Hugard's
Monthl
V
DEVOTED SOLELY TO THE INTERESTS OF MAGIC AND MAGICIANS JUNE, 1957
Vol. XV, No. l
50 Cents
CARD COIN LIAISON The magical extraction of a coin from a card is of French origin. It is a charming little trick which can be introduced at any time when a deck is being used but only in an incidental way. By combining it with a very effective variation by Mohammed Bey it makes a fine combination of coin and card magic. EFFECT: The magician remarks that in fortune telling with cards the club suit always represents money. Taking two club cards from the deck he proceeds to extract from them four half dollars and then uses these coins for a routine of coin tricks. REQUIREMENTS: Any deck, four bright new half dollars, and the ability to edge-palm four coins and the single coin pick-up of them singly with the middle and third fingers. PROCEDURE: Introduce the routine with a few words about the connection of the club suit with money according to the procedure of telling fortunes with cards. In the meantime
By JEAN HUGARD you have taken advantage of a favorable moment to edge-palm the four half dollars in your right hand. Execute the spring flourish with the cards or several ripple shuffles merely to create the impression you have only the cards in your hands. Spread the cards and remove the A ^ and the 34». Discard the remainder of the deck. Hold the two cards squared together in your left hand and show the face card to the onlookers. Fig. 1—Move your right hand over to take away the lower card and in the action pick up the outermost coin with the tips of your middle and third fingers, plastering it under the lower card and carry away this card and the coin holding the card horizontally so that the coin is hidden. Immediately lift the upper card with your left hand and display it freely. Fig. 2—Slide the card in your left hand into your right hand beneath the
hidden coin and the other card holding the two cards firmly thus trapping the coin between the two cards. Display your left hand casually so that all can see that it is empty. Fig. 3—Take the two cards with your left hand between the thumb and fingers pressing firmly to hold the coin in position. With your right hand, its back towards the front, snap the two cards with your right middle finger in the well known way, then hold the two cards in your left hand vertically and giving them a gentle shake allow the hidden coin to drop from the cards onto the table. Without hesitation repeat the moves with the right hand as in figures 2 and 3, thus producing a second coin. Repeat the same moves a third time and let the third coin drop onto the table. These moves must be done smoothly, without hesitation but not too rapidly. Fig. 4—With your right hand re(Continued on page 8)
THREE COIS EOGE PALMED
CARD GOING COIN BETWEEN UNDER COIN. FINGER TIPS TO GO UNDER LOWER CARD. COUNTING COINS ON THE TABLE.
COIN HELD UNDER CARD
RIGHT HAND SLIDES COIN OUTWARD AND PALM5 IT.
RIGHT DISPLAYS COIN. LEFT HOLDS CARD AT CORNER.
Hugard's MAGIC
June, 1957
Monthly
BACKSTAGE with FRANK JOGLAR The S.A.M. Convention in Hartford, Conn,, May 29-June 1 at the Statler Hotel drew about 450 magic fans. Wednesday night's show was in two parts. LuBrent with slick sleight-ofhand. Sondra, a dancer, did the bead tricks, Zombie, silks, etc. Frank Derrick, with many ingenious ideas. Best: the flashes of fire which he produced at will to highlight climaxes. Second part had June Merlin with a semi-strip presentation of some of the tricks she had done on the NBC-TV show and the cards from one assistant's envelope to the other's. John Prendergast with well-done panto act with records. Rene Sepetembre and Partner show-stopped with their novel bird and animal act from the "Festival." M.C. Hal Newton told jokes and did the Linking Rings with several good moves. . . Thursday Night Show at the Foot Guard Auditorium opened with Senor Ermando and girl. He in Mexican 2arape and costume. Bird productions after tricks a la the late Cantu, but with less finesse. . . Kardwell, manipulations with cards. Dove production and vanish. Paper streamers from newspaper, etc. Solid hand. . . Charlie Chan (Vic Torsberg) black art act in curtained-in section of stage. Several good ideas. Best: rolling ball which came back to him time and again. . . Handsome Harry (Bruce Reynolds) in tramp costume. Panto act with volumes of smoke from mouth finish. Hans Landay as The Great Humdinger. Entered on unicycle, several gag-type stunts. Effective rising cards under transparent dome. Dorny and Co.: Dorny tells about tricks, Torsberg starts to do them. Funny finale; paper tossed up, heap of papers rains down on stage. . . George Jason, M.C. Very funny with card in grapefruit, burlesque shooting with Norman Jensen and three balloon stunt. . . It was hot in the hall, there were many duplications of effects. Friday Night Best show on convention, fortunately, was the public event at handsome Bushnell Memorial Auditorium. Dorny emceed. DeLage and Margaret with variations to please their fans and the fast Substitution Trunk. Smartly pre-
sented, well received. (DeLage has shaved off his mustache) . . . Robert Harbin did the head-removing and suspension from the "Festival" and a very good repeat cut rope and torn and restored newspaper using several sheets. Charming patter all the way. . . Dr. Tarbell with vanishing cane in envelope, vanishing silk in paper repeat trick. White silks and grapes into purple silks via metal vase, comedy passepasse bottles with the production of a tableful of bottles, etc. . . June Merlin with her regular night club act, very personable. Mink coat finish. . . Jack Gwynne (he shaved off his goatee) with usual excellent fishbowl magic, colored sands and water tricks, glass on dollar bill and cig case suspension and girl in Noma-like box, many metal cleavers pushed from top through bottom of box. Seemed impossible for girl to be in box. Cleavers removed. Girl got out of box. . . Sorcar with two elaborate settings. One typical Indian; other, operating room. Temple of Benares production from frame and buzz saw—similar to TV show up to a point. . . When girl was sliced Sorcar and assistant shook heads. Covered her with cloth. Then took cloth away. One assistant pulled one section of girl's body in one direction, other pulled other section in other direction. Curtains closed in. . . Eyeless vision act with eye-coverings getting more complicated as act progressed. Duplication of writing by audience on low, long blackboard. Finally something we'd heard about but not seen. Doctors invited on stage. Assistant's tongue shown, doctors peered in his mouth. Assistant in trance. Tongue out again. This time not red as before. Sorcar slices off tip of tongue. Puts tip back. Assistant comes out of trance. All is okay including his tongue. Fortunately my seat was far away from the actual operation so I heard about it rather than saw it. This might be great stuff in India, but as the lady going up the aisle said, "Is it entertainment?". . . M.C. of show was Dorny who changed costumes frequently. Saturday Night "There will be no usual after-manquet show" the announcement said.
