Hugard'$ M A G I C
Monthl
V
DEVOTED SOLELY TO THE INTERESTS OF M A G I C A N D M A G I C I A N S Vol. XX, No. 1
SEPTEMBER, 1962
40 cents
ILLION DOLLAR DICE Jean Hugard and Fred Braue ... What memories the names recall! Although a card devotee of many years, the Hugard series opened up new vistas for me. And I can never hope to recapture the delight I experienced when "Hxpert Card Technique" arrived during the war. Nor am I lively to forget that both kept me enthralled for months and the practice of their contents helped considerably to lighten the weary war years. Hugard I never hjiew. Braue by correspondence only; I miss his cheery letters full of friendliness and charm. He was the real enthusiast. I feel I owe a debt of gratitude to them both. * # #
By GUS SOUTHALL Illustrations by Dr. RAYMOND L. BEEBE
hand with a die between each; a tube of suitable adhesive. Some of the articles require explanation: The handkerchief: First, it is folded diagonally; about IV2" from the
The title is misleading; the dice only loo\ expensive. They are Continental type made of black perspec* set with large brilliants. Only 1" square they appear much larger. Useless for ordinary purposes their sole use appears to be a decorative one. EFFECT: Seated at table the performer pulls a silk handkerchief through his fingers and materializes four brilliant dice which he places between the fingers of his left hand. Suddenly four more dice appear in similar position in his right fingers. For a climax he produces a brilliant Jumbo die. The routine, especially under electric light, is quite dazzling. REQUIREMENTS: Eight diamond dice as described; a Jumbo die 2" x 2", specially made of boxwood, enamelled black and set with large brilliants; a black silk handerchief 18" square; a cloth wallet or pouch 9" x 6" lined with thin sponge rubber and closed with a zipper; brass holder with stud; a piece of thin clear perspec shaped in a curve and long enough to accommodate the spread fingers of the right
will have their openings one at each end. A die placed in either pocket will not slip out provided its nearest corner is held higher but will drop out easily otherwise. The dice: Four of them, each with the brilliants removed from their No. 1 faces are glued on the long strip of perspec at intervals to allow the spread fingers of the right hand to be inserted. The "keyhole" in the strip permits the gimmic to be hung on the stud of the brass holder. (Fig. 6.) The brass holder (Fig. 5): It is fastened with a safety pin, to the braces (suspenders), shirt or waistcoat under the left side of the coat, chest high. PREPARATION: Insert a single die in
/„
*The King's English equivalent for "plastic."
folded center a row of stitches, about 8" long, is made to form a sort of tube which is then stitched down the middle (Fig. 3) to form two pockets. Both free corners of the silk are folded back in opposite ways and a few stitches taken to prevent the silk from unfolding too far. If the silk is held by diagonal corners, the twin pockets
/ S_ S S /
'
,
S S S .S
S,S.
either pocket of the silk. Hold the latter upright by its nearest corner, tuck it completely into your right inner breast pocket and leave the corner projecting. Put three dice in your left coat {Continued on page 4)
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Hugard's MAGIC
September, 1962
Monthly
NO EXCHANGE DO AS I DO By PETER KANE
A quickie, suitable for the card table where there is a spectator seated immediately opposite. Two packs of cards are introduced; the magician takes one, the spectator the other. Both shuffle their respective packs and dribble them face down on the table. Each stops at the command of the other whereupon it is found that the top card in each pack matches in suit and value. Use packs with contrasting backs; say, red and blue. At a convenient moment steal a card from one pack and retain it on the bottom of the other—a simple matter if you put one pack on the other momentarily. As you discuss the previous trick, pick up the pack with the extra card, hold it with faces towards you, locate the duplicate of the stolen card and slide it over said card at the face of the pack. Display both packs face down, one in each hand, to the spectator opposite and either force the short pack on him or merely hand it to him. Hold the other pack face down in your left
Editorial Notes
hand and Hindu shuffle without disturbing the matching cards at the face, face. Instruct the spectator to do as you do and mix his cards. Conclude by cutting the pack so that the two matching cards are about a dozen or so from the top. Separate the rest of the cards with a little finger break. As you square the pack, thumb count the bottom card of the upper packet onto the top of the lower packet and grip the pack lengthwise in your right hand retaining the break with the ball of the thumb at the inner end. Remove left hand and hold the pack about 4" above the table top. Request the spectator to call "Stop" as you move your hand a little to the left and dribble the cards slowly onto the table. Time the action so that when "stop" is called you can release all the cards below the break. Consequently the force card will be on top of the tabled packet. Ask the specator to imitate your actions and dribble his cards slowly until you call "stop."
