toward the audience. Count them as four by false-counting on the third card, thus "proving" the J«fr has vanished. 9. "You, sir, have been holding the blue deck. Will you remove the cards from the case? Then deal them one at a time onto my hand. Deal them from the top. You recall that the number you selected before the trick started was the number six. Deal off six cards. One, two, three, four, five and the sixth one is a red-backed card. "And it also happens to be the Jack of Clubs!" This also is self-explanatory. When the fifth blue-backed card is removed by the spectator, the red-backed sixth card is revealed strikingly, and is turned so all can see it is the J*. There you have Bob Haskell's own instructions, presentation and patter for a really fine card illusion as he gave them to me. This effect will be a standout on anyone's program.
June, 1959
Hugard's MAGIC Monthly
MY FAVORITE 4-ACE TRICK (Continued from page 1) On the third count, the left fingers buckle the bottom card. This leaves a big break between the bottom and the other two cards, which makes it easy for the right hand to take these two cards as one, and place them on the face-up cards on the table. Finally, place the last card on the table in the same manner. The Ace has vanished! Repeat this buckle count with the second stack, dealing the cards on top of the first stack. The second Ace has vanished! The face-up cards on the table are in a horizontal position. With both hands give them a quarter-clockwise turn to bring them into a vertical position on the table. Pick up the third stack. Ask for the name of the Ace, snap the cards as before, to make the magic pass over the fourth stack. Explain that since the first two Aces have disappeared so mysteriously, you will deal the next stack face up, so everybody will be able to see exactly what is going on. Pick up the third stack face up and do the buckle count as before, dealing the cards on top of the others. Notwithstanding the "precaution" you have taken, "for the spectator's benefit" by dealing the cards face up, the third Ace has vanished! There is one more stack left on the table. Explain that —to magicians— this last stack is generally referred to as the "Ace Stack," which means that, regardless of what has happened, the Aces always assemble in the "Ace Stack." The Ace Stack
Make much ado now about at no time during this mystery "did I ever touch or approach this 'Ace Stack'." Give it all the build-up you can so that the audience will "know" that the four Aces are here. In this way the disappointment and surprise will be greater—when the Aces vanish from this stack also. You are building up to a "letdown" for a reason. You are getting ready to explain that you failed in your experiments with magic and will now have to resort to a miracle! Now buckle-count the last stack onto the table, cards face up, and lo and behold—the fourth Ace has disappeared—completely! 8
At this point you can do a little acting by looking down on the floor to your left and right as if searching for the Aces. Pick up all the face-up cards and slap them face down on the face-down deck. At this point, many times audiences will start to applaud thinking that this is the end of the trick. The 20-card stack is on top of the deck and each 5-card stack has an Ace in the center. You are ready to falseshuffle the deck. The False Shuffle
Pick up the deck and do a false shuffle. A very easy one is the overhand jog shuffle. After the jog, shuffle off all the front cards to the break, then drop the rest of the cards on top. There are other good false shuffles you can use. The "knee shuffle" is a riffle shuffle used very convincingly by Doc Boston; the Hunter Overhand Shuffle; some table shuffles like the Push-In and the Pull-Out, etc. Do your false shuffle and false cut and announce: "These Aces are very temperamental. Sometimes they even fool me, and instead of assembling in the Ace Stack, they jump back into the deck." Deaf Five Stacks
So you offer to deal five stacks, of four cards each, which you do, dealing the cards one at a time, either in circle formation, in which case you note which is the third stack dealt —that will be the Ace Stack— or in formation to look like the five spots on a die and, in this event make sure to deal the third stack in the middle, and this will be the Ace Stack. Do this formation as if you were drawing the letter "Z," so that the 1 2 placement of 3 the third card 4 5 in the center will appear normal. Now that you alone know the position of the Ace Stack, start the count so that their selected number will fall on 1, 2, 4 or 5; that is, on any number except the 3. Your next move is to pick up the stacks one at a time, slap them on top of the deck and shuffle them back into the deck, leaving his selection for last, and the Ace stack for next to last. This, of course, is of the utmost importance. When he gives you his choice, count to his number and push this stack com-