Despite this, Maldo did a bright act finishing with a paper tear; Patty, a pretty girl, did pretty tricks; Dr. Haberman Jack-Millered; Blackstone produced silks, one blossoming from the other like roses, then a Merv Taylor cage; Gene Gordon hocus-pocused and George Jason did comedy. . . Dorny was toastmaster. Rene Septembre got the cup for the best act on any show. Harbin announced he'd donate a cup for originality next year. Chic Schoke got his Past President's medal. Sorcar made a winning speech, presented Milbourne Christopher a huge, impressive emblem from the All-Indian Magic Club and got a standing ovation. Sidelights Milbourne Christopher is the new S.A.M. prexy. Omaha the next convention city. . . Was good to see Jean Hugard in attendance. . . Good, too, to see John Mulholland and Dorothy Wolf in our midst again. . . Mystic Craig kept busy taking sound movies . . . George Davenport's daughter was over from England. . . Sorcar's "All right" with a rising inflection became the convention byword. . . Jerry "Linking Pin" Andrus impressed all and sundry with his close-up work. . . Dai Vernon and Walter Scott were here and there. . . Ken Allen had a good gimmick in the missing jigsaw pieces. If your section fitted, you got a prize . . . Dr. Tarbell, Max Katz and Jim Thompson lectured. Each with a presentation typical of his style. . . George Jason played piano and told stories for the ladies at tea. Festival of Magic The reading and showing of a letter from Harry Kellar to Houdini pleading with him not to do the bullet trick opened Producer's Showcase's "Festival of Magic" on the NBC-TV network, Monday night, May 27. Then there were effective teasers of the featured sorcerers. Li King Si and femme assistant worked in panto blending dance and deception. Sticks to foulards. Bowl of confetti to water. Balancing with three scintars. Girl with colorful tape on end of stick did manipulations during a dance. Zombie close with novel passing of ball through hoop. . . June Merlin, dressed as a fairy book princess, in a ruined castle setting. Vanished silk appeared tied between two long gloves. Production of six mice from box. One mouse put in small house. Bellows applied. Box opened.
June, 1957
Hugard's MAGIC
Monthly
Hu-Gardenias The month of May was a good month for magic. So good, indeed, that to do full justice to everything would Hu-Gardenias to NBC-TV for their FESTIVAL OF MAGIC featured on •'Producers' Showcase" May 27th, 1957 presenting top-notch magicians from all parts of the world and bringing magic before the general public in a big way. Hu-Gardenias to MILBOURNE CHRISTOPHER on whose shoulders fell the selection of artists for the "Festival of Magic" and for its promotion. Hu-Gardenias to JERRY ANDRUS for his uniquely different close up magic with which he delighted all in his sessions at the Convention.
Mouse was a big rat. Other mice put in paper-sided box. Box taken apart, arm through paper sides. Mice gone. Multiplying candles. Imitation rabbits to rabbit cape. Rabbit cape to long robe finish. . . Robert Harbin in safari clothes in jungle setting. Girl in box. Head detached and slid off her body —about two feet away, then back. . . Girl on board between two folding chairs. One chair taken away, then the board. Girl remained suspended. Harbin put in big straitjacket by girls. Jacket wound with rope. Harbin hauled high aloft, among the overhead lights. He wriggled out of the restraints. . . English club setting. Cardini and page on while club member dozes. Beautiful sleights with cards, untying silk, billiard balls and finally lighted cigarette production and pipe walkoff. A masterpiece of magic and staging. . . Christopher grimly reeled off the names of several magicians who had been killed with the bullet trick. Marksmen loaded a bullet, fired though a sheet of plastic, shattered a plate, the bullet was shown embedded in a backboard. Christopher stood in position in front of the suspended re-
require a complete issue of this magazine. We can treat here only the highlights:
Hu-Gardenias to the President and Officers of the HARTFORD ASSEMBLY No. 21, S.A.M. for the great success of the 29th Annual Convention May 29th through June 1st Hu-Gardenias to MAX KATZ of New York and DR. HARLAN TARBELL of the U.S.A. for their very fine lectures delivered at the Hartford Convention. Max Katz donates the checks he receives from his lectures to the Houdini Hospital Benefit Fund, thus rendering a double service to magic.
mains of the shattered plate. "Readyaim-fire!" Crack, Christopher's head snapped back. Camera came in as Christopher dropped head of bullet from his lips to a plate. Marksman ran ribbon through second hole in plastic, as he had a moment before with the first hole. Christopher looked relieved. Mopped his brow. . . Sorcar and company in exotic setting and costumes. Temple of Benares with sword-tossing smartly done. Production of silks and guinea pigs from a frame with two paper sides. Frame first shown empty, then sides snapped back in place for production. Buzz saw on a very impressive metal stand. Attractive Indian girl put on table. Midrift bared. Speeding saw entered her body, cut through. (No sawdust, for a change! Other illusionists please note.) Metal plate jammed in between two sections of body. Hocus pocus, plate removed. Girl, when Sorcar says "You're all right. Smile," is revived, gets off for bow. . . Final act Rene Septembre and girl. Septembre in evening clothes. Setting: French cafe. Fish bowl productions from foulards. Very good vanish of fishbowl under foulard. Torn paper
Hu-Gardenias to MYSTIC CRAIG who at his own expense and with his own sound outfit shot a talkie of the prominent magicians at the Hartford Convention. These sound pictures together with others that Mystic Craig has shot will be exhibited at magical meetings around the world. A wonderful service for magic. Consider what a boon it would be for us today if we had such records available of the great magicians of the past.