—
We did plan to do an extra-special, super-dooper issue as a tribute to and in memory of our founder, Jean Hugard, and our late editor, Fred Braue. However, circumstances do not permit. Production costs are too high, we're still way behind schedule, your editor has run out of "spare" time to do all the necessary research, editing, letter-writing, etc. With this issue we cut back to eight pages. This means you'll get less quantity but only quantity. The quality —thanks to all Hugardites at home and abroad— will remain up to the standards of those two men who were your new editor's mentors, guides, friends—to whon she owes the wonderful world of Magic with all its warmth, color, enchantment, humor. To their memory and in their honor I promise to maintain the standards they set; to them I vow to print nothing of which I cannot truthfully and unreservedly say "Jean
Hugard and Fred Braue would approve of this." To both of them we especially dedicate the twelve issues of which this is the first and which will comprise our 20th year of publication. Some of our Hugardites have already sent in special effects with their own dedication. Won't you? Next month we shall begin Jean Hugard's own "Linking Ring Routine" as described by him in a series of letters to Fred Braue. We are sure you'll find no clearer directions, no better presentation. We hope to be back on schedule before year's end and to get your copy of HMM to you regularly thereafter. Thank you for all your encouraging letters, practical suggestions, moralebuilding compliments. We shall try as hard as we know how to become more deserving as time goes by. —BLANCA LOPEZ
Meanwhile, bring your hands together and square the small packet of cards you are still holding. In doing so, thumb count the bottom card, separate it from the rest and hold a break with the tip of the right thumb at the inner end. Hold the pack lengthwise. When the spectator stops on your command, his tabled cards should be easily opposite and convient to your right hand. Look straight at him as you state "You stopped where I wished and I stopped where you wished . . . Correct?" Make a gesture with your right hand to his packet and to yours. As your hand passes close over his tabled packet, release the bottom card of your own packet so that it falls on his disarranged cards. Done casually and smoothly it will not be detected. Play up the situation either with a few words on sympathetic choice, willpower, etc., according to the occasion, and have him turn the top card of his packet as you turn yours. They match!
I
K
BETCHA Last issue we promised to tell you what a "betcha" is. Well, a betcha is sort of a . . . it's kinda like . . . akin t o . . . Why don't you tell us? Here's No. 7 I'll show you something that you can see quite clearly; then I'll put it right in front of you—and I betcha won't be able to find it. Matter of fact, you won't be able to see it even while you're looking at it. —NORMAN HOUGHTON
{Solution in the next issue)
PATTER LINES If you want proof that a woman can keep a secret, ask one how old she is. •
* #
What a lot of women would like to do with last year's dress is to get into it. —SELECTED BV CLIFF GREEN
Hugard's MAGIC
September, 1962
FOUR MESSAGES By GERALD KOSKY Illustrations by DR. RAYMOND L. BEEBE
The following idea for showing a number of cards blank on both sides (one at a time) when in reality there is writing on one side of four of the cards, is one that Fred Braue liked very much. Fred wanted it for HMM but at the time I showed it to him I had in mind to market the idea. I never got around to it. So, here it is as Fred would have wanted it for the readers of HMM. In any effect where you want messages to appear on four cards after showing that each card is blank on both sides, it can be done as follows: SET-UP & HANDLING: Arrange six cards from top to bottom as follows: Top card, message side down; next card, message side down; next card, double blank; next card, message side up; next card, message side up; last card, double blank. Show the six cards blank on all sides as follows: Hold in the left hand as shown in sketch # 1 . With your right hand, lift the top five cards squared evenly together as though the group were just one card (see sketches # 2 and # 3 ) and turn them over as a group (supposedly one card) onto the card remaining in your left hand thus "proving"that the top card (?) is blank on both sides. For sequence of how the group of cards is to be turned over as if they are just one card, see sketches marked A, B, C, D, E, F. Remove the top card and place it blank side up on the table. The moves of turning over the top cards as if they were just one card are repeated again with the top four, then the top three and, finally, the top two cards. When this has been done, you will have a row of four cards on the table (blank sides up) and two cards in TOP
Monthly
You are now set to finish the effect in any way you may have planned to perform it. The sixth card (bottom double blank) should be slightly narrower and smaller in length and width than the other five cards. This makes for easier handling in lifting off the top stock of cards when turning them over as one card. SET-UP Message down Message down Double blanl^ Message up Message up Bottom card.... Double Top card
OGOGGOOO LYIE'S SAT. NITE SPECIAL
/7 your hand. The two cards (double blanks) in your hand are casually shown to be blank on both sides; then, as an afterthought, say: "We will only use the four cards that are on the table" and put the two double blank cards in your pocket.
TOP
NEW TOP
I reserve this move especially for the slob who insists, "Let me cut the cards." It makes 'em look silly and that's the way slobs should look. This is exactly the same move I described in one of Lyle's "facing" methods* only, here instead of facing them— the cards ,°re palmed off in the right hand. If you came in late, lean over and I'll tell you softly how the fair young maiden lost the old homestead in the first act. Deck held in left hand, right hand covering. Left thumb riffles up a few cards. Shove your thumb into the break, lever the cards upward into the right hand—and palm off. Simple, easy, effective. What more could you ask for, huh? To conceal the palm-off, hold right hand against your left arm. Have your antagonist replace the deck in your left hand, give it a one-hand cut for misdirection, then add the palmed cards as you square up the deck and proceed as per initial plan. The one-hand cut has a psychological effect as it conveys the impression that regardless of any handling, the cards remain under your control. If you'll use this right-hand-on-leftarm stance throughout your other card effects it will go unnoticed when you really have a purpose for it. — A R T LYLE
*See June issue.
