Vol. XXI, No. 1
Hugard's DEVOTED
MAGIC Monthly
SEPTEMBER, 1963
SOLELY
TO
THE INTERESTS
OF
MAGIC
PEEK-A-BALL (MILBOURNE CHRISTOPHER'S COLUMN) Illustrated by CHARLES L. STOCK.WELL
This began as a close-up feat designed for a single spectator, then I developed it until I could do it for an audience. A spectator is given an opaque cloth bag in which are half a dozen or more rubber balls of different colors. He may take the balls out, examine them and replace them. He keeps the bag in his possession. Next, a metal or wood file-card case is shown. Mine is 3 % " high, W wide, 314" long. The top is hinged at the back. This, too, may be thoroughly examined by the spectator. While the performer's back is turned the spectator is told to select a ball of any color from the bag and put it in the box. He is then instructed to close the box and put a rubber band (which you have provided) around it to hold it firmly closed. This done, you swing around. You cannot see which ball has been taken from the bag as the bag is opaque. Take the box from the spectator, tell him to concentrate on the color of the ball in the box, then you immediately name it. Let's call this: PEEK-A-BALL
Nothing is specially prepared. You can do the test with a borrowed card file (I have) and borrowed objects. The title tells almost all—you must get a peek at the ball. When you take the rubber-banded box, hold it with your fingers at the back, your thumb on the right side of the lid in front. You shouldn't really read any further until you get a file-card case and a rubber band so that you can experiment as you read. First: The
right hand is used. Three of the fingers at the back are on the larger, lower section of the box; the index finger is on the upper lid section. The lid of my box is IV2" deep. Right thumb is on the front of the lid (Fig. 1). RUBBER 3AND
FIG. 2 The first move is to tilt the box slightly so that the ball inside will roll to the back. Use rubber balls to make this operation noiseless. With right side of box supported in part by the heel of your right palm, an upward motion of right thumb will open the box—despite the rubber band (Fig. 2). Actually, the rubber band helps. It causes the box to close almost automatically whenever you wish. I first did this effect for one person who was seated in a chair as I stood. I asked him to concentrate on the
AND
MAGICIANS
color of the ball in the box. As he concentrated. I raised the box to hold it over his head. In the upward move, I opened the box the slightest bit and got my information. (The rubber band closed the box immediately.) The box is opened such a tiny bit that the action passes unnoticed, yet I waited until the top of the box was above spectator's line of vision before I made the move. It really isn't necessary to raise the box more than two inches. Practice makes perfect. Plaiform Presentation
But what about performing for a larger audience? I have a piece of newspaper on a table or chair to my left. When the spectator —who should also be on my left— gives me the rubber-banded box, I take it with my right hand which crosses my body to the left and, a moment later, indicate with my left hand that he should give me the paper. As I point with my left hand, my eyes casually follow the direction in which that hand is pointing; then, on coming forward, glance into the slightly opened box in my right hand and on to front. The only person who could have seen me make the move was the spectator at my side—but his attention at that moment was on the newspaper behind him. He had to turn his back to pick it up. To continue: I put the box on the newspaper and instruct the spectator to wrap the paper around it. Thus, with this presentation, I apparently saw through both the metal box and the paper—or else read the spectator's mind to reveal the color of the ball he had chosen. In many ways the misdirection is similar to the reading of the dial of a closed hunting-case watch which Horace Goldin used to do. This test, I should add, may be used as a part of a blindfold routine.
2—Hugard's MAGIC Monthly /September, 1963
LYLE-LAC LEVITIES IT'S NO SECRET Easy /Money?
The only difference between a pitfall and a grave is the depth. Here's a condensed hunk of small change grift so deceptive it lures your victim into digging his own pit. This little caper is an impulse-sortof-thing that requires fast action. If your prey shies away from the bait, don't force the issue. Just pick up your marbles and look for greener grass. For prey, pick some kook who thinks he's the second coming of Solomon—and has a few bucks in his kick. My limited vocabulary prohibits wasting words of minor importance
for yourself. You'll appreciate it more after you've counted your dividend. —ART LYLE
on further futile prattle. I've run this through the condensing computer three times with the same resulting answer: "Conceived by a direct mind, floating on alternate current." Here's your scoring blueprint: You and your kook each put a dollar in change on the bar (or table). Cover all the money with a handkerchief (or piece of paper). You both reach under the cover and withdraw 25^. Now, to prevent this bird from thinking too fast, you say: "// you'll buy me a cigar, you may have the rest of that change for a dollar . . . but listen—I don't want any of those five-cent Preemo Creemos!" I'm going to let you figure this out
Dear Editor: Regarding "The Elliot Interlace," (July, p. 83), this is an old Greek method they use for shuffling cards. As an old Greek coffee lover, I've watched them use this shuffle for years in the coffee houses. They also use a perpendicular over-hand shuffle that looks extremely awkward but it serves the purpose. (I might add that seven cups of their coffee will keep you awake for three nights.) (Continued on page 6)
palmed in his left hand, which holds the cup. The ball on the table lies somewhat to the left, so he transfers the cup to his right hand in order to pick up the ball with his left. Transfer is made with a rolling of the cup as it passes from hand to hand; palmed ball thus comes behind cup and is clipped by right thumb. When the other ball is dropped in, the concealed one is simultaneously released by thumb. After these penetrations, performer puzzledly inspects bottom of inverted cup, tapping it and (incidentally) allowing the ball inside it to drop secretly into his hand; he then looks at the inside, allows audience to see it, and gives a baffled shrug. There is no need for all three cups to be empty at start of routine; the inside one of nested three could have a collapsible load wedged into its bottom and still leave room for the ball manipulations in first phase of effect. In due course, a sharp tap on table displaces load. One of the balls used could be the type that changes to a cube. Performer very fairly places a ball inside cup, later finds a cube there instead. How about a hollow ball, from which a load of tiny balls could be secretly dropped into a cup? Picking up one of the sponge balls he has been using, performer remarks: "I suppose you've noticed that these are actually little sponges. This one hasn't been long out of the bath." He