Finally, allow me to use this opportunity to thank everybody from the bottom of my heart for their kindnesses to me at the Convention and for all the letters and cards I have received. — J E A N HUGARD
and production of bird from paper. Flaming paper in drawer box changes to huge white cat. Unusual trick with four boxes in frame. Dice, silks and animal put in different boxes. At finish boxes lifted—huge rooster appears. Rooster in another box, changes to duck. Duck put in house, vanishes, flock of pigeons produced which perch prettily on assistant's transparent sun shade. . . Ernie Kovacs was m.c. His early material not very funny. Best bit. Man in big box. Sword thrust in. Sword handle slowly goes up. Kovacs opens box, looks straight in, then down, grimaces. This was part of an idea of disposing of TV v.p.s. Final shot of show showed him sawing through an extremely long box with head of veep out one end, feet out other. . . Those who didn't see the show in color missed half of its appeal. The setting and costumes were magnificent. TV Topics Hocus-pocus has been more in evidence over the video lanes lately than ever before. Jackie Gleason did a first rate illusion show in oriental costume (Continued on page 8)
June, 1957
Hugard's MAGIC Monthly
OUT OF MY PROFONDE By ARTHUR LEROY Coney's Conjuring Cavalcade — A Profonde Re-Release
In the good old Summertime, In the good old Summertime ... All over the country amusement parks are in action for the season. Fairs are planning their annual programs .. . carnivals sweep the countryside, and in all of these retreats for those mortals trying to escape their humdrum little lives, carousels, Eli wheels and magicians go round, and round, and round. They will continue to do so until all mankind is completely satisfied and need no longer find escape. What is MAGIC but an escape from reality, a journey into fantasy, a world where dollars come from the air—sans labor; where beautiful women are conjured from nowhere to satisfy every companionable need? All the laws by which man is bound are set aside and the fairy tales we lived as "kids" come trueBeyond all doubt, the greatest Empire of Escape is here in New York. Our Coney Island has always been the symbol for a day of pleasure in the sun -.. away from bitter truth and hard reality. Come on! Let's spend a day in this largest of all amusement parks, trace its history, and see what a large part, we, the fantasists of the world, have played in its creation. During the late 1800's, Coney Island was a sprawling beach, complete with clam bars, a carousel, the Elephant Hotel, a Razzle Dazzle and three Music Halls. It was in one of these Music Halls —Stauch's— that Harry Houdini made an early bid for fame. In reality Coney Island didn't really come to life until the great St. Louis Exposition in 1904. Meet me in St. Louis, Louie, Meet me at the Vair! Then Coney Island blossomed into a colossal amusement resort celebrated in song and story. By the sea, by the sea, By the beautiful sea, You and me, you and me, See! How happy we'll be. .. Believe me when I tell you that Coney Island was the child of two great illusionists! That's right, I said illusionists. Two great amusement sectors sprang up in Coney Island side by
side. Each of these enterprises had at its head a magician each of whom had found fame and fortune at the St. Louis Exposition. The larger of the two was Dreamland Park. This was created, conceived and promoted by Roltaire, a British illusionist (not the American Roltare). At this resort, Roltaire presented some of the most amazing illusions in the entire history of magic. Many of these are forgotten. Others are too complicated ever to be duplicated again. There was "Pharoah's Daughter," "Rollo on the Wheel," hundreds of others, and to top it off, what has been described as the greatest illusion spectacle of all time: "The Creation." Would you like a look at some of the Dreamland Park-Roltaire creations? O.K., hang on! "Pharaoah's Daughter" was a "sit down" illusion "spec." It was actually a thirty-minute theatre-type show, with lush backgrounds, and a large cast. It was presented in the manner then popular in the theatres of the world. To visualize it, you must take the shows of The Great Lafayette (The Lion's Bride), The Great Roland (World of Wonder), Sears (The Blue Pearl), Horace Goldin (The Tiger God); combine them and you have some idea of what Roltaire produced in "Pharaoah's Daughter." This was no dime show. Even in 1906 when the dollar was worth one hundred cents, "Pharaoah's Daughter" had a minimum admission charge of fifty cents. First down the "pike" stood the Midget Village. Within the confines of the village stood the Midget Magic Theatre. Here Zeno, "Midget Kellar," presented a beautiful illusion show. Each illusion was in miniature and built for midget assistants. Those who watched the performance felt that they were viewing the Kellar show through the wrong end of an opera glass. Farther along in the park was the Temple of Illusions. This was a "walk through" illusion show with each of the side-show type illusions housed in its own little room. Those who know, say that the amount of plate and mirror glass used was measured in acres.
Now comes the "blowoff." Centrally situated in the Temple of Illusions was an auditorium. In this auditorium was presented the feature illusion. If there is a performer, or magical mechanic living today who can build this terrific creation, it will still "pack 'em in." Roltaire called it "Rollo on the Wheel." Here's what happened: A fully lighted auditorium and stage. The background of the stage was not conceived in solid colors. It was a scenic back cloth of a city street. Rollo makes an entrance mounted on a bicycle. He rides from center stage to the prompt side. The bicycle and rider have their right sides facing the audience. When the prompt side is reached, the bicycle and rider make a complete turn and the reverse sides of vehicle and cyclist face the audience. As the "bike" makes a crossing to "off prompt" side of stage, it commences to rise higher and higher into the air. Back and forth goes the "bike"; at each crossing it turns so that it constantly faces the audience from a different angle. Rollo on the Wheel performs loops, figure eights, and every conceivable bicycle maneuver while riding about in mid air. Rollo steers the wheel so that the portion of surface of the "bike" which faces the audience is constantly changing. For a finale, a series of large hoops, mounted on poles are placed in position and Rollo —still in mid air— rides in and out of the hoops. The whole illusion was presented in full light against a painted background. What's the use? It's impossible! Let's go to the Beer Garden and clear our heads. Had enough to quench your thirst? O.K. Let's go over to that large building in the center of the park. It houses what Max Sterling, the editor of "Magical World," called the greatest illusion spectacle of all the time: "The Creation." In "The Creation" Roltaire went beyond all limitations of stagecraft. Here he presented in visual form not the work of man but of God and nature. The spectators looking out into infinity actually witnessed a reproduction of the greatest miracle in human history. With a large cast of actors, tons of scenery, acres of glass, miles of lights a menagerie of animals, and (Continued on page 8)
June, 1957
Hugard's MAGIC
HANDS ACROSS THE SEA By PETER WARLOCK Thought Stab On many occasions I have tried to get an unfailing method for accomplishing the successful stabbing of a thought-of card. By stabbing I do not mean just a stab into the pack either wrapped or unwrapped, but a presentation along the lines of the classical blindfold stab. One version had to go right out of the repertoire owing to failing sight, an unfortunate but usual accompaniment to later years. The version to be described leaves nothing to chance and was first used by me at a Magic Circle dinner, where in the words of the reporter John Young, also editor of the Magic Circular: "Peter Warlock provided one of the highspots of the evening with his version of the card stab in which his assistant appeared to have an unlimited choice." The effect, briefly, is this: A spectator is handed a pack of cards with a request to think of one. He is then asked to shuffle the pack and when he has finished hand it back to the magician. Momentarily placing it upon the table, the wonder worker opens out a newspaper, and after spreading the cards over one page refolds the rest of the paper on top so that the cards are sandwiched between. Taking a sharp pointed knife with his right hand he moves it over the top of the paper. First of all he "reads" the spectator's mind, telling him the name of the thought-of card. Then with more movement he brings the knife down on top piercing the paper, and allowing it to become affixed to the table surface. The paper is pulled away allowing the cards to scatter. One card however is impaled on the blade of the knife. It is, of course, the thought-of card! R E Q U I R E M E N T S : 1. A pack of forty eight cards made up of eight cards repeated six times. The cards I suggest are: 4V, A f , 8 * , 2 * . J ¥ , 9 4 , Q * , 10A. Alternate the suits and repeat in each bank of cards the same order. 2. A daily newspaper into which is affixed a special gimmick capable of holding eight cards, duplicates of those in the special pack. To make this gimmick take a strip of cardboard 1" wide
and, in length, 2" shorter than the Length of the newspaper. Now, along this strip, make from pieces of writing paper eight pockets each capable of allowing the end of a card to be slipped inside. Figure 1 shows what I mean better than a thousand words.