pletely out of the dealt formations, to one side. Now you can't make a mistake —this will be the last stack left on the table. Just make sure now that you pick up the Ace Stack next to last. "You don't want it, I don't want it." Point to any one of the wrong stacks, and ask the spectator, "You don't want this one?" He answers "No." You pick it up, slap it on top of the deck which you are now holding in your left hand and say: "You don't want it—I don't want it" and overhand shuffle it into the deck. At each pick-up use the same patter line, pointing to each stack, "You don't want it—I don't want it" and slap it on the deck and overhand shuffle, losing the cards in the deck. Then, when you have the real Ace Stack on the deck, shuffle the top three cards one at a time to the bottom, injog the fourth card, and shuffle off. As you square the cards, get a left little finger break above the four bottom cards (the four Aces), and square up. In the same squaring motion, get the four Aces into the left palm.* As soon as the Aces are in the left palm, push the deck back to dealing position and square the cards. The entire move should appear to the audience that you have merely moved the deck forward and backward and squared the cards. The squaring and palming should be done in one continuous move, immediately after which two moves are made simultaneously: The right hand places the deck on the table face down, while the left hand with the palmed cards moves quietly under the table, resting the left index finger on the edge of the table. The right hand, in a continuous move, slides the selected stack nearer to the edge of the table. The position now is as follows: The left index finger is resting on the edge of the table and the four Aces are in the left palm. The right hand has just placed the deck face down on the table and has moved the spectator's stackselection nearer to the edge of the table. You are about to produce a miracle. The Selected Stack
Point to the selected stack and ask: "This is the stack you want? Very well, and remember, I promised a miracle." *See footnote on page 1.
June, 1959 With much satisfaction turn the top card face up. Your expression changes to utter disappointment and amazement when you see the card is not an Ace. It is an indifferent card. Carry the card over to the edge of the table and place it face up in the left hand which moves up to meet it. The second card is likewise an indifferent one. Place it face up on the top of the first card and immediately square the six cards in the left hand
BOOK PROFILES (Continued from page 6) MARGINALIA:— Just received are Vol. 4, #2 of Tannen's TOP HAT TOPICS, and #15 of ALLEN'S ATTIC both chock full of the latest in magic. Tannen is featuring a visible 20th Century silk effect by Marconick, while Allen is featuring his latest sucker trick called "The Chipmunks" which is a giant card effect built around the popular musical chipmunk, Alvin. McGregor's "Smoke from the Lamp" for May has arrived chock full of news and views. Also Boston Assembly's "The Barnstormer" featuring magic by Lu Brent and John Booth. Number 8 issue of "The Zombie" comes along for June, as well as the latest issue of Boston IBM's "Silent Messenger." All interesting to the magic addict. "Ibidem" #16 on hand and a boon, as usual, to the card man. Tricks this issue by Ed Mario, Martin Gardner, Norman Houghton, T. S. Ransom, P. H. Lyons, Neal Elias, Bill Elliott and Bert Fenn. It's still only 50c a copy, and a real bargain at that price. Try one. Write to P. H. Lyons, P.O. Box 561, Adelaide PO, Toronto, Ontario, Canada. He says he can supply all back issues for a short time. They're all worth adding to your collection of unusual card magic. George A. Jennes has just issued a mammoth book list of 10 manuscript pages, plus four pages of back number magazines, covering both "the old and the new." He'll be glad to send you a copy. Just write to him at 47 Inverness Avenue, Enfield, Middlesex, England. His prices are reasonable, and his range of magic books and magazines is truly extensive. BOOKS FOR REVIEW should be sent to John J. Crimmins, Jr., 265 Park Hill Avenue, Yonkers 5, New York.
Hugard's MAGIC Monthly bringing them into dealing position, with the left thumb along the left hand edge and the left index finger covering the top edge, which hides the thickness of the stack. In squaring the six cards the right hand completely covers the left hand. The only thing visible now is the face of the top card. The third card is shown to be an indifferent one and is placed on top of the stack. Finally, the fourth card is turned face up on the table. Another indifferent card! Place the seven-card stack on top of the table card and slide them all to the edge of the table where they are picked up and placed in the left hand in position for the buckle count. Now you explain the reason for this final failure to produce the Aces. "I have a confession to make. I have been trying to bring back the lost Aces by magic. But it seems that magic is not strong enough. In order to bring back the Aces that have so completely disappeared, a miracle is necessary." The arrangement of the stack in the left hand is as follows, from top to bottom: Three indifferent cards face up, four Aces face down and one indifferent card face up. As far as the spectator is concerned, you have four indifferent cards in your hand. Show these four cards again, in a face-up fan, with the buckle count, bringing the last cards to the top of the stack, calling each card by name, then square the stack. The Miracle Continue to patter: "If I could now make these four indifferent cards change one at a time into the four lost Aces right in front of your eyes would that be a miracle? Watch!" Do the buckle count. As the left thumb pushes out each card, the right hand takes them, one at a time, in fan position. The left fingers buckle the bottom card and the right hand shows three of the indifferent cards in a face-up fan. The fourth Ace has not been exposed yet. Now, very slowly, the left hand moves up behind the face-up fan, exposing a face-down card in its hand. This slow upward movement of the left hand serves another important purpose: It squares the five-card stack, which contains the face-down Aces, in an upward movement. Finally, the left hand is up and free of the stack, displaying this face-down card for a moment, without moving. Then the left index finger curls up behind the
card, presses up against the face of the card and, quickly, the left fingers are stretched out and an Ace suddenly appears at the fingertips as the card is turned face up. It happens in a flash! (Fig. 1). The Ace is placed face up on top of the fan and the cards are squared. Repeat this buckle count, placing the second and third Aces on top of the fan as before, then square the cards.
FIG. 2 DISPLAYING THE ACES
The fourth Ace is placed in back of the fan and now the left hand displays the four Aces in a face-up fan. (Fig. 2.) Show them front and back. For a finish, the right hand takes the cards one at a time out of the fan, counting them quickly 1, 2, 3, 4. Then both hands gesture with an upward movement, indicating the end! Smile and take a bow.
MAGIC AN A SLEIGHT OF HAND: The first commandment: "Thou shalt not let your eyes see what your hands do." Look at and talk to the audience while performing a sleight. * • # SHUFFLES: The deck should be shuffled at the same pace that is used by a regular card player. Extreme rapidity may confuse the onlookers but will inevitably arouse suspicion and mere suspicion will ruin the climax of a trick. Magic is vastly different from manipulation. There is an analogy here with the musician who expresses with his music the soul of an entrancing melody and the technician who dashes off a fire works routine of notes without rhyme or reason. You may admire the latter's dexterity for a moment but you will love and remember the former.