squeezes it and water pours out of it—thanks to a small syringe concealed in his hand. # # # How's that for a contribution? Speaking of contributions, this issue marks the beginning of our 21st year. We have come of age painlessly — pleasurably, in fact— thanks to the selfless contributions of the typically generous hearts of magic lovers throughout the world. True, those whose names adorn our masthead and the many anonymous workers "backstage" are responsible for the words and the accompanying illustrations which appear on these pages to delight and inform all who read them. But where would we all be if those of you who applaud us with your letters of thanks and words of appreciation, with your moraleboosting loyalty and subscription renewals stopped supporting us? Words are very poor conveyors of feelings and gratitude, so we won't waste space in trying to express the inexpressible. We shall content ourselves with assuring you that we begin our 21st year with a sincere prayer that the Master Magician will heap you and your loved ones with all the blessings only He can conjure up and that, in His mercy, He will lead us to dedicate our wills to the good, disposing us to love ALL our neighbors as ourselves and thus ensure lasting peace on earth. —BLANCA LOPEZ
* * # LOWELL LORE from LOCAL LAD
Editorial Notes Last issue we opened a "Cups & Balls" Contest and asked Contributing Editor Norman Houghton (who also edits for Longmans Canada Limited, book publishers) to look up our back issues so we could give you some references that might help you in making up your entry. You'll find his list on page 7. As is usually the case with all those whose names appear on our masthead, he didn't stop there. We give you the fruit of his additional labor of love by quoting part of his covering letter, to wit: Although disqualified by the conditions of the contest, I submit a few ideas which I have no intention of trying out: Performer puts ball under one of the cups, patters for a moment or two, forgets where he put ball. "Let's see now . . . did I put it under that one? . . . No, I think it was under here . . . Ah yes! that rings a bell..." picks up cup, revealing ball; then swings cup back and forth—and it rings! (He has a bell in his left hand, below the table.) He shoves his wand inside a cup— it goes right through the bottom. Surprised, he experiments further by dropping another cup inside the first —it falls through. Finally, he picks up a ball from the table and drops it into the cup. It falls through as though nothing but air were in its way. During the first two venerable effects, the magician has a ball finger-
September, 1963/Hugard's MAGIC Monthly — 3
PART I I'd like to tell you about my Uncle "Hen." Well, actually, his name was Henry but everybody called him "Hen" because he always laid around the house. It wasn't that he was lazy. He U\ed work... he could sit and look at it for hours. He was, in reality, an inventor. Inventors never look as though they are working . . . but they are. (Open lid of case and remove first item, as you continue): Inventions are the result of brain work. My uncle was always thinking. Night and day . . . Think, think, think. In fact, my aunt was always telling me "Your Uncle 'Hen' is a big thinker." I thin\ she said "thinker." Penny to Dime
This is one of his earliest inventions. He would first borrow a penny from one of his wealthy acquaintances, just as I have borrowed this one from (name secretary of club you're playing). He would then, quite
Hii'Gardemas to CLARKE "The Senator" CRANDALL
for his consistently entertaining "It's a Mystery to Me" column in The New Tops. The elder statesman of our conjuring comedians writes with a wry, witty, sure touch. His adventures in a five and dime store had us howling. His thoughts are pungent and personal. He is as hilarious on the printed page as he is on a platform. With appeal not limited to lovers of magic, he could well be a national syndicated columnist if one of the powers that be in the press "discovered" him. Further, he has a great TV potential as a commentator on current events. Meanwhile, Clarke, keep the column rolling. "It's a Mystery to Me" that the public at large has not been treated to your incisive humor. —M.C.
\t
tAY IWVENHN6 UNCLE";
uttroted by CHARLES L. STOCKWB.I
SID LORRAINE'S Variations-Presentation-Chatter for Harry G. Franke's "My Uncle, the Inventor"*
openly, place it in this Transmutation Tester which, between you and me, is really an old collar button box . . . You see, Uncle "Hen" was very fond of old collar buttons. By covering the penny and giving the lid a little twist —-from the dance of the same name— the result was, as you see it now, a shiny dime! You probably suppose that Uncle "Hen" continued making dimes until he had a large stack. Not so. The minute Uncle had one dime he considered himself wealthy and he'd rush out and squander it on wine and women . . . He didn't care much for songs. (Reach in case for second item): If anyone in the audience owns a ran\, it may interest you to learn that my uncle is credited with being the first man to think of it. To be honest, I don't even know what a ran\ is, but I do know Uncle invented it. I have a newspaper clipping at home with his picture and underneath it the copy reads: Henry Thaddeus Inkling, inventor of the first rank. Brema's Nickels to Dimes
After squandering every penny of that dime, he decided to borrow some nickels and try another idea. In those days, a nickel was an important part of the currency. Nowadays, about its only use is to help make change for a quarter. Uncle would pile one nickel on top of the other until he had a small stack, like this. Then he'd cover them with a D-compression chamber. It was his idea to D-compress them into smaller coins of greater value. As he told me, "That's why I call it a D-Compressor . . . You see, it com-
presses the nickels to D's . . . or Dimes (remove cover and reveal dimes)... or dese." As usual, Uncle quit after his first stack and spent it all on riotous living. It was about this time that he heard of a rival inventor. An Irish fellow, by the name of Pat Pending, was causing a sensation with his new machine in which you dropped a nickel and out came a wife. Uncle came up with a similar machine but it worked differently. Tn his, you dropped your wife in and out popped a nickel... He never got anywhere with it, as my aunt refused to cooperate. Grant Flat Money Roller
The next invention of his was designed to get him in the big money. He decided to work with dollar bills and devised a machine that would actually remove the ink from a bill and reprint it on paper. I know you won't believe this, unless you see it, so I've brought it along (remove from case) . . . Here it is! First, I must try to duplicate one of Uncle's difficult preliminaries. I must borrow a dollar bill. Thank you! I should mention that Uncle always made a point of forgetting who it was loaned him the money but I'm not like that . 1 don't return it but I always remember who gave it to me. . . and I want to thank you very much. Here is how this invention works: (Continued on page 7) *May, 1963
4—Hugard's MAGIC Monthly /September, 1963
DOUBLE "DECK CHECK" I am an avid reader of HMM and I think other readers may be interested in the following (if they don't already know about it): Norman Houghton's "Deck Check" (July, 1963), reminds me of the use to which, for many years, I have put the same basic mechanism. Like Mr. H., I am at a loss to identify the originator, but I'm grateful to him. Having sneaked a look at top card, shuffle, keeping said card on top; lay deck on left hand; ask a spectator to cut and to put upper portion on your left fingers. At this stage, the two halves of the deck should be side by side on your outstretched left hand. Lift and look at top card of lower half (nearest wrist), say, "Your card must be the six of hearts (original top card)." Lay your card back down immediately, have spectator check his. He returns his card, you pick up your half of deck, slap it down on his, slide the whole deck toward your wrist, and say "Let's try that again." When you looked at card cut in order to "deduce" the spectator's (?!) card, you noted what it was. It becomes the new top card . . . So this quickie can be repeated over and over and over . . . I know very well that magicians should not repeat their tricks and I also know it is a capital sin to "expose" a trick (according to some people). However, I don't feel any twinges of conscience when I do this effect as I think it's worth it. You repeat this thing 8 or 10 times in rapid succession so that spectator helping you is fully occupied all the time. He is, consequently, the last to catch on—everyone else enjoys the fun immensely! The others discover what you are doing (you crook!), one or two at a time, and pass the word along to everyone except your helper. If you want or need an ice-breaker, this is it. Everyone, including the dupe, will emerge from this bit of chicanery with enthusiastic anticipation of your later miracles. So, while the mechanics are the same as Norman Houghton's, the outcome is different. I agree that if you do it once, a lynch mob may form immediately. However, if done as suggested above, this mob will be on your side. Of course, there may be one person with murder in mind, but which
INCREDIBLE BOOK TEST JR. By Dr. RAYMOND L. BEEBE Illustrations by the author
There is always something fascinating about a "Book Test." To the spectator, he just opens a chosen book to any page, glances at first word on the page, and magician "reads his mind" to tell him that very word. From the magician's viewpoint, there are myriad ways of obtaining this information. In my "Incredible Book Test" (Aug. 1962) I use an endless belt carrying coded information, all concealed in the blackboard tray.
• - • • - > • - - " • " • "
,
!
In an effort to have something just as useful but not so elaborate, I devised the present method which utilizes any unprepared blackboard or slate. The necessary information is would you rather face—one or a mob? You have a choice. If you play your cards right, you can determine who may have designs on your life. After all, you can pick a small man to be your dupe—or even a lady . . . On second thought, I'm not sure that following the latter suggestion will put you in a safer position than choosing a large man. Give this quickie a try, anyway. I hope you will continue your department on simple card* tricks. This approach may uncover some excellent material which is buried in someone's mind and which has not been published because it's "too simple." Keep up the fine wt>rk. Yours sincerely, —CLYDE CAIRY
East Lansing, Mich. *Read those editorial notes over again, dear Clyde. We did not say simple
neatly hidden in the innocent-appearing blackboard eraser and requires no more effort to operate than thumbing the edges of a deck of cards. The illustrations will make all clear. To PREPARE: Strip off the felt facing material from a standard blackboard eraser; obtain a %"-thick pad of good quality scratch paper or have a binder make one for you. Glue this pad to the felt section of the eraser, color the edges of this booklet black, and attach an appropriate simulated eraser label to top surface. You will find that you have ample room to code the first word or other pertinent information for the pages of several small books—even to using first word of each page of "The Merriam-Webster Pocket Dictionary" which runs some 500 pages. Performance requires good showmanship—and watching the angles while you are getting your glimpse from the eraser feke. There is nothing suspicious about having an eraser in hand, as you begin by cleaning or erasing some previous words from your blackboard or slate. Continue to hold eraser in a position to thumb the edges at required time. This glimpsing is well hidden by your body as {Continued on page 8) "card" tricks. Our intention has been carried out especially in the "oldies" collected by Harry M. Smith. You'd never believe that your editor (the world's WORST performer!) fooled one of the present day's greatest magicians with—the jumping rubber band . . . and she was present when another grand magic man, Dick DuBois, fooled the attending members of a local magic club with "The No. 3 Pile"... Therefore, never fear: Yl to one column per issue dedicated to simple effects and old, nearly-forgotten ones will pay dividends in many ways—not the least of which are the refreshing of old memories and informing the many new (both as subscribers and age-wise) readers in magic, who were not around when the effect was originally done to an untimely demise. —B.L.