FIG. Now, whilst in this country newspapers only run to a few pages, those in America are gigantic and so I suggest that no more than three sheets be used. With these three sheets at hand, open out the newspaper flat on a table. Say that the paper is dead in front of you as though you are reading. It will be opened in the center. Take the two left-hand pages and bring them over onto the right. Now take the edge of the topmost sheet and crease the page right down its length three inches from the edge as in figure 2.
FIG. 2
< FIG. 3 Crease again the slip you have just turned back. Fig. 3. Press down upon the folded paper and then take the gimmick holding the cards and slip it inside the pocket formed by the paper. Use a piece of
Monthly
scotch tape to keep it in position. The cards at this stage must be face down and their order must, of course, be memorised. Finally, fold over the front page and —at the extreme edges and the center— apply a little library paste. This allows easy handling of the paper and prevents any untimely exposure of the cards. Because of the gap between the two sets of four cards, the newspaper can be folded comfortably in the
1 center. The only care that has to be taken is to make sure when handling the paper that the gimmick holding the cards is in such a position that the cards cannot slip out prematurely. If there is any thought that you may not be fully clear as to the position of each card, pencil marks indicating the central portion of each card can be made on the edge of the front sheet of the newspaper. The only other thing you want is a sharp pointed knife. Prior to presentation, the knife and paper (folded) lie upon the table. If this is your only effect with the cards, they can be there too. Actually I preface this with a card effect in which an ordinary pack is used, then switch for the special pack. PRESENTATION: The magician, after quickly fanning the pack, hands it to a spectator with a request that he shuffle it and then fanning the cards face down remove one and remember it. The point is made that right outside the performer's influence the spectator thinks of one card. He is then asked to replace it in the pack, shuffle the cards and hand them back to the magician. Whilst he is shuffling, the magician picks up the paper, opens it out at the center page and places it flat upon the table. The cards are then taken back and spread over the right hand center page, care being taken the spread does not go right to the edge and thus interfere with the eight cards which (when the paper is folded) will lie on top. The paper is then folded over sandwiching the cards and the magician picks up the knife. "Conscious and (Continued on page 8)
Hugard's MAGIC
Monthly
June, 1957
MILBOURNE CHRISTOPHER'S COLUMN Few new illusions have been created in the past decade. There is a good reason for this. Each year the number of possible outlets for touring magic shows diminishes. Heavy union, transportation and living costs have also caused illusionists to cut down overhead by making their feature tricks more portable, less elaborate. The biggest magic productions now on the road are playing for the most part in Europe, South America and the Orient. Kalanag is in Brazil, Fu Manchu and Chang are in Argentina. Sorcar is on his way back to India. Virgil recently returned to this country after a tour around the world. An analysis of the remaining big shows reveals a great similarity in the choice of illusions. It may surprise many readers to learn that I had planned to do half a dozen illusions on the recent "Festival of Magic." A thoroughly trained staff of ten assistants were —until the day before the show— ready to perform. Among the features was a new streamlined version of the Japanese Water Fountains in a novel setting. The day before the show the executive producer decided that any other magic would lessen the dramatic impact of the bullet-catch which was featured in the avance advertisements. So —one of these days— you'll be seeing the illusions on another show. Illusions can be tied in effectively with current events; they can also satirize. Here is an example: The Flying Saucer "Last night in New Jersey, police reported a flying saucer had landed in an open field," begins the illusionist. The curtains open. Upon a thin-top table, raised several feet from the floor, is a "flying saucer." This is about five feet in circumference at its outer edge, tapering in at the bottom and top. It is about two and a half feet high. "They opened the strange craft—it was empty!" The saucer, like an oyster shell, opens at the center. Two assistants lift it forward and open it up so the interior is shown to be empty. Then they close it and let it nestle back in place. "Perhaps it was a practical joke. But there were reports that when the saucer landed red lights flashed from its in-
terior." Red lights flicker on and off in the "saucer." "Some say a cloud of smoke emerged from it." Smoke shoots out from two sides of the saucer. The music builds as the open half of the saucer slowly rises. From the interior, a tiny figure in Martian dress pops up and starts pumping sparks toward the performer from a weird gun. The performer clutches his chest and falls to the stage as the curtain falls. METHOD: Basically, the working is the same as one of the several versions of Chung Ling Soo's "Birth of a Pearl." The bottom of the "saucer" is hollow. A silver roller blind, which matches the paintings of the interior, may be drawn across the bottom so that it seems to be solid. At the start of the illusion the window blind is rolled up tightly. The "Martian" is seated, bent over, inside the "saucer." The assistants lift the "saucer" so that its front edge rests on the table. The back edge is raised. This leaves the "Martian" on the table, covered from view by the tilted saucer. As soon as the saucer has been raised high enough, the "Martian" reaches up and pulls across the window blind which fastens in place. Now the top half of the "saucer," which is hinged on the side toward the rear of the stage, is opened. The interior of the "saucer" is shown. Then the upper half is closed. Immediately the "Martian" releases the blind so that it again rolls up. The closed "saucer" is brought to rest on the table top with the "Martian" inside it. When the red lights are mentioned, the concealed assistant switches them on in the top of the "saucer." When the smoke is mentioned, he squeezes two rubber bulbs filled with powder which causes the "smoke" to shoot out. When the climax approaches the "Martian" slowly pushes up on the top section, and comes into view with his spark-throwing weapon. It will be noted that the "table" may
MAGICAN A The hardest thing about Magic is to stop talking about it.