Hugard's MAGIC
September, 1962
MILLION DOLLAR DICE {Continued from page 1) pocket and the Jumbo die in the right pocket. Hook the gimmic with the four dice on the clip under coat. Unzip the pouch and lay it openly on the table. To PERFORM: Sit at the table and, during preliminary effects, seize the opportunity to secretly place the Jumbo die well forward on your lap close to the knees. Similarly, remove the three dice from the other pocket and put them on your lap close to body and away from the Jumbo die. Commence by allowing both hands to be seen empty and, with your right hand, grasp the right coat lapel and pull the coat back slightly. Simultaneously, drop your left hand to lap, pick up one die and finger-palm it. With the same hand, take hold of the corners of the silk in the breast pocket and pull it out smoothly. As it comes into view let it pass through the half closed fingers of the right hand holding the lapel. This hand also supports the silk and conceals any weight caused by the dice secreted in the silk. Stretch the silk by diagonal corners then drop the right end and allow it to rest on the pouch. Transfer the other corner from left to right hand and draw the silk half way through the half closed left hand (which holds the palmed die). Twist the left hand at the wrist as you pull on both corners alternately; then, holding same corners as before, pull the silk away from the left hand and open the hand flat to reveal the die. Tip it gently onto the pouch and allow both hands to be seen empty except for the silk. Pass the silk through your left hand several times then leave it there with a corner projecting top and bottom. Pull silk away by opposite corners to squeeze a die from its pocket into left hand. Open the hand out flat, display the second die and tip it onto the pouch. Have someone choose one of the dice and place it on your open left hand. Hold either corner of the silk in your right hand and pass it inward over the left several times in a stroking motion; the last time, allow the die to slide into the opening of the silk pocket nearest to you as it passes over. Close your left hand loosely as if holding the die and allow the silk to sink onto the pouch with the corner uppermost. Bring your closed
left hand over the centre of the table and place your right hand underneath. As your right hand goes under the table top, pick up the two dice from your lap. Slap the table top with your left palm and bring your right hand out with one die finger palmed and the other at the fingertips. Drop the visible die on the pouch and keep the other concealed. Pick up the proper corner of the silk with your right hand and draw the silk through the other hand several times as before; under cover of the movements, drop the palmed die from right to left hand. Grasp the silk at the centre, in your left hand, then pull it away to disclose the die there. Display it and drop it on the pouch. Again pass the silk through the hand a few times, then pull on the opposite corner and squeeze the fourth die from its pocket into the left hand. Display the die and drop it with the others. Pick up the four dice and place them carefully between the fingers of your left hand. Flick them with the bunched up silk
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A SIMPLE FALSE CUT This is kid stuff but done nonchalantly as you chatter extemporaneously on how to save the starving pigeons without raising taxes, it will get by in slow company. Hold deck in left hand. Right hand cuts off Yi from the bottom and throws on top with an injog. Cut off another third and throw on top with an outjog. Throw remaining third on top and you're back in business. Did you know that our leading Washington scientists are seeking a nuclear method to prevent pigeon fallout? Jolly good luck to 'em I say. —ART LYLE
<J PATTER LINE Grandchildren don't make a man feel old; what does is the knowledge he's married to a grandmother. â&#x20AC;&#x201D;SELECTED BY CLIFF GREEN
held in your right hand and thrust the silk into the inner left pocket (or push it under left side of coat). At the same time, unhook the four-dice gimmic from its holder, slide your right hand (still hidden by the edge of the coat) downwards, and leave the gimmic on your lap. Gesture with your empty right hand as you mention that each die contains 21 "diamonds." As you hold up your left hand to display the dice drop your right to your lap and insert its fingers in the gimmic. Lower the left hand and arm and slide the right hand upwards under the left upper arm then bring it horizontally beside the left hand. Raise both hands chest high, backs to audience to display the eight dice. Cross the hands back and forth several times to obtain full effect. Eventually, lower both hands twist-
ing both wrists to keep the backs of the hands to the audience. With palms down, open the mouth of the pouch with tip of left thumb, insert your right hand in it and leave the dice and gimmic inside. Hold the opening with right thumb and deposit the other four dice. Zip the pouch deliberately as you say: "These have to be in Carder's window tomorrow." Put the pouch on the table, tap it lightly with your right fingertips, reach under the table with the other hand, and pick up and display the Jumbo die. Toss and catch it and lay it on the pouch. Attention will be on the big die. Someone will surely pick it up. When this happens, slip the pouch, containing the other dice, into your coat pocket. Which gets rid of the evidence gracefully. * # * P.S.â&#x20AC;&#x201D;Mr. Southall writes: "I won first prize in the micro-magic competition at the Liege International Congress last year with a dice and po\er chip routine. It was a much longer and involved affair but one I hope to put in a booklet sometime." When, Gus? We li\e the "sample" very much.