September, 1963/Hugard's MAGIC Monthly —5
IMPROMPTU BROKEN & RESTORED THREAD By MILTON TROPP Illustrated by CHARLES L. STOCKWELL
The broken and restored thread trick1 has fascinated me for years, but I wanted to be able to do it without carrying a spool of thread, bobbin, card, etc. It seemed to me that the most magical effect could be produced if I reached into a pocket, came out with only a length of thread—and immediately went into the trick. I experimented with many methods of storing the thread in my pocket but invariably, after a short time, the duplicate ball would unwind, or snarl, or I'd be unable to grasp the thread cleanly. Here is what I finally came up with. I'd appreciate hearing from others who may have worked on the same problem and come up with other solutions.2
SCOTCH TAPE
LOOPED BUNDLE
'See Ray Beebe's "Another Look at the Gypsy Thread Trick," May 1963 2 issue. Me, too. Editor. 3 A1 Baker's "Pet Secrets."
When ready to perform "impromptu," reach into your coat and pull the pin down slightly, freeing the point. Now, grasp the bundle between your thumb and forefinger —concealing it there— and pull it up off the pin. A slight tug releases the end of the thread from the scotch tape and you are all set to go. All the audience sees is that you reach into your coat, apparently looking for something, and your hand emerges holding a long piece of thread. Proceed to break the thread into small pieces and then restore it— a most magical effect.4 4
See George Kaplan's "Fine Art of Magic" for classic routine.
GGOOOOOO
Preparation
Unwinding thread from spool, I take seven loops around my fingers using the figure eight method.3 I slip the thread off my fingers and fold the loops in half three times, each time first loosely winding the thread twice around the loops. After the last fold, I make five tight turns around the bundle to hold it firmly. Next, I break off 38-39" more from the spool (approximately same length as that wound up to make the bundle). I insert a plain pin a couple of inches above the inner pocket of my coat. After running the pin perpendicularly a fraction of an inch, through the material I push the point back through the cloth and impale the little bundle of thread on it. If the bundle is evenly folded, the point of the pin will run through practically all the loops but this isn't absolutely necessary. To insure that the thread will not unwind, take one turn of the long thread from right to left around the pin and again run the point of the pin under the cloth. The main length of thread is simply tucked into pocket in large, loose loops. The odd inch or so extending above the bundle is held in place with a piece of scotch tape (as illustrated).
Performance
VIEW OF INSIDE COAT POCKET
The bundle is thus securely held and will not become undone. It can be carried around indefinitely.
PATTER LINE It's true that many great men come from small towns . . . but we'll never know if they left because of ambition or gossip. —SELECTED BY CLIFF GREEN
TAKE A CARD - ANY CARD THE WIZARD'S VARIATIONS by AL STEVENSON
In the September, 1962 issue, our editor pointed out what should need no pointing out: The mere "finding" and revealing of a selected card may prove you're a clever guy but it won't entertain your audience. In fact, some spectators are at best bored and often irritated by your (probably unconscious) display of digital dexterity and smartalecky "superiority." Jerry Andrus' "Card Revelations" and "Educated Thumb" (October and November, 1962) proved how the revelation of a chosen card can be made beautifully as well as entertainingly. In "Deceptional Medicine" (July, 1963), I gave you the "bare bones" for forcing and revealing selected cards using an all-medical pattern.* Because a deck of cards is so port*Sid Lorraine enlarges, adapts, chatters, varies and imparts his own inimitable flavor to it in an upcoming, two-part routine titled "There's a Doctor in the House."
able and easily available, card effects are always popular and all who do card magic are ever seeking new ways to locate and/or reveal the "freelyselected" card. There are, we all know, innumerable methods to attain both ends but any unique method is always welcome. Consequently, I list here a few that are not commonly used and some that will be entirely new to other Hugardites: By Measurement
With a world full of measuring devices, it is surprising that not many are used to indicate a selected card. Examples: I used a thermometer and an hour glass in the cited column. How about gimmicking up the following to "measure" to a selected card: An ordinary ruler, a slide rule, a tape measure, wrist or pocket watch with cards instead of numbers? A small scale can "weigh" the cards and indicate the proper one. True, the
— Hugard's MAGIC Monthly/September, 1963 above are all "gag" locations, but I have yet to see a close-up audience that didn't get a bang out of some silly discovery. It may mark the end of your career but—try it anyhow.
in, remarks about it being "dark down there" and then names the selected card. If you have the right kind of crowd in the right kind of mood (plastered) this will kill them. If not—it will probably kill you.
Strange P/oces
Cards have been pulled from dinner rolls, oranges, lemons, cigarettes, etc., since they were invented. And —let's face it— the spectators are impressed . . . yet you haven't lived until you've snapped a bread stick in half to find the card. Sure, it requires some trouble, but have the missus bake a couple of dozen. You could even peddle them to hungry magicians and kill two birds with one stick. # # * Palm off your Polaroid as an X-ray camera and have a prepared picture inside, skeleton, viscera, etc. With the card imbedded there. I don't believe in going to the extreme of tatooing goldfish—but finding cards in unlikely places gets you credit for a funny "bit." Flip-Top Fakery Most hard, flip-top cigarette boxes have a separate flap at the front—of which very few people are aware. Tear an ace into four pieces and insert the pieces in the flap. Have a card "selected" (duplicate, of course) and hand the spectator several other cards while he still holds the ace. Tell him to tear up all the cards and drop the pieces into the empty box. Turn your head, or allow yourself to be blindfolded, reach into the box and extract a piece of card which you then lay face down on the table. Repeat three more times, turn over the four pieces to show that you have picked out only those that make up the ace from among all the torn bits in the box. This is an ideal way to use up your old cards and, as the top of the box flips towards the spectator, he cannot see you taking the pieces from the secret pocket. Strictly Burlesque
Cue a friend on the card you are going to force (So, all right already! A "stooge" for fun is legit...) and equip him with a pen-type flashlight. Force said card on some unsuspecting lady and contrive to have her sit on it. Comment that your friend is also a magician and call him over. He will politely ask the lady to open her mouth. He shines the flashlight there-
Pick out the prettiest young lady in the group and ask her to select a card. Tell her to concentrate on it. Break the pack in half and place each half over her eyes. Riffle the corners of the two packets and comment that she is not concentrating hard enough. Remove the two packets, tell her this is your favorie trick and must not fail, and again hold the two packets over her eyes. Riffle the corners of the packets, and then kiss her lightly. Everybody will laugh, the lady will blush; you won't know the selected card—but can you think of a better way to end an act? (Best done with KHmarried ladies.)