be wheeled completely around whenever the "saucer" is closed. At the start of the presentation for example, and again after the inside has been shown empty. The size of the "saucer" makes it easy to pack and transport. The table is unprepared. Its legs are detachable. They may be made from metal pipes which screw into the base of the table top. Wheels on the other ends make the table easy to swing around and aid in getting the illusion on and off stage easily. If a midget is used as the "Martian," the size of the "saucer" could be reduced considerably. A child could play the part in a smaller "saucer." The costume of the "Martian" is very important. It should be a space suit, as shown so frequently in the cartoons. The headpiece should be bulbous and weird. Again, a study of drawings of spacemen and imaginative sketches of creatures from outer space should be made so that the costume is readily identifiable by the audience. Toy shops stock odd-looking "space" guns which give off sparks. A good craftsman could make an even more impressive weapon for you. You can see how you can build up the ilk .on in your advertising. As new "saucers" are reported in the newspapers you can bring your introductory remarks up to date. If you have only two assistants, one could be the "Martian." You could help the other one open the "saucer" to display its empty interior. The saucer could L tainted with a silver metallic paint. It could have a turret at the top, from which the lights can flash. Two "guns" emerging from the sides could serve as outlets for the smoke. A study of publications dealing with flying saucers and their reputed appearance will help you in drawing up plans for the construction of the illusion. Several finishes are possible. When the "Martian" emerges and starts to aim at you with his sparkthrower, you could pull out a pistol and finish him off before he gets you. Or as the creature appears and starts to take aim, you could say: "Obviously there's nothing to these stories of men from outer space." Curtain.
June, 1957
Hugard's MAGIC
Monthly
ENCYCLOPEDIA OF IMPROMPTU TRICKS STRAWS, SODA
By MARTIN GARDNER
(Continued from last issue) (3) Torn and restored wrapper. Emil Jarrow has adapted the torn cigarette paper to the paper wrapped around drugstore straws. Before showing, slide a wrapper from a pair of straws, compressing it into a tiny ball. This is concealed between left thumb and forefinger as you hold pair of wrapped straws (Fig. 853).
• DUPL/CATE
WRAPPER
Extend left hand and allow someone to tear off end of wrapper and remove the straws. You now tear wrapper several times, putting each piece between left thumb and finger. Roll torn pieces into ball. As you do this, keep moistening tip of right finger on tongue. When torn pieces are as compact as possible, dispose of them in mouth as you touch fingertip to tongue. Continue kneading duplicate ball. Then pull it slowly open to show restored wrapper. (4) Slide wrapper down part way and pretend to pencil a dot on opposite sides of each straw near the ends. Hold as in Fig. 854. You can now do paddle move (see MATCHES, PAPER, No. 13) to show dots apparently on both sides of straws. As hand turns, straws are rotated by thumb and fingers on outside of wrapper. Dots can be made to vanish and reappear as in match trick cited above. DOTS
3^.355
Stunts and Gags (5) Slide off paper wrapper, compressing it into a tight spring. Put on table and let a few drops of water fall on it. It will expand with a wiggly motion like a caterpillar. (6) Flatten two straws and bend them as in Fig. 855. When ends are pulled, center portions of straws come together with loud popping noise. (7) If you pinch together the tip of a straw, it forms a reed that produces a musical tone when you blow through it. For best results, trim sides as in Fig. 856. By cupping hands over end and opening and closing them, you can produce a sound like a cow. The tone can be amplified by slipping neck of funnel over end of straw. Several straws side by side, of differing lengths, will produce a chord if the lengths are right. It also is possible to tear small holes in the straw at proper intervals and play a simple tune like "The Old Gray Mare" by fingering the straw as you would a flute. -- CUT
An amusing stunt is to take a pair of scissors and while you continue to blow on the straw, keep snipping short pieces from the end. The tone rises in pitch with each snip. This ridiculous bit of business usually puts spectators into stitches, probably because they hope and expect you to keep snipping until you snip the end of your nose. (8) Tear off one end of wrapper. Blowing through straws will send wrapper sailing across room. A popular 'teen age sport is to dip end of wrapper in butter or chocolate syrup, and blow upward, causing wrapper to stick on ceiling. See Life, Sept., 1953 (exact date not known) for picture story about a Ludington, Michigan, soda shop patronized by enthusiastic wrapper blowers. Ceiling resembles a grotto hung with stalactites. (9) Make pin holes along side of straw, then seal one end by twisting it. Rub soapy finger over the holes. When you blow, bubbles appear at each hole along straw. (10) A chain can be formed by pinching the straw as in Fig. 857, each pinch flattening it at right angles to previous pinch. Children like to ask,
"Does so-and-so like so-and-so?" then form the chain while reciting over and over again, "Very much, just a little, positively, not at all." Last pinch gives the answer.
(11) Slide off wrapper, compressing it into compact bundle. Conceal it in one ear. Take another set of straws, tear off end of wrapper, then hold straws to other ear. As one hand slides wrapper toward ear, other hand pulls out duplicate wrapper (Fig. 858). More offensive version: use nostrils instead of ears. (12) Children's activity books and magazines often feature articles on how to use colored soda straws for making jewelry, Christmas tree ornaments, etc. See Grade Teacher, Jan., 1956, for a good article on how straws can be used for abstract sculpture with the aid of pins and quick drying cement.