Hugard's MAGIC
September, 1962
Monthly
SPACE AGE TRICKERY AN ENCORE by DR. RAYMOND BEEBE Illustrations by the author
One day, while toying with a long red plastic thimble (Fig. 1) —the type used for thimble manipulations— the idea struck me that it might serve as an amusing gimmick for a card trick. Result: "Space Age Trickery" Performer riffle-shuffles a deck of cards, and turns his back. A spectator cuts the deck, completes the cut, lifts a packet of cards from top of reassembled deck, notes bottom card of said packet, inserts packet into center of remaining cards, squares the deck and signals that he has finished. Performer ribbon-spreads deck face down on table and, using an "electronic finger cone," scans the cards. Cone suddenly flies from performer's finger and falls on a card. When card is turned up it proves to be the one "buried" by spectator. PREPARATION: Divide a deck of 52 shuffled cards in half. On the backs of one portion make tiny secret marks (Fig. 3—Marks exaggerated for emphasis in drawing.) Marks are not for suit or value, but only to distinguish these cards from the unmarked ones. Stack the cards into four groups alternating 13 unmarked with 13 marked, keeping 13 of the marked cards at face of deck. Make a slight bridge at center of deck, thus making it easy to cut there later. With Duco cement, attach an ornate plastic cap from a toothpaste tube, or similar, to the tip of a thimble and—there it is: A nose on rather, "finger" cone (Fig. 2). The function of this kimmick is purely ornamental and misdirectional.
TRICK TIPRIFFLE WRINKLE
Regarding Sid Fleischman's false cut in "Not-So-Expert" in the Sept.-Oct. (1961) issue, page 21. A little wrinkle I use making this cut is to thumb-riffle the cards upward with the right hand before making the cut. It adds a deceptive touch. —ART LYLE
The "Finger Cone" PRESENTATION: Show the "finger cone" and invent a few remarks about its mystic powers. Remove deck from its case, and spread face up to show it is well mixed. Cut deck at the bridge and do a slow, fair, riffle shuffle. This automatically puts all
marked cards at the bottom, and all the unmarked ones at top of deck. Now have spectator give deck a cut, ind complete the cut, which of course merely reverses the position of the portions—a few stray cards from an unequal cut will not affect the result. Marked cards are now on top. Illustrate what spectator is to do (pantomime): Lift up a packet of several cards (about J4 of deck), look at card at face of his cut and remember this card. Now instead of merely dropping this packet back onto deck, he is to open balance of deck proper and sandwich his packet into this part of deck, then square all. Turn your back while he complies with your instructions. Thus he presum-
ably obliterates all clues or keys to the location of his noted card. When he signals that this has been done, turn and ribbon-spread the deck face down on a table. With your mystic finger cone, move your hand back and forth "scanning" the cards, explaining that you will receive a radarlike signal and gradually descend upon a particular card. At the moment of contact with this card, secretly apply pressure with your thumb to pop off the thimble, as if contact with the card had sprung some sort of electronic mechanism. Ask spectator to name aloud his noted card. Turn over the card contacted by your thimble—it is the one he named! How will you find it? It will be the first mar\ed card at left side of string of marked cards, nearest left side of spread (Fig. 3). Deck may be used for any continuing card magic.
WHAT'S NEXT? Well, in the first place, we have "Card Revelations" by Jerry Andrus. If YOU aren't tired of just finding a "selected" card, we guarantee you your audience is! Follow ferry's suggestion and ENTERTAIN your audience as you mystify them—and enjoy yourself. He'll tell you how —complete with pictures— on our next issue's front page. Also, how about more "Tal\ for Trices" by Sid Lorraine?
Hugard's MAGIC
September, 1962
Monthly
HANKY PANKY THE WIZARD'S VARIATIONS by AL STEVENSON We are all familiar with the old gag of the magician who, unable to find the selected card, pulls a card silk from his pocket to mop his fevered brow—revealing the card printed on the silk. Here is a twist given to me by Eddie Tullock, a young man who makes a very comfortable living at trade exhibits using magic to illustrate the various points of the products he plugs. I call it "Hanky-Panky" (short for handkerchief-pankerchief) and, instead of a card silk, use an ordinary pocket handkerchief with the selected card printed full size on one corner. Spotted In the breast pocket of my jacket I have Hanky Panky, printed side towards body, and a blank-face card, blank face towards body. I have a card selected (forced, naturally, to match the card printed on the hanky); when the card is replaced in the deck, I remove both hank and blank-face card from my pocket and put them both on the upturned palm of my left hand. The card, concealed by the handkerchief, remains unseen. I then put the deck on top of the hank and command the card to appear. I lift up both deck and hank together with the blank card still underneath and
SHOWSTOPPERS WITH CARDS
Includes Bert Allerton's "Amazing Aces," Neal Elias' "10-6-9-4," Fred Braue's version of Charles Miller's "Dunbury Illusion" and —to quote John J. Crimmins, Jr.— "a beautiful and convincing double lift by Fred Braue . . . which . . . requires no 'get ready'. . . The moves are natural and the accomplishment perfect!" 16 pages, soft board covers: $1.00. • THE INVISIBLE PASS
" . . . anyone who gefs this book will have a gem, a real treasure . . ." —Paul Rosini $1.50 postpaid Both books by Jean Hugard & Fred Braue Please order from and make checks payable to: MYRA C. BENSON 2634 E. 19th St., Brooklyn 35, N. Y.