PATTER LINES We stayed at a hotel recently where everything was cold except the ice water. A grandparent is either lonely or exhausted. —SELECTED BY CUFF GREEN
BETCHA No. 9
Betcha I can make a statement that is simultaneously true and false. Solution
"I got life," the convict told me. His sentence was a short one. (Well —you wouldn't call a three-word statement a long sentence, would you?) This idea came from an unpublished Thurber-type fairy story. I have forgotten the author's name. —NORMAN HOUGHTON
LYLE-LAC LEVITIES (Continued from page 2) Lowell* has a large Greek population, located in a section known as Greek Colony. And our city council just elected a Greek woman councillor as city mayor, two-year term. First female mayor Lowell has ever had. Our newly-appointed chief of police is also Greek. Every once in a while the state police moves in here and knocks off one of their barboot gambling houses. Barboot is a dice game and you can lose your entire life's resources in nothing flat. I wonder how these joints will fare now . . . —ART LYLE *, Massachusetts, U.S.A.
Hugard's M A G I C DEVOTED SOLELY TO THE INTERESTS OF MAGIC
AND
MAGICIANS
Founded by JEAN HUGARD, June 1943 and by him published and edited up to and including August 1959 Vol. XXI, No. 1
SEPTEMBER, 1963
Managing Editor: Blanca L6pez, P.O. Box 32, Massapequa Park, N.Y. 11762 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, Calif. 90014 New York, N.Y. 10025 Los Angeles, Calif. 90014 Art Lyle Al Stevenson 181 Central St., Lowell, Mass. 01852 P.O. Box 122, Massapequa Park, N.Y. 11762 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 • Edgard Heyl • Norman Houghton Editorial Assistant: Mrs. Annette G. Braue Staff Artists: Dr. Raymond L. Beebe • Sid Lorraine • Charles L. Stockwell Publisher and Clrcolation Manager: Mrs. Myra C. Benson 40c per copy. Subscription: 6 months (6 issues), $2; 1 year (12 issues), $4 Please make checks payable to Hugard's MAGIC Monthly, 2634 East 19th Street, Brooklyn, N.Y. 11235
September, \963/Hugard's MAGIC Monthly —7
DR. D'GAHALENE'S FLOATING TABLE
75 TRICKS with a STRIPPER DECK Compiled & Edited by AL STEVENSON 2nd
Edition
•
Completely
Revised
"The author believes the stripper deck to be one of the most neglected pieces of apparatus. It shouldn't be any longer. This thorough exploration of the deck and its possibilities will probably surprise you. The material is practical, concisely described, and much of it is quite clever. You'll use your stripper deck after you read this book." —Edgar Heyl 40 pages, soft board coven protected by acetate sheets and durably plastic bound. Illustrated. Beautifully printed on heavy India coated stock. $2.00 postpaid
FLEMING BOOK COMPANY 728 Madison Ave., York, Pa. RAINES' HOUSE OF CARDS 2465 Williams Avenue Norwood 12, Ohio WIZARD BOOKS 22-14 Fortieth Avenue Long Island City 1, New York P.O.
THE WIZARD'S SHOP Box 122, Massapequa Park, N. Y.
215
YOGI MAGIC MART N. Charles St., Baltimore 1, Md.
•a
CUPS & BALLS IN H M M (A reference guide for contest entries) "Cups and Bills," Jean Hugard, Oct. 1943, p. 17; "Comments," Tyro, Aug. 1949, p. 570; "Covered Glasses for the Cups and Balls," Dick Lee, Sept. 1949, p. 581; "The Cups and Balls: An Historical Note," Jean Hugard, Oct. 1949, p. 588; "Cups and Balls Load," Milbourne Christopher, Jan. 1950, p. 626; "Big Chief and Little Squaw," Will Dexter, Jan. 1952, p. 881; "The Cups and Balls (Suggestions and Ideas)," Farelli's London Letter, March 1952, p. 907; "The Origin of the Cups and Balls," Farelli's London Letter, March 1955, p. 257; "Cups and Balls Ideas," Cyril Keller, Feb. 1960, p. 107; "New Wine from Old Cups," Fred G. Taylor, June 1960, p. 1. The fact that we list only those effects which have appeared in these pages does not mean we limit you to them. Pick up your ideas from any source you like but please make sure to give us the information so that we can give the proper credit to both author and publication.
While this method is not as effective as the method I recently described,* using four men sitting around the table, it is a vast improvement over the method requiring the performer to wear a slotted ring and have a nail in the center of table top. The table may be used in some preceding effects. When the time comes to float it, preformer spreads a handkerchief over the top. He can then raise and swing it about in the usual manner. While it is off the ground, he or his assistant can remove the handkerchief from the table top, and the demonstration can proceed. METHOD: Table top is covered with a colored cloth of irregular design. Mine is black-and-white dress material. Across the middle, from side to side, runs a very strong nylon thread. It must be securely fastened. When you want to float the table, the handkerchief is shown and laid on the table top. In the act of doing this, slide the handkerchief under the thread. All you need do now is slip your hand under the thread and raise the table, swinging it about in the usual way. In the middle of demonstration, the handkerchief may be removed. My table is made of balsa wood. It *March, 1963.