(14) Paul LePaul picked up this one from a St. Louis bartender, contributing it to the New Phoenix, No. 324, March, 1956. If you hold a raw, unpeeled potato in left hand and soda straw in right as in Fig. 859, it is possible —incredible as it seems— to drive straw completely through potato! (Fig. 860). Straw must be straight when it hits, the slightest angle causing it to bend. Quick downward thrust does it. The air column trapped in straw is what probably keeps it momentarily rigid enough to (Continued, on page 12)
Hugard's MAGIC
HANDS ACROSS THE SEA (Continued from page 5) unconscious thought," remarks the magician. "Consciously I will try to probe in the recesses of your mind. Unconsciously the knife will do the same. Please think of the card you thought of." Now, using the technique exploited by Audley Walsh in the "Magician's Dream" pack, namely, clever equivoque, the performer divines the card of which the spectator is thinking. Whilst he is doing this his hand holding the knife is moving over the paper. Directly he has the name of the card, he fixes its position and then with a quickening movement brings his hand and knife over the card's position and makes a quick but firm stab. (Incidentally, don't use a period piece table for this trick.) The knife is held with the right hand as the left goes to the rear edge, i.e., the outside center fold of the paper and pulls it quickly back with a backward and upward motion so that all the cards inside slither out face downwards onto the table. One card however is held by the knife. The spectator is asked to walk to the table, remove the knife and look at the card. It is, of course, the one he originally chose!
BACKSTAGE {Continued from page 3) featuring such dazzlers as The Disembodied Princess, The Crystal Box, Vanishing Alarm Clock and the Levitation. . . Bill Neff did a sparkling routine on "Circus Time". . . Also on "Circus Time" Viggo and Jane came up with a new act based on a chapeaugraphy-like routine with a man's felt hat and various tricks to add extra entertainment. . . Bob Lewis.did hisfunny burlesque conjuring with Linking Rings and Cut Rope on the "Ed Sullivan Show." Sullivan fluffed and introduced him as "Bob White." At the end of the act he came back with a glowing tribute to Bob's comedy and got the name right. . . Senator Crandall was on "The Garry More Show." . . . The "Disneyland" repeated its fine "All About Magic" film. . . Richard Himber turned up several weeks on "Tonight." On the most recent he did the Doll House illusion. . . Celeste Evans and two imitation Celeste Evans popped up on "To Tell the
8
June, 1957
Monthly Truth." She baffled the panel of experts. . . David Berglas, the British mentalist, did an underwater stunt on "You Asked For It.". . . Chic Schoke and Chicago Round-Tablers were on "Tonight". . . Richiardi, Jr. repeated two of his best feats on "The Ed Sullivan Show"—the Substitution Trunk and the Levitation, this time using Ed Sullivan as the floater. . . The new Magic Clown and Shari Lewis, of "Shariland," continue with their own shows. . .
AV • * CARD-COIN LIASON
Houdini—Robert-Houdin On the next two pages we begin publication of a book on Houdini's "Unmasking." It has been produced in such a way as to make it possible for those who so desire to "lift" out the pages for separate binding without damage to the magazine itself. We would appreciate your comments on this experiment as — publishing costs being what they are— we may go on to other books in the future if this one is well received.
(Continued from page 1) move the lower card using the same action to plaster the fourth coin under it and, with your left hand, toss away the remaining card. Take the card from your right hand with the fourth coin hidden under it with your left hand and with your right hand tap the three coins on the table counting 1, 2, 3. At the same time let it be seen that the hand is empty. Fig. 5—Bring your right hand over to the card in your left so that the tip or your tumb rests on the back of the card at its inner end, the tips of the fingers being under the card and resting against the hidden coin. Move your right hand outwards along the length of the card as if trying to squeeze something out of it. At the moment that your thumb and fingers reach the outer end of the card, raise your right hand sharply back outwards carrying away the coin and immediately close the fingers into the palm and retain the coin there in the closed palm. This action will bring the tip of the middle finger into position to execute the well known snapping action. At once sharply lower your hand and snap the back of the card in the left hand. Once more show the card freely in your left hand holding it by the inner lower left corner. This action of your right hand will confirm the impression that it is empty. Fig. 6—In the action of moving your right hand again, allow the palmed coin to slide down to your fingers and thus bring the coin again under the card in your left hand. Retain the grip with the left thumb and fingers and again move your right hand outwards carrying the coin along. This time, bring the coin into view lying on the tips of your fingers as if
it had really been squeezed out of the card. Toss the coin onto the table, return the card to the deck and proceed with your favorite coin trick using the four coins thus magically produced.
AV• A OUT OF MY PROFONDE (Continued from page 4) every device known to the illusionist, visibly before the startled eyes of the spectators, the world was formed, populated, vegetated, made fertile and brought to fruition! Roltaire's illusion was so gigantic, so awe-inspiring that it was used as the subject of sermons from one end of the land to the other. In 1939, the year of the New York World's Fair, plans were made to produce once more Roltaire's "Creation." Professor Armand, who had worked with Roltaire, was commissioned to reproduce the show. Estimates indicated a production cost of half a miliion dollars and the project was "junked." In 1911 Dreamland was destroyed by fire and the amazing wonders of Roltaire, Master Illusionist, vanished in flames never to be seen again. {To be continued) Hugard's MAGIC Monthly A monthly publication devoted solely to the interests of magic and magicians. • JEAN HUGARD Editor and Publisher 2634 East 19th Street Brooklyn 35, N. Y. • Subscription Hates: 1 year, 12 issues, $5.00 (6 issues for $2.50)
June, 1957
Hugard's MAGIC