BLANK CARD
HANKY
Illustration by BOB NAGY
show my empty left palm. I replace everything on my left palm, then set the deck on the table and slide the hank up onto my left wrist to disclose a face-down card on my palm. When spectator names his "selected" card, I turn up the one on my palm and act disgusted upon finding it blank. Making some comment about "cheap" ink or movable spots, I turn the hank over to show the selected card printed thereon. A Crystal Caper Force the duplicate of Hanky Panky. Produce a crystal ball and tell the person who selected the card to concentrate on his card as you are going to have another spectator read his mind. Remove Hanky Panky from your pocket and "clean" the crystal, being careful that the printing on the hank does not show. Place the crystal on the hank over the printed card and request any spectator to gaze intently into the crystal. He will go along with the gag and call out the name of the card he sees printed on the hank. Magicians' Detergent—Solvo Fold Hanky Panky printed side in. Set up your deck with a blank card on top, duplicate of Hanky Panky underneath. To present: Execute the double lift and show the force card. Replace the double and insert the top (blank)
card into the folds of the hank, face down. Show an aspirin (or similar) tablet, patter about the new detergent for magicians —Solvo, miniature size — and drop this, too, into the folds of the hank. This is to be a demonstration of a new card cleaner. Let the card drop out of the hank and comment on the strength of this detergent—it cleans the spots right off the card! Show how the spots have "backwashed" onto Hanky Panky. The Spot Strainer When doing any card-throughhandkerchief effect use Hanky Panky and let a blank card emerge from the handkerchief, the spots staying behind on the material. # ## I am sure some of HMM's readers will dream up other uses for Hanky Panky. Send them in an we'll pass them on to other Hugardites when we have compiled a half dozen or so.
AIR-TIGHT CONTAINER Sponge balls deteriorate if left exposed to air and light. For an air-tight, fancy container: Pour some enamel into a 4" olive jar. Replace the cap . . . swirl paint around until inside of jar is completely coated . . . drain enamel back into can . . . fini! No brush . . . no lather . . . no rubin—and no paint remover needed to clean your hands. . T — ART LYLE
PATTER LINES Almost every married woman is an expert on synthetic yarns. # *# Troubled by noise in your car? Let her drive. • * •
The trouble with some of these fine new homes being built is their location—on the outskirts of your income. —SELECTED BY CLIFF GREEN
September, 1962
Hugard's MAGIC
BB PENETRA CARD AN ENCORE by OR. RAYMOND BEEBE Illustration by the author
This is a combination routine which has proved to be effective in use and which works in two well-known principles to accomplish the results. EFFECT: Deck is given several overhand shuffles then spread backs up for spectator to touch a card; this card is pulled clear or part way up in spread, the deck is turned so that the card may be noted and remembered and so that spectator may also take note of the card on either side of the chosen one. In the illustration, the chosen 4 * is flanked by the 5A and the 9S>. The spectator is then asked to take the deck (card still protruding), to himself push the card flush with the deck and to cut the deck several times to lose the position of the card entirely. Then —without performer so much as touching it— the spectator returns the deck to its case, closes the flap, and puts a double strand of rubberbands around it to secure all. Performer borrows a handkerchief, and wraps deck tightly therein. Hanky is suspended by its corners . . . name of selected card is announced . . . performer shakes hanky . . . the selected card "penetrates" the hanky and falls to the floor. The pack is unwrapped and spread face up to locate the area of the noted cards . . . Yes, there is the 5A and the 9W but the 4 * between them is
gone—it has "penetrated" case, rubberbands, and hanky, to fall free! The remaining cards are further spread to show it has really gone. PREPARATION: Again we utilize the valuable "Nu Idea" forcing deck (in which, on Svengali principle, 26 alike cards are roughed on their faces to adhere to the backs of 26 indifferent roughed cards). A single duplicate of one of the force cards ( 4 * in illustration) is in side jacket pocket, ready for palming.
The method, of course, is obvious except for the production of the palmed 4«fr. While spectator returns deck to its case, closes it, and rubberbands all securely, you borrow a man's handkerchief, and secretly palm the force card from your pocket (back of card against palm). Manage to spread the hanky over the palmed card without exposing the card, then place banded
Hugard's M A G I C DEVOTED SOLELY TO
THE INTERESTS OF MAGIC AND
MAGICIANS
Founded by JEAN HVGARD, June 1943 and by him published and edited up to and including August 1959 Vol. XX, No. 1
SEPTEMBER, 1962
Managing Editor: Blanca L6pez, 22-14 Fortieth Avenue, Long Island City 1, N. Y. Associate Editors Raymond L. Beebe, D.D.S. Milbourne Christopher Gerald Kosky 523 West Sixth Street 333 Central Park West 819 Santee Street Los Angeles 14, California New York 25, N. Y. Los Angeles 14, California Art Lyle Al Stevenson 181 Central Street, Lowell, Mass. 1481 Broadway, New York 36, N.Y. Foreign Representatives Sid Lorraine, Associate Editor Gustave Southall, Associate Editor 781 Coxwell Ave., Toronto 6, Canada 12 Lynmouth Ave., Flixton, Manchester, England Contributing Editors: North Bigbee • Arthur "Francisco" Bull • Cliff Green • Edgar Heyl Editorial Assistant: Mrs. Annette G. Braue • Staff Artist: Dr. Raymond L. Beebe Publisher and Circulation Manager: Mrs. Myra C. Benson 50c per copy. Subscription: 6 months (6 issues), $2.50; 1 year (12 issues), $5.00 Please make checks payable to Hugard's MAGIC Monthly, 2634 East 19th Street. Brooklyn 35, N. Y.
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deck on the hanky and directly over the palmed card underneath. Wrap hanky neatly around the deck. A bit of care will conceal the force card beneath even though one edge is in position so that card may later be shaken loose. This is your climax. Make the most of it! An alternate procedure which many of you Hugardites may enjoy, would be to vary handling when selected card is first pulled into view. Have it removed entirely and shown to all. Meanwhile turn the deck face down and spread it in your hands—but manage to split a pair (push force card from its underlying mate), and open the deck somewhat at this split. Ask spectator to replace the chosen card face up in the face-down deck. Just be sure it goes between the split cards. Allow him to close deck, and into case, and rubberband it as before. The result, following the "penetration" is that when the deck is opened and spread bac\s up, the reversed chosen card is gone (being secretly held by the roughing of card above it). Thus you "prove" that the card actually did penetrate the banded pack and all.
CHRISTMAS SHOPPING MADE EASY You can say "Merry Christmas" to your friends once a month during the next year and help a fellow magician besides—all without aggravation . . . without getting pushed around by crowds . . . without having your toes stepped on. Order subscriptions to ANY magazine —including this one— via Bill Sayers (Goldwater Memorial Hospital, Welfare Island, New York). Bill is 30 years old, an amateur magician and he has lived in an iron lung for 10 years—since he was stricken by polio. Drop him a card and he'll send you his catalogue. And, if you've got "problems" and are feeling sorry for yourself, pay Bill a visit (any day from 1 to 8 p.m.). He'll cheer you up no end and maybe come up with some practical suggestions. P.S.: Magazine subscriptions make nice birthday presents, too!
Hugard's MAGIC
September, 1962
Monthly
OLD MONEY BAGS By ART LYLE
If you specialize in coin magic, and are addicted to inhaling Bull Durham, you'll find that Bull Durham bags, make ideal coin containers. Grant that you are going to perform a coin trick which requires the secret palming of an extra coin; let me tell you of a subtle Lyle subterfuge for obtaining the extra coin—plus, finishing the trick without fear of detection. Let's suppose your trick requires three silver coins to start with plus having a duplicate fourth coin secretly palmed. Place four duplicate coins in your bag . . . draw the string t i g h t . . . and put the bag in your right hip pocket.
In the same pocket you have a duplicate fifth coin. Bring out the bag . . . loosen the cord . . . drop the four coins on the table, "This trick requires three silver coins." Leave three of them on the table, pick up the fourth coin, pul it back in the bag, draw the cord tight and place the bag back in your hip pocket. While your hand is in the pocket, palm the fifth coin, then proceed with your trick. At the finish, your hand goes back into your hip pocket, drops the palmed coin and brings out the bag once more, letting it drop onto the table so that they can hear the thud of the coin enclosed in the bag. Loosen the cord . . . return coins to the bag and place bag back in pocket. There's no doubt many of you will
Endorsed Dealers Offerings Dealers must submit hick or book with copy for approval. Advertising copy must be in by first of month of publication. Material returned THE LATEST BOOKS ON MAGIC! CLOSE-UP CARD TRICKS (Lorayne), great new book, cloth, 272 pp., finely ill., just published $10.00 ENCYCLOPEDIA OF SILK MAGIC: PART 3 (Rice), cloth, 500 pages, 1800 illustrations, (Rice's treatment of silk magic is genuinely encyclopedic), just published $10.00 PANORAMA OF MAGIC (Christopher), fascinating book with text and innumerable interesting pictures, 216 big pages, 247 illustrations, just published $2.25 GREATER MAGIC (Hilliard-Hugard), 1001 pages in 5 clothbound volumes, limited stock, for the complete set of five books $15.00 NOTE: Our up-to-date list of all worthwhile magic books in English now obtainable is yours for the asking. FLEMING BOOK COMPANY 728 Madison Avenue, York, Pennsylvania MAGIC BOOKS old and new, for the performer and collector. Ask for my free lists. Edgar Heyl 223 E. Biddle St., Baltimore 2, Md. "MAGIC from M-U-M" Edited by MILBOURNE CHRISTOPHER The best effects from the official organ of The Society of American Magicians —available only to members— are yours for just $2.00. Send check or money order to VYNN BOYAR, National Secretary 93 Central Street, Forestville, Conn.
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continue to carry your coins in a pet pocketbook, or a phoney looking plush case. Believe me, that won't cause me one moment's loss of sleep. But • let me inform you: there's something about this "little old bag" piece of business that inspires confidence that everything is on the up and up and allays suspicion that an extra coin has been used. The least we can do is to make some effort to appear honest. Reviewing the above, I realize that my squandered youth could have been put to much better use studying ways and means of robbing banks and U.S. mail trucks. If you are a novice, endeavoring to master coin deceptions, let me recommend Bobo's "Encyclopedia of Coin Magic," obtainable from the Fleming Book Co. (See address below.)