"TAKING IT EASY"
".. . This is a bunch of stuff that I've been meaning for some time to collect on paper, and have finally got around to it. These are simplified card techniques that have been thoroughly tested, and for some time have helped me to do card tric\s without that worried loo\. Use it as you see fit—// you see fit to use it..." Above is a paragraph from a letter by Contributing Editor Norman Hough ton. We see fit. And so will you when you fit it in to outfit your card effects more fittingly for your next fitting—excuse us, please, we mean APPEARANCE.
is about 14" long, and is equipped with two threads, so I can lift it with both hands. The legs fold under on hinges when the front and back rims are removed. I use it for a number of effects preceding the floating demonstration, which accustoms the audience to seeing it. Thus they will not give special construction a thought. —ARTHUR "FRANCISCO" BULL
A PATTER LINE not selected by Cliff Green was contributed by Leslie May to the October (1963) issue of The Budget for Graham Reed's "Patter Page" and we got such a kick out of it that we couldn't resist asking for permission to share it with those Hugardites who don't have the pleasure of receiving this newsy, well-turned-out official publication of I.B.M.'s British Ring. With thanks for permission granted, we may at long last define for you: "An 'indifferent card' is one who couldn't care less."
"MY INVENTING UNCLE" {Continued from page 3) Your dollar bill is placed on this part of the machine, the roller passes over it once and, to show I was just fooling, I'll return your money. . . You may notice that some of the ink has been removed; it's a shade lighter, but don't let it worry you. As long as you don't try to spend it in the daytime or a well-lighted room, you're quite safe. I'll place this sheet of white paper . see, both sides . . in the press, just pass the roller over, once and. . there! It looks just like the real thing, doesn't it? This could have been Uncle's greatest invention—except for one thing. Somehow or other, it printed the other side of the bill as well but with the wrong date. (Bill is turned around and across the face of the bill are seen the numerals 1993.)
8 —Hugard's MAGIC Monthly/September, 1963 Unfortunately, he could never spend any of them . 1 think this is what made him act lazy . . It proved that it doesn't pay to forge ahead. This so upset him, he went completely to the dogs . and came up with a new flea powder. This, he was sure, was to be his greatest invention. It looked like all other flea powders but it worked differently . . . His powder made the fleas itch. But business was lousy and he found himself inventing money-making gadgets. (Reach into case and remove next
PATTER LINE We heard a young lady complain that her boy friends are very aggravating—either they're so slow she wants to scream, or so fast that she has to. —SELECTED BY CLIFF GREEN
item): He had been toying with the idea of something to beat the numbers racket and this was it. (To be concluded next month)
Endorsed Dealers Offerings Dealers must submit trick or book with copy for approval. Advertising copy must be In by first of month of publication. Material returned IT'S "FLEMINGS" FOR MAGIC BOOKS! Attention, Mentalists! "13 Steps to Mentallsm" (Corinda), clothbound, 424 pages, "required" reading for all "mentalists" $20.00 "Magic Circle Magic" (by members of The Magic Circle of Britain), gold-stamped cloth binding, 272 pages, illustrated, recommended: $7.50. De luxe edition, bound in real leather $15.00 "The Jinx" (Annemann), Nos. 1-50, finely clothbound, 352 big pages $12.50 "Greater Magic" (Hilliard), 5-volume edition, 1006 pages, clothbound $15.00 FLEMING BOOK COMPANY 728 Madison Avenue, York, Pennsylvania PSYCHO-GIZMO. The best in Mental Mapic and Practical Routines. 12 serials for $3.00. Teral Garret. P.O. Box 72, Albany, Ky.-42602 TARBELL'S "BANK NIGHT" Effect: Performer shows five sealed pay envelopes In a large manlla envelope and explains that one pay envelope contains a dollar bill, the others blank paper. Four people are asked to select an envelope each. Performer must take the one that remains, when envelopes are opened, spectators have drawn blank paper, performer has dollar bill. How much? How'd he do It? Where can I buy It? Above Is only one of 28 effects selected by Mllbourne Christopher for "Magic from M-U-M." Send $2 to Vynn Boyar, 93 Central St.. Forestvllle. Conn. This small Investment will lift your act out of the rut. Or—do you like It there?
ALL POPULAR MAGAZINES at a discount A subscription to a magazine is a practical, useful gift at any time. It is especially appropriate when you want to thank somebody —a friend, an associate, a customer— or cheer up a shut-in. Your gift says "hello," "thank you" or "congratulations" 12-52 times a year. Send for free catalogue or see me in person any day from 1 to 8 p.m. BILL SAYERS Goldwater Memorial Hospital Welfare Island. N.Y. SO CARD EFFECTS for $1.00 You'll find them in the Special Sept.-Oct. (1961) issue of this magazine. 24 pages with everything from self-workers to skill stuff. Send us $1 and if you're not satisfied it's worth at least $3 return the copy and we'll refund your money. Please order from and make checks payable to Husard's MAGIC Monthly 2634 E. 19th St., Brooklyn, N.Y.-11235
BOOK TEST, JR. {Continued from page 4) you half turn your back in the business of writing the "word" on the blackboard. If you need extra time, make a "mistake" with a word, erase it, then make another "telepathic transmission" and record the proper word. Not having to force a page number, you have some latitude in the choice of books or freely-chosen page number; also, this method permits doing another word or so for others.
postpaid. Classified ads: Minimum, 3 lines $1; each additional line, 25c. DISPLAY ADVERTISING: Vi column (maximum accepted): $15; Vi column: $11; V* column: $8. Largest type face: 18 pt. Line Illustrations and 65 screen halftones accepted. No solids.
"TWO WEEKS WITH PAY" Suggestions for the Vacation-Bound by Lucrecla Lopez Going on vacation? Where? When? Want to go hunting, fishing, camping, skiing, swimming or just plain sightseeing? If you haven't made up your mind, here's a guide for all seasons and a choice of: The good old U.S.A. (including "The State of Aloha"), the Caribbean, Europe, and even all-year-round Bahia in that up-and-coming never-never land—Brazil. If you've already set your heart on one of those places, here are tips on what you'll need to get there, how to behave, where to find a reliable baby sitter—and how much loot you should have at your disposal PLUS entertainingly written highlights and sidelights on the folklore, culture and customs. If you can't afford to go in person, the author will turn your arm chair into a magic carpet and waft you there with her vivid descriptions. Pictures galore, 288 fact- and fancy-filled pages legibly and beautifully packaged to fit a man's pocket or his lady's cosmetic case. Cloth bound. $3.95 at your bookstore or —to HMM readers only— 10% discount and postpaid from CHARLES FRANK PUBLICATIONS Suite H, 432 Park Avenue South New York, N.Y. 10016 THE NEW PHOENIX New, Impromptu, Close-up and Mental Magic every month. 12 issues $2.50 Foreign $3.00 Sample Copy 25< The New Phoenix 4494 Blythe Road, Columbus, Ohio—43224 "MAGISCHER JUGENDRING" We are an international Society of Magicians. Our magazine ZAUBERBRILLE is free to ail 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
JEWELLED MULTIPLYING SPONGES Beautiful! Flashily visible, non-slippery, easyto-handle multiplying sponges studded with sparkling stones. Black or red. Set of three 1V4" balls and shell. $3.50. Please make checks and money orders payable to Al Stevenson. THE WIZARD'S SHOP P.O. Box 122, Massapequa Park, N.Y. 11762 That $2 trick where the coin goes right through the plastic, complete: $1. Theo Dor6, 314 West 100th Street, New York, N.Y. 10025.
THE GEN Britain's Outstanding Magazine of Magic
now in its 18th Year. Subscription $4.00 for 12 monthly issues... start with ANY issue. Remittance by Personal Check or International Money Order. Edited by Lewis Ganson. HARRY STANLEY 14 Frith St., London, W.I., England MAGIC BOOKS old and new, for the performer and collector. Ask for my free lists. Edgar Heyl 11 West Chase Street, Baltimore, Md. 21201 "GENII" The Conjurors' Magazine Magicdom's Pictorial News Magazine—and magic too! 40 or more pages every month. Now in our 28th year. The most complete coverage of magic and magicians from all over the world. A sample issue will be sent free on request if you mention Hugard's MAGIC Monthly. Subscription: 1 year, $6; 2 years, $11; 3 years, $15. P.O. Box 36068, Los Angeles, California 90036 WANTED USED 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.
Please mention Hugard's MAGIC Monthly when writing to advertisers. -LOU*
IlLAID
CITT,
»T..11101
Hugard's DEVOTED
MAGIC Monthly OCTOBER, 1963
Vol. XXI, No. 2
SOLELY
TO
THE
INTERESTS
OF
MAGIC
AND
MAGICIANS
"THE 3 * " REVISITED Regarding R.W. Hull's "Three of Clubs"* effect: It may be of interest to your readers to know that the original premise for the effect appeared long before "Greater Magic"—not the effect, mind you, but the idea of using duplicate cards with a Mexican turnover. This first version was by R.W. Hull and was published in his book "Eye Openers" under the title of "A Mental Card Mystery." Strangely enough this method used duplicate Jokers. In those days the packs had only one Joker but, regardless of presentday card-packaging, two Jokers are still two Jokers. What about the times when someone hands you a pack and you'd like to perform that particular effect? The Jokers are missing from most packs— unless the party is a Canasta bug. Even when the magi uses his own pack, chances are he has long ago discarded the Jokers. If he makes it a point to keep the two Jokers, he may as well settle for a duplicate card because most sophisticated card players know that packs have two Jokers. However, in some decks each is different—in which case, they won't do you any good anyway! My answer to the problem is the title itself: "The Three of Clubs." If you've read this far, you may as well read :
By ED MARLO Illustrated by CHARLES L. STOCKWELL
that the card on the table is the one they will think of. 5. Next, ask a spectator to think of any card. Have him name it. Assume he responds "Ten of diamonds." Counter with, "I'm glad you didn't think of the ace of clubs as that is the card / have to use." 6. By this time, you should have located the named card (100) and transferred it to top of deck. Now, turn the pack face down by turning it over sideways to the left. 7. Your right hand comes over the pack, from above, to square it. During this action, lift up on the previously in-jogged card with right thumb; thus —automatically— right hand holds two cards, from above, by the ends. 8. Immediately, move these two
FIG.1
just shown will slide back flush with pack; then, immediately, take top card face down into right hand as left hand puts pack aside. 11. Now, follow closely: Use the card in right hand to merely scoop up the tabled card. Using both hands, shift the two cards sliding one under the other a few times, as you say: "I intend to transfer the magnetic influence of the ace of clubs onto this card." 12. While shifting the two cards about (don't overdo it!), follow the position of the actual A * . When it is the top card of the two, turn it face up as you add, "I'd better turn the ace of clubs face up for greater influence." 13. Shift the two cards around a couple of more times ending with the A * face up under the top, face-down card. Fan out and hold both cards in left hand.