BOOK PROFILES by JOHN J. CRIMMINS, JR. 101 MAGIC SECRETS—by Will Dexter. A 158-page cloth covered book profusely illustrated by Stan Lane. Published by Arco Publications, 10 Fitzroy Street, London, England; and 480 Lexington Ave., New York. Price, approx. $1.50. When you're looking for a magic book to give to a budding amateur this new book by Will Dexter will fit the bill nicely. Advertised as a glittering, spell-binding collection of tricks, routines, techniques and gimmicks it is certainly one that will enchant the young in heart. Here are tricks of every nature and with every possible type of object that is conjurable. Magic, and excellent magic, too, with coins, cards, pencils, wands, silks, fruits, candles, rings, candy, ropes, strings, escapes, cigarettes, liquids, bubbles, chemicals, balloons, fine mental stunts, and some simple yet effective production boxes. Quite an array. Actually there are 145 tricks rather than the 101 mentioned in the title so the book is quite a bargain. In make-up the book is quite unusual. I've only seen a couple like it. One was "Magic Made Easy" by Walter Gibson published in 1932, and the other is "The Encyclopedia of Silk Magic" published by Harold Rice. Those familiar with these books will realize that the profusion of illustrations told the story of each trick, and that's what Will Dexter has done with this "101 Magic Secrets." In fact he's streamlined the copy more so than in either the Gibson or Rice books, and depends even more heavily on art. Stan Lane has done an excellent job with his step-by-step illustrations of the necessary moves, so that but a minimum of descriptive copy is needed. The combination of Dexter and Lane is a happy one, and the tricks which run approximately one to a page, are lucid, interesting, and quickly grasped. While they have simplified the explanations to the bare roots, so to speak, they have not compiled just a collection of simple after-dinner stunts. It's all good magic such as the floating wand, the card on the wall, cut and restored rope, torn and restored newspaper, the four ace trick, the cube & frame trick, the sack escape, a dictionary test, the ring in ball of wool, the
hydrostatic glass, and for a finale the rabbit production from a hat. THE CARDlSTE—by Rusduck. Number 2 of the new monthly. Published by the author at P.O. Box 372, Philipsburg, Pa. Subscription $3-00 per year. This second issue runs to 16 pages and contains a nice selection of card table magic. Rusduck offers his version of Mike Zens' "Quadruple Poker Trick." Chas. Hudson contributes "Hocus Pocus" a five-way six-hand poker deal that ultimately ends up with the dealer getting a royal flush. The interesting aspect of this set-up is that each of the five deals automatically sets up the hands for the subsequent deals. The author also outlines his excellent "Nudeck Speller," and his version of an intriguing card puzzle that should keep a group of card players fascinated for a good 8 to 10 minutes. Ron Edwards contributes a mathematical oddity whose underlining principle has possibilities, and the author points up another which may also be put to good use. Both John Northern Hilliard and Jean Hugard are quoted re the perfect faro shuffle, and Gerald Kosky contributes an interesting effect with it called "Anyone For Bridge?" All in all an interesting issue.
UP CLOSE WITH
ANDRUS—One
of the highlights of the recent S.A.M. Hartford Convention was Jerry Andrus' inimitable close-up sessions. Scheduled nightly for intimate groups, the lecture room was crowded for as long as Jerry would continue working and his energy seemed boundless. Actually he could be found throughout the day showing some of his pet effects to interested groups, so that he really worked around-the-clock. And what magic! New effects, new methods, and fresh approaches to everything. Jerry is probably the best thing to hit magic in many years. Just watching him work is an experience. His technique could be called unorthodox because of its difference. Nothing he does is like anything you know or have seen with the exception of the effect. By that I mean that his sleights and subtleties are of his own creation.
Monthly
One of his surprises, which I never tired of watching, was his production of two silver dollars from a sandwich of two cards. Done right under your nose after showing the two cards freely, the sudden appearance of the coins, one at a time, is real magic. His closeup session featured tricks from his book, "Andrus Deals You In," tricks from his regular lecture, and most sessions usually finished with his "Linking Safety-Pins Trick," which I have never seen more brilliantly executed. In his hands, this trick, which he introduced a couple of years ago, is a masterpiece. While I have not as yet sat in on his regular lecture I would say, from the resume of it which each guest receives, that it is a very worthwhile and rewarding couple of hours. I trust he will make a swing around through the East next season, so we can catch up with him. The resume itself is a ninepage booklet called "Up Close With Andrus." Here are move-for-move descriptions of the new effects taught in this lecture which consists of some 16 card tricks, 10 coin tricks, passing a giant needle and rope thru a handkerchief, another with handkerchief and marlin spike, three tricks with fountain pens, and a complete routine with 3 rubber balls and 2 small tubes; plus some 35 sleights, moves and tricks from his card book, and a dozen new moves plus the complete routine for the "Linking Safety-Pins Trick." Quite a schedule! Laid in at the back of the booklet are three loose-leaf sheets ( 6 pages) of illustrations which Andrus has done himself. These refer to the tricks outlined in the lecture and the loose-leaf pages may be moved up to accompany the text as you study it. A neat bit, this. To top everything off, Jerry is a wonderful fellow to meet; agreeable, friendly, gracious, and withal blessed with a creative imagination that holds great promise for the betterment of magic. He tells me he's going to write a book on coin magic next. We'll be looking for it.
MARGINALIA: Lou Tannen's second printed issue of TOP HAT TOPICS is just out. Features a picture of Jimmy Herpick on cover with his life story told under "Spot Light" by Dave Lustig. Besides featuring the latest tricks, three new columnists appear in this issue: Frank Garcia, Dr. Harlan Tarbell and J. G. Thompson, Jr. It's free.
11
June, 1957
Hugard's MAGIC Monthly Drop Lou a note at 120 W. 42nd St., New York 36, N.Y. "Allen's Attic" issue No. 9 has arrived. Aside from featuring the latest Allen tricks, Ken also announces a contest for the most original routine with the "Egg in Paper Plus" trick and gimmick. A set of Rogers Silverware is the prize. Contest closes June 29th. The "Attic" is free. Write to Ken Allen at 331 Palisade Ave., Union City, New Jersey. Also write to Ed Mellon for a copy of his monthly "Mental-Wise" listing all the latest in mental magic. Address is P.O. Box 54, Uniontown, Pa. The reference to Jerry Andrus' lecture above reminds me that Geoffrey Buckingham will present his full evening lecture illustrated with motion pictures on Tuesday, July 9th at 8 P.M. at the Salon de Musique, BarbizonPlaza Hotel, 6th Ave. & 58th St., N.Y. Tickets are $5.75 (including tax) and are obtainable through the magic dealers or direct from Jerome A. Lukins, 1775 Broadway, New York 19, N.Y. Incidentally those attending the lecture may buy a copy of Buckingham's fine book, "It's Easier Than You Think," at a special price of $3-00. Jack Chanin has just issued a new edition of his "3-Shell Game" book which sells for $2.00. It's the last word on the shells and pea trick, with every subterfuge fully explained in this 80page book. Chanin is also featuring larger plastic walnut shells which are a help in mastering the trick. BOOKS FOR REVIEW should be sent to John J. Crimmins, Jr., 265 Park Hill Avenue, Yonkers 5, New York.