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MAXIMILIANO'S INTERNATIONAL SCHOOL OF MAGIC Maximiliano Londofio, Director Courses in General Magic Learn in your own home or office PROGRAM: Card manipulation; mathematical cards and combination tricks; coins; cigarettes; paper and bills; ropes and ribbons; silks and cloths; balls and eggs; mentalism and memory tricks; miscellaneous specialty tricks. No special knowledge or skill required. Magic will help you in public relations and social gatherings. Five sessions: $10 Full course (100 tricks): $100 Phone: COlumbus 5-3950 — Apt. 56 245 West 51st Street, New York 19, N.Y. THE SECRETS OF KARL GERMAIN By Stuart Cramer Exclusive secrets, patter and presentation of a great wizard. The most underpriced book of the year. Order from your dealer. Only $3. COMPUTER DECK A fast, deceptive method of ascertaining a thought-of card. $1.00 John Hamilton 314 Riverdale Avenue, Manchester, N.H. GENII, THE CONJURORS' MAGAZINE An Independent Monthly Magazine for magicians, published monthly since 1936. A free recent issue will be sent on request if you mention Hugard's MAGIC Monthly. Subscription price $5.00 per year. $0.50 per issue. GENII The Conjurors' Magazine P.O. Box 36068, Wilsbire La Brea Sta. Los Angeles 36, California 50 CARD EFFECTS for $1.00 25 MAGICAL IDEAS for 50 cents That's what you get in —respectively— the September-October and November (1961) issues of this magazine. Hugard's MAGIC Monthly 2634 East 19th Street, Brooklyn 35, N.Y.
NOTHING TO SNEEZE AT! HANKY PANKY—the pocket handkerchief with a hundred uses. A selected card appears printed on a pocket hanky! Handkerchief and routine $1. Available in 10 of Spades, 3 of Spades and Ace of Clubs. Specify which you desire when ordering. THE WIZARD'S SHOP (42nd Street, Subway Arcade) 1481 Broadway, New York 36, N.Y. KID SHOW MAGICIANS NEED PRIZES for audiences. Send $1.00 for ten samples and free wholesale catalog of small magical gifts and giveaways for kids. ROBBINS, Inc Kid Catalog 127 West 17th Street, New York 11, N. Y. Books, Magazines, Memorabilia, etc. Sold, bought and exchanged. Send for lists. TERAL GARRETT, P.O. Box 72, Albany, Kentucky. The MAGNET, world's only magic newspaper; news, pictures, reviews, no tricks; three issue trial subscription: 25 cents. P.O. Box 2127, Birmingham 1, Alabama, U.S.A. "MAGISCHER JUGENDRING" We are an international Society of Magicians. Our magazine ZAUBERBRILLE is free to all members. ZAUBERBRILLE is packed with new tricks and interesting information. The magazine is issued quarterly, written by worldfamous magicians and illustrated by Germany's best magical artists. Send 10. — DM or U.S. $2.50 for one-year membership. Write: MAGISCHER JUGENDRING 4282 Velen, Postfach 3. Germany WANTED: USE PRACTICAL MAGIC AND BOOKS Send list and condition of goods. Send 25c for new catalogue. HORNMANN MAGIC CO. 304 West 34th Street, New York City.
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Hugard's DE VOTE D SO L ELY TO
Monthh
J
T H E 1NTERESTS
oF
M A G IC A N D MA G IC1ANS
OCTOBER, 1962
Vol. XX, No. 2
CARD REVELATIONS By JERRY ANDRUS Illustrations by the author
Concerning the final revelation or discovery of the selected card: It is apparent to me that some methods of revelation often get a stronger reaction from the spectators than that obtained by the mere fact that you have been able to discover or name the card. If the card is simply named or discovered at a given number or some such, the spectators may well just speculate, "I wonder how he found out what my card was?" This may be puzzling, but it is not necessarily entertaining magic. With this thought in mind I offer you a couple of methods that have served me well. I hope they will do the same for you. Rolling Revelation NOW . . . of course there are many other methods of finding the selected card . . . Let's see if I can remember this one .. . It's quite complicated . . . Well, here . . . take a card and I'll try to show you. Remember your card and I'll put it about here in the deck and shuffle it. Now, let's see if I can remember how to do this . . . Oh yes, after the card has been put back in the deck and shuffled I just go like this and this and, believe it or not, your card has come right up through the deck to the top â&#x20AC;&#x201D;and there it is. Right? (At this point the spectator will deny it is his card; whereupon you show that the card has changed into the correct one.) METHOD: Control selected card to the top and place the deck face down on the table in front of you. Grasp the cards as in figure 1, right hand tips the top half of the deck over (away from you) and face up on the table (Fig. 2). Left hand immediately tips the remaining facedown part of the deck over and face up on top of the first packet. This leaves the deck all together and face up. Without any pause, right hand PATTER:
again tips part of the deck over (this time face down) and the left hand tips the remainder over on top of it. The same operation is repeated once more which leaves the deck face up. The hands immediately tip the entire deck over toward you and now face down.