June, 1959
Httgard's MAGIC Monthly
ROUNDABOUT With FRED BRAUE
THINK-A-CARD, IV The Power of Mind This method will puzzle even the man using it. I found it 25 years ago in a dime-store book by Peter Adams. Since then I've never seen the method explained in a magical publication. Hold a dozen or so cards, widelyfanned, with faces toward yourself, in your right hand. Hold the right hand of a spectator with your left hand, placing your forefinger on his wrist so that you feel his pulse, and have him similarly feel your pulse. Next, have him close his eyes tightly and ask someone else to touch any one of the fanned cards. Talk quietly to your subject along these lines: "This is not a joke. Please cooperate. Keep your eyes closed and with your left forefinger touch the card just indicated. Be confident that you can touch the proper card and you will touch it. Concentrate on what I am saying. Reach out, slowly, and touch the card." Talk slowly, confidently. Usually the subject will run his finger along the top of the fan, back and forth, stopping on the proper card. Sometimes he'll reach out and without hesitation touch the correct card. It's the darndest thing, but it works a good 80 or 85 per cent of the time. Be sure that he feels your pulse, and that you feel his. Be sure, also, that he's working with you. I assume this feat is made possible by some form of muscle-reading. Three Card Platform Mindread I hesitate to give methods using a prearranged deck; so few will use them. For this reason, here's a skeleton version of a good, puzzling think-acard. False-shuffle your prearranged deck —which should be Nikola or similar non-mathematical sequence— and advance into the audience. Spread the top 15 cards, asking someone to think of one and, as an afterthought, suggest that he remove it and place it in his pocket. Avert your gaze during this. When the card's removed, sidesteal the card above it to the top of the deck. 10
Move on to Spectator Two and repeat, showing him the cards between 15 and 30. Repeat again, using cards 31-45, with a third spectator. Now, by sighting each of the three cards sideslipped to the top you can name the required cards by naming the next card in the prearranged sequence. A good finish is to palm off these three cards and add them to a complete deck of the same color on your table. Fan these cards, sight the three topmost cards, withdraw the proper cards from the spread and display. For close-upping with an assistant (say, your wife) you can hand her the second deck onto which you have palmed the three sideslipped cards. In this case, the second deck is in the same sequence as the first. She notes the top card, say the ace of clubs. By finding the ace of clubs and removing the card below it —to its right— she reveals one of the thought cards. This is repeated for the other two. No memory work, no brain work— and surefire. Even your wife will approve. Zig lag This effect, by George Kaplan, was given in the January 1953 HMM and need not be repeated here. The effect is extraordinary, for close-upping. The Brainwave Deck Back in the Forties I suggested, in Roundabout, that this deck should be made up in the small quarter-sized cards. For close-upping this is a good usage: Sleeve the prepared deck and ask a spectator to take an imaginary deck, think of a card, and shuffle the deck—all in pantomime. Drop your arm and the midget Brainwave drops into it. Produce the deck, have the card named, and show it reversed. Magnetic Mental Control This can be made up in two sizes— regular, or giant. In either case the deck is made up of 26 red-backed cards and 26 different blue-backed cards, these being roughed so the cards will spread in pairs, a la Brainwave deck. (If memory serves, this is a Ralph Hull origination.)
Let us assume the red-backed cards are uppermost of the pairs, hence the deck when thumbed through will apparently be red. Remove the bluebacked card of the pair at the face of the deck and place it at the top of an ordinary blue-backed deck. When performing, pick up the blue deck, remove the roughed card and, without showing its face, drop it on the top of the "red" deck. A simple cut causes this card to rejoin its partner at the face of the deck. Cut this deck several times, then turn the cards face up and invite a spectator to name any card as you thumb them off (in pairs, of course). When a card is named, cut at this point bringing it to the face. Separate it from its partner and place it face up on the table. Turn the deck face down, show that all the remaining cards are red-backed. Finally, turn the tabled card over, showing that it is blue-backed. Apparently the spectator has named the one blue-backed card among the 52 red-backed cards. Note that, in showing the cards for a choice, you should show four or five cards, transfer these to the bottom, show four or five more, transfer to the bottom, and so on. You won't run out of cards before a balky spectator makes a choice. Using giant cards, I sometimes added this to the platform mindreading routine given elsewhere. Spelling Think You show the 2 * , 10V, 7 * , K 4 and 8 i . Have someone think of one. Drop the sequence in order on the deck and place nine cards above them. (I use an overhand shuffle, killing two birds with one stone, setting-up and shuffling.) Have the card named and deal one card for each letter of the name. The card required will be the last card dealt. A drawback is that the required cards must be culled from the pack. Note that the cards used are the 15 th, 20th, 21st, 22nd, 24th and 25th of the Nikola sequence and can be removed from the prearranged deck in seconds. No fumbling around. If you use Nikola in think-tricks, use this as a closer for such feats. (To be continued)