FIG. 2
The Method
1. From a borrowed deck, remove the A+ and, without showing its face, place it face down on the table. 2. While removing the A«fr, secretly bring the 3 * to top of deck. 3. Hold pack in left hand, faces towards you. Move pack slightly forward except for 3 ^ which remains in-jogged at back end. 4. During above three steps, don't call particular attention to the facedown card on table. You don't, as yet, want to give anybody the idea *See HMM: May, October, 1962; May, 1963.
cards forward over end of pack and slightly off to right. At this point, press with left thumb on inner left corner of these two cards to hold them in place. This will leave right hand free to grasp upper right corner. The situation is now as illustrated in figure 1. 9. Tilt both hands upwards, now, to expose the face of what appears to be the A * (Fig. 2). 10. Lower both hands. The card(s)
14. Ask the spectator to name his thought-of card. By this time, he will have forgotten that he has already named it—as you probably have, too! 15. When card has been named, turn up the face-down card. This is your climax. Drop both cards to table, thus definitely "proving" only two cards have been in use. (If the A * is named, you have a miracle; if the 3«fr is called, you have it ready on top to use.) (Continued on page 14)
10 — Hugard's MAGIC Monthly /October, 1963
2/3 FICTION Slip-cut Bottom Force
Here's a slip-cut for forcing the bottom card: Hold deck waist high, tilted slightly downward. Buckle the bottom card and get a right thumb break which allows your left hand to pull the bottom half an inch leftward without disturbing bottom card.
Now, let deck rest on your left fingers and push the right edge of force card up against the top half, where it can be held in position by right little finger. Move top half to the right, slipping force card along with it. If you'll help me water the camels I'll take you on another trip next mondi. That's a promise. —ART LYLE
TRICK TIP-
along to another boy, and on and on and on . . . You may not be "The Great Soand-So," but you do have an accumulation of magical knowledge and you can't take that with you either. Leave it to someone worthy, share with the youngster starving for information, and you will truly learn what "bread cast upon the waters" means. Hoarding the gold of information and advice draws no interest. Remember: The boy who pleases an audience is sharing the applause with you, and if he one day proudly says, "I learned my magic from Mr. Somebody," you are bound to feel justifiably proud and immensely happy. You have probably taught a youngster a trick or two and helped him work his first milk pitcher; but what I am referring to is staying with it. Young magicians have a mountain of handicaps to overcome. The first one is simply being young. A youngster on a platform, doing his darndest to be a magician, is only as good as the advice he has received. No one ever got to be a magician by reading instructions—and poise does not come in a box, like a thumb tip. I would like to see an ad something like this: "Help Wanted: Magician needs help to become immortal. Only youngsters need apply. No experience necessary. Answer soon. Magician's time is limited." So, help a boy become a magician— and live happily ever after. Your friends may call you "Shorty," you may be only Mr. Average Man, but just ask the boy you helped how tall you are. The answer is usually somewhere about nine feet and the kid's not kidding. It's great to be able to give what you have and be left with more than you started with. The next time you see a young boy goof a trick or forget
his patter or knock over his too-flimsy table, listen, and you'll hear a feeble cry for help. Or are you deaf?
SILK WINDER
An old fashioned wooden clothes pin serves nicely to wind a small silk on for production. The pin allows you to tuck the ends in and you can wind the silk as tightly as you desire. —ART LYLE
Editorial Notes THE IMMORTAL MAGICIAN Have you ever looked at the calendar and sighed a wistful, sad sigh and thought of what you will or will not leave behind when you shuffle off some day? I dare you to deny that you don't envy those whose names are uttered in reference to the book they wrote or the things they did. And you just know that the blurb you submitted to the magic mag on the new method for snapping the red snapper just won't last... and being a competent curtain-puller at the Annual Show just doesn't count... You figure some have it, and some don't... You don't. Nonsense! It's easy, it's fun, it's gratifying. What am I talking about? Immortality. Ever notice how little young blood there is at die meetings lately? Ever see a youngster at the magic counter spending his hoarded pennies with a gleam in his eye—like you used to? So, what the blazes are you waiting for? Dedicate yourself to a youngster and to magic at the same time—and give this boy all you've got. Help him select tricks . . . teach him . . . coach him . . . book him when you think he's qualified—and give him the devil when he goofs. This boy can become what you wanted to be once: The poised, presentable, capable magician; the image you, once in a while, created of yourself. Sure, you have a living to make, and magic is for the birds when it comes to bread and butter. But this boy may be a potential Robert-Houdin . . . Dante . . . Thurston . . . Blackstone . . . You owe it to magic — and to yourself— to do something about it. When that boy does his first show, prints his first business card, get his first applause, you become immortal—to him. And he may pass it
—AL STEVENSON
We've been thinking for a long time along the above lines but have had too many irons in the fire to find the time to put it into words. Without even a hint, Associate Editor Stevenson has found the right words. If you'll ask "Peter Pan, the Magic Man" (Abe Hurwitz), who founded F.A.M.E., and his successor in the guiding chair, Antoinette Deutsch, both of New York, you'll find they agree with Mr. Stevenson. If you'll talk to Dick DuBois in New Jersey and Seymour Kessler in Georgia, they will add their own assent from a different angle. Paul Morris and Arnold Belais in New York are giving it a try. Even if you don't produce "The World's Greatest Magician," you'll be helping: a, yourself (can you teach without learning?); b, Magic (isn't it better that a boy learn to create illusion instead of "doing tricks"?); c, your community (while a boy is changing copper to silver he can't be running with a gang); d, and, perhaps most important, world brotherhood (we agree with President Kennedy: Let's get together on the things we can agree upon and the differences will take care of themselves). It is working with, through and/or for a common interest that we learn to know each other—not in arguing over our disagreements. It is hard to love and easy to hate what we don't know. Like death, Magic is a great leveller— but it is a living, vital, warm and beautiful part of life. We can all have a fuller life —and become immortal in Mr. Stevenson's sense— if we'll open our hearts and let Magic load them with love. —BLANCA LOPEZ