AV4 + ENCYCLOPEDIA (Continued from page 7) cut through. The bartender misled his patrons by pretending to suck air out of the straw (taking care not to get the end moist), then jabbing quickly before he "lost the vacuum." When others tried, their sucking bent the straw out of shape and also softened the end, making the feat impossible. (15) Problem: put a dime, or some similar light-weight object with a flat surface, into a glass without touching object or glass. Solution: place end of straw against dime, suck on other end. Dime sticks to straw long enough for you to lift it into glass. (To be continued)
12
Dealers must submit trick or book with copy to Jean Hugard for approval. Advertising copy must be in by first of month of publication. Material returned post paid. Minimum: three lines, $1.00.
Endorsed Dealers Offerings
aiiivO tOtl. ( K i t , CO!"* O*' 'A«Jf HAl VOLUME i NUMBEK 8 PLNG PONG 1K1CK. (OKK1N) iieie is a really new and diuerent effect. Three ping pong Dans aie seen un a miniature ping pong tabie 8" x a". These are picked up one at a Liine and smacked by a ping pong paadle only to vanish in mid air! The audience sees the Dalis and hears the paddle whack them but where do tne balls go? 1'he stand is covered by a hanky and the magician swings tne paddle tnree times, three clicks are heard and on uncovering tne stand tnere are the balls back on the table! Complete with taole, paddle, balls and routine. $a.bu ULTRA BLINDFOLD (JIM HERPICK) Detinuely me Uma lu.nuioiu. mere are dozens of tricks with blindfolds, but undoubtedly this is the cleverest method ever sold and possitively the easiest, to do. A spectator is unnu as a oat witn it on, yet you can drive a car, play darts, even table tennis and dozens of other things you have to have two good eyes to do. No messy preparation, Instantly ready to do, stands minute examination! Tricked to fool the skeptics. One customer wrote he has used three different blindfolds in his act in the last six years but the Ultra blindfold is the ultimate. It's the greatest, tie the man with the X Ray eyes. Complete with blindfold and routines Price $6.50 FLAME THOT (JIM HERPICK) Mentalist has a spectator write a number, name, place, etc. on a piece of paper (any paper.) The paper held by tweezers, is set afire and completely consumed. Mentalist takes a pad or a piece of paper and duplicates the name, place, number or symbol thought of by the spectator. No impression gimmicks of any kind, any paper can be used. Ask the boys who saw Jim's lecture, they all wanted one. Great lor book tests, E.S.P., any mental effect. Complete with routines. Only $3.50 NEW! SPECIAL BLENDOS NEW!! In a flash three 18" silks of different colors blend into a giant yard square silk that is a blaze of color. For the first time these special Blendos are in stock ready for immediate delivery. No need to wait while they are made up. Available In our famous Good Night. The End, or the new "Jalopy old car" designs. Terrific for closings. Also in the brilliant Butterfly or Peacock prints and the fiery Satan or Dragon silks. Lastly the ever popular Rabbit In Hat designs. Specify the design Blendo you want. Immediate delivery. Best method in the world. Complete, each 512.50 MENTASMA (PETER WARLOCK) Magician selects two cards from a blue deck and places them In a clear plastic stand with a wooden base. Spectator selects two from a red deck. (No Force). These are placed in stand, faces to audience. The stand is turned facing audience and fantastic as It may seem the performer's cards OVERLAPPING the spectator's are one and the same! Entirely new method, never before used in any card trick. None of the boys have been able to figure it out! May be repeated Instantly. Complete, only $8.50 ADD-A-NO. (H. W. BREHAUT) Still the world's greatest trick! Get the prop of "1,000 and 1" uses. Insist on seeing it. Will accomplish anything you can imagine! It will vanish, produce, or change anything written, printed or drawn. The vastly improved Tannen model comes complete with 9 different routines and many ideas. First trick to ever get an A Plus rating from Jim Thompson. Complete with 5" x 3 Vi" memo pad and base. Only $8.50 New large stage size now available $10.00 SUCKER CARD IN WALLET (HARDEEN JR.) To have a card freely selected, initialed, shuffled back in the deck and finally vanish from the deck and appear in a wallet, in between two clear plastic plates bound and sealed by dozens of rubber bands is a sensational effect. But wait a minute, this effect doesn't stop there. The spectator swears it's not his card or his initial on the card inbetween the plates. It's the wrong card! Then comes the sucker climax when the card changes to the right one! A double effect with a sock climax. Complete with wallet, plastic plates, etc. Greatest card In wallet ever Only $5.00
llolden's—First With The Best! WEINER'S GUILLO CARD 75c. & $ 2.00 BLAKE'S ROTATING PENCIL, a nifty . . 1.00 THE PROPHET'S BEARD, hilarious 7.00 ANDRUS DEALS YOU IN, the best 5.00 ANDRUS LINKING PINS, automatic . . . . 2.00 ANDRUS SAFETY PIN TRIX, book & pins 4.00 FENICHEL'S NEW CARD RISE, great . . . 16.50 U. F. GRANT'S "UNA-MIND," fine . . . . 2.00 HOLDEN'S MAGIC SHOP Herman Hanson, Manager 120 Boylston Street, Boston 16, Mass.
IT'S "FLEMING'S" FOR MAGIC BOOKS! "Chemistry Magic" (McGraw-Hill, Publisher), cloth, 180 pages $450 "Final Selection" (Gravatt), 38 self-working card tricks, 89 pages, 26 illustrations, regular edition, $4.00; cloth 5.00 "Modern Handcuff Secrets" (Dick Norman), 112 pages, 150 illustrations 8.50 "Magic Wherever You Are" (Severn), cloth, 122 pages, 62 illustrations 2.50 "101 Magic Secrets" (Dexter), cloth, 158 pages, illustrated, just published 2.50 "Magic for Fun" (Radner), 93 pages, many illustrations. Just published 1.00 "Radner on Dice" (Radner), 95 pages, 24 illustrations, Just published 1.00 "Card Sharps & Their Methods" (Radner), 95 pages, 55 illustrations 1.00 FLEMING BOOK COMPANY 728 Madison Avenue, York, Pennsylvania
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