40 cents This whole operation is done rapidly and is sort of a series of rolling cuts which proceed rather diagonally to your right as per figure 3. Since each cut is completed, when you have finished the deck will be in its original order and, of course, the selected card will still be on top. Be sure that you cut at a different place each time so that a different card is exposed with each face-up cut. (This rolling cut business sounds like nothing on {Continued on page 15)
Hugard's MAGIC
October, 1962
Monthly
THE DYE TUBE "Talk for Tricks" No. 12 - By SID LORRAINE This is the single color change, through the fist, with the sucker explanation about the second silk concealed in the hand. I first saw this presented by Leslie Guest at an early I.B.M. Convention back in the twenties. When properly performed, it is a most effective, cleancut presentation. It depends on good timing and clean, natural moves. The routine has been a favorite of mine for many years and I have used it in hundreds of shows. The following lines have served me well and it is my hope that others will find a line or two that can be added to their own presentation. * # * When I was a small boy . . . that was several weeks a g o . . . I saw a magician perform a trick that appealed to me. He took a sheet of cartridge paper . . . He always used cartridge paper; you see, he was a big shot. He then rolled the paper into a cylinder . . . That's a tube with a college education. He then pushed three white handkerchiefs through the tube . . . Well, he said they were white . . . He pushed them through the tube and said "I will now dye!" . . . And the audience cheered. I have always wanted to do that trick in the worst way. So now, I'd like to show it to you . . . in the worst way. The only trouble is, I don't own three handkerchiefs and my cartridge is out of paper. So, if you don't mind, I'll use my hand, instead of a tube. This is my hand, the funny thing on the end of my arm. Just four fingers and a thumb, to boot. Now, boot suggests foot. Actually, from here to here, my hand is only nine inches. Another three inches and it would have been a foot. CAT & CANARY Magician shows a canary in a cage {on his paddle), then an empty cage and, finally, a cat in the canary-less cage. No, it it NOT a three-sided paddle. Ray Beebe will give you all the details on the front page of our next issue.
10
As for this handkerchief, I should like to apologize for its appearance . . . It being unable to apologize for itself. It's what the sailors would call a sort of dirty blow . . . er, blue. It is really quite old, you can tell by the wrinkles. You will notice, if I draw the handkerchief through the hand, nothing happens. But, should I decide to poke it into the fist, you will notice that quite a remarkable metamorph . . . quite a meaphorma . . . quite a change takes place. You will see that the blue is going blah and is gradually assuming a sort of awkward, er . . . orchid hue. This is a color that is usually found in hot climates. All magicians go to hot climates, at some time or other. At least, there is a general opinion, they should, if they don't. [Hand is opened and shown empty.] Now, any person, with ordinary intelligence . . . even a magician, knows
that you cannot take a handkerchief and change its color by passing it through the hand. You know and I know, there must be two handkerchiefs. The real mystery lies in where that second handkerchief is concealed. Actually, it is right here [point to a spot on the palm] in this little spot, right here. Look! I'll reach in and pull it out. Simple, isn't it? In case you'd like to do the trick, when you go home, I'll explain it. First of all you have to conceal the second handkerchief. You mustn't do this in front of the audience. I always do this back stage, in the green room. Green room, ha, ha . . . That's a theatrical term meaning "behind the furnace." Here is how you do it. You take your empty hand and grasp a lot of air. Then you take this handkerchief and you poke it into the fist, always remembering to leave the right diagonal corner protruding . . . It must always be the right diagonal. Now poke that last corner into the fist and {Continued on page 12)
RUBBEE-NO DUBBEE Look . . . don't go blabbing this to Gerald Kosky 'cus in the 1961 Sept.-Oct. combined issue of Hugard's he have us a gem he dubbed Rub-ADub-Dub Jr. If ya came in late, better pay up your back dues and get reinstated because you're missing out on some worthwhile dividends on a shoe string investment. "Rubbee窶年o Dubbee" is a kissin' cousin on his father's side. The final effect in both tricks is identical... but one is male and the other isn't. And there is a difference, ya know. It isn't every magician who will be able to do this trick because it requires two decks of similar design. I don't have to tell you that 1962 has been an off year. A lot of our big shots lost both thumb tips in the stock market crash. Windy Lyle broadcasting . . .a minute from here more news of interest. If you're still tuned in.. .take the two of clubs from your spare deck and put it in your right pants pocket. The other deuce of clubs is second card from the top in your 'working' deck. Double lift.. .show the deuce and return lift to top of deck.
By ART LYLE
Holding deck in left hand, the thumb pushes the top card over the side and holds it against the pants leg. Under cover of placing your right hand over this card, the card is drawn back onto the deck. The rubbe rubbe action is now applied and the card vanishes; proof of which is demonstrated by showing the top indifferent card. Then, reach into your pocket and produce the duplicate deuce. By combining this trick with "Top Drawer Card Prediction" (Nov. 1961 issue) you'll have two baffling card tricks that go together like crackers and cheese. Shed a tear for dear old Windy. I'm off to fill a Sat. nite engagement at a Chinese Restaurant. After I pick up the baksheesh the patrons throw my way, the management allows me to "cuff" a full order of chopsuey with a side dish of flied lice. It's so nice to be eating again. #
# #
Reference notes: "Rub-A-Dub Jr.," Sept.-Oct. 1961; Kosky. "Rub-A-Dub," Feb. 1962; Braue.