Hugard's
Monthl
V
D E V O T E D SOLELY TO THE I N T E R E S T S
OF M A G I C
JUNE, 1958
Vol. XVI, No. 1
AND
MAGICIANS 50 Cents
COLUMN FOR COIN MEN By JOHN V. HOPE and ROBERT OLSON
Being this is the first in a series of articles, some introduction is necessary. Each month you will find in this column coin effects and routines based on new sleights and unusual principles. The sleights used will not always be easy. But it is our guarantee that the effects found in this column will be effective and practical coin magic. EFFECT: An English penny and half dollar are dropped into a handkerchief and handed to a spectator. The spectator drops one of the coins from the handkerchief into your hand. You vanish the coin with a wave of your hand, tap the spectator's hand and reproduce the coin he is supposed to be holding in the handkerchief. Examination of the handkerchief reveals that he is now holding in his hand the coin you just vanished. perform this effect you will have to master two forms of a sleight called "Flick." Hold your left hand in a comfortable palm-up position in front of your body and place a half dollar on the tips of the first two fingers. Holding your right hand palm down, the first finger extended and the others closed, pass your right hand over the left and stop at the point where the closed fingers of your right hand touch your left wrist. (See Fig. 1). Swing your right hand away from your body over the left hand. As your right index finger passes the base of your left thumb, the left wrist gives a short flick toward the body and at the same time the left fingers give a push to the coin by closing a little. This closing motion is done quickly and for a short distance. The flick of the wrist starts the coin traveling in an arc toSLEIGHTS: TO
/ . SLEEVE MOVEMENT AS RIGHT HAND MAKES AN ARC. 2. DIRECTION OF WRISTJERK. 3. DIRECTION OF COIN TRAVEL TO SLEEVE.
ward the right sleeve, the closing motion of the left fingers gives the coin height to free it of the friction of the left hand and to bring it up to the right sleeve. Keep the motion of your left hand at a minimum and use a sweeping gesture for the swing of your right hand. The other form of this same sleight is to flick a coin up your right sleeve while the right hand is moving toward the body and drops two coins into the left hand. Place a copper English penny on your left fingers in readiness for a normal flick vanish, finger palm a half dollar in your right hand and hold another half dollar between the thumb and first finger of your right hand. Extend the right hand in front of you as if you were taking the half from a spectator or picking it up from a table and swing it toward your left hand. As the right hand approaches the left, flick the penny up your right sleeve and drop both halves from the right hand. As soon as these coins arrive in the left hand close your hand over them.
This leaves you with two half dollars in your hand when the spectators think you have a half dollar and an English penny. PROCEDURE: In your right pocket you have two half dollars and in your left pocket an English penny. Reach into both pockets and bring out the coins they hold but finger palm the extra half as you do so. Drop the copper penny and the unpalmed half on the table and ask to borrow a gentleman's handkerchief. Take this with your right hand and drape it over your left. Pick the penny up in your right hand and drop it on the left hand in position for the flick. Pick up the half dollar in your right hand and toss it into the left hand. As you do this, flick the penny up your right sleeve drop both halves into the left hand and turn the left hand over. Through the handkerchief grasp a coin in each hand and have your spectator hold them the same way. Ask him to drop either coin into your left hand which you hold underneath. He drops one of the halves and you have him close his hand over the other which he thinks is the penny. While he is dropping the coin into your left hand lower your right hand to your side and retreive the penny from your right sleeve and finger palm it. Flick vanish the coin in your left hand up your right sleeve and tap with your right hand the spectator's hand which is holding the coin. Pass your right hand back over the left and drop the penny palmed in the right hand onto your left. That completes the sleight. All that is left to do is to have the spectator open the handkerchief and find the half dollar inside.
Hugard's MAGIC
June, 1958
Monthly
BACKSTAGE with FRANK JOGLAR The S.A.M. Conference, May 29June 1, at the Sheraton-Fontenelle Hotel in Omaha, Neb., opened with a Night Before Close-Up Session featuring serior Maldo, Jerry Andrus, Brother John Hamman, Senator Crandall and Bruno. Then exuberant Jimmy Muir directed attention to the stage at the far end of the hall. The Rene's opened with silent sorcery. Best bit: the production from a foulard of a huge glass containing a live dove. Del Mac skated out in clown costume and soon had the audience howling with his funny Linking Ring routine. The rings stretched out of shape, twisted and tangled as he linked and unlinked them. Nadyne showed her skill with lighted cigarettes. Leslie Guest paired two packs of cards after mixing one, separated beads of two colors mixed in a glass and pleased with his shadowgraphs. Franco and Charmaine featured silk productions. Nadyne and Nardini offered the canvascovered crate substitution act they have had on the road for G.I. audiences. The change was fast and the lacing and unlacing was speedy. Jack Larkin's specialty was sleight-of-hand with the emphasis on bird productions, shot a light bulb burning behind his daughter without damaging the damsel, exhibited the Disembodied Princess illusion and caused a sleeping tot in a toy car to float in the air a la Richiardi, Jr., but without Richiardi's masterful showmanship.
Friday Ken Allen opened the morning festivities with his "Do It Yourself" lecture. Excellent as always. Don Lawton paced the dealers show. Mystic Craig showed his colored films of magicians here and abroad. Senator Crandall in good form introduced the acts on the night show. John Shirley opened with a bit of burlesque magic then enticed Jim Wobensmith, Milbourne Christopher, Hans Landay and Ronald Haines up to wear funny wigs and hats and move their mouths as he ran behind them speaking the parts in a villainmeets - farmer's - daughter melodrama. Arch Jeffries manipulated cards and birds. Tom Harris was never funnier with his British school master and two boys from the audience comedy. High spots: his handling of prop mice and a prop rat with fantastic realism. Bruno
and Wiesje followed with "Yust Different." Nadyne and Nardini with their magic bar act conjured up called-for drinks and finished with an atomic cocktail that gave up a bang and a puff of smoke. Julius Sundman and Nadja scored with their fast-paced trickery. New this visit a Rising Cards sequence with jumbo cards. Still most effective: their colorful silks from paper cone. DeYoung and Company closed with about 40 minutes of large, small and inbetween magic. Best items: a haunted house presentation of the Doll House and the Rods Through Girl illusion. Crandall's Six Card Repeat and his rope cutting comedy were hits again. Saturday Goodliffe and Harris mystified many with their accents during their lecture. Most interesting items: the photo of Goodliffe which talked back, the card stand which automatically rearranged letter cards in an instant, and Harris' handling of imitation mice and coin manipulation. Another close-up session and more Mystic Craig movies enlivened the afternoon. Craig rates praise for his film work, but editing of the material is sorely needed. Transitions are jerky, many famous magicians are shown dropping props and fluffing material. With the best material —and there is a lot of it— pruned and put together logically he will have an enthralling record of current magic. Among the films shown were shots of the Hartford Convention, Jack Miller at work and David Berglas on sleeving. The Civic Auditorium Music Hall, a beautiful theatre, had at least 2,200 spectators on hand for the International Stars of Magic show. Jimmy Muir with his funny hats, musical saw, oneliners and hustle-bustle kept things moving. Senor Maldo in colorful Mexican costume won the audience easily with his charming manner, torn and restored paper, egg on fan and large paper design finish. Sam Berman in tramp costume followed with pantomimic sleight-of-hand with billiard balls, lighted candles, etc. John Shirley and Bonnie Dale rated cheers with their puppets. The dog and fire hydrant and the trapeze performer were outstanding. The Sundmans scored again with their
silk sorcery. Jack Pyle's ingratiating manner and smooth delivery put him across with card manipulations, silks, big rabbit production and Saturday Evening Post memory test. Jack Bauer and his pretty assistant sold a levitation solidly with the girl's dance building interest for the final soar in the air. Neil Foster's manipulations were brilliant. He was the outstanding sleightof-hand p e r f o r m e r on any show. Though earlier acts had taken the edge off some of his trickery, his card manipulations, lighted cigarette work and topnotch Zombi routine racked up a hit. V-Roy and Co., had a fine audience participation feat with a giant size Hippity Hoppity Rabbit passe passe. The look on the little boy's face as he came up to turn around the cutout bunnies was memorable. Rods were pushed through a small cabinet which held a girl. Finish was Laurant's cremation illusion. The surprise finish finds the devil none other than V-Roy himself. Closing act caused much comment previous to its appearance. How could you close a show with a balloon act everyone wondered. Out came John Shirley (his third appearance with as many different acts). He made balloon animals with witty patter all the way. Then the spectacular finale. He showed how you could shoot a balloon like a rocket by pushing your index finger in one end and letting the balloon fly forward. Out came a stand with more than a hundred ballons. He and his helper shot them rapidly out in the audience and the spectators were told to shoot them around in the air when they landed. Soon the auditorium was filled with long balloons of many colors zooming in every direction. A fine climax! Sunday More Mystic Craig films, a plug for the Therapy Through Magic work by Blanca Lopez, Jerry Andrus' excellent lecture, and contests took up the morning and afternoon. The banquet —cold cuts— short, snappy speeches and hilarious gag with a photographer setting up his camera for a convention photograph. The camera had a windshield wiper and dozens of other funny contraptions. Then into the final show. Goodliffe in red coat pleased again with his humor and novelties. Roy and Bernice Mayer made an attractive appearance. His magic was smartly dispatched. A silk tuned up tied to a candle. A ring appeared on a long wand in a long
Hugard's MAGIC
June, 1958 box. Rings were linked and unlinked. Then the smash hit of the convention: Curtains opened on two tables. Jerry Andrus walked out. Silently he showed a tube on one table, two tubes, a glass and a silk on the other table. As he turned to one table the other tilted and the cylinder crashed to the floor. He picked it up, replaced it. Turning to the table with the two cylinders he began a routine with the silk in one cylinder. Again the other table tilted and the tube rolled off. He picked it up. As he did, the table with the two tubes whirled around. The tube which should have had the silk was empty. From this point on, with one table tilting and the other whilring madly, the act built to a maddening finish which drove Jerry to pound the floor with frustration. Walter Graham came across nicely with the floating cane, You Do As I Do bottles and cut rope. Glen Harrison's features were solid balls from bubbles, card sword, passe coins and the Miser's Dream with many novel touches all the way. Al Stevenson hypnotized by Goodliffe dreamed he was world's greatest magician. In a very dimly lighted stage in front of a black screen he produced and vanished small and large cards and other objects with the greatest of ease. White-haired mentalist Steve Stevenson and attractive dark-haired assistant opened with memorizing sixteen words chalked in squares on a large blackboard. Then after a number was called out he used the squares to chalk up a magic square. Good combination idea. He divined a lady's age and the number on a driver's license, finished with calling off the digits on a dollar bill held by Bruno in the audience. Jack Bauer wound up the proceedings. A clean-cut, all-Americanboy type, Jack zoomed through a flashy opening with fire bowl, fire to bird, bird vanish. Dove from bag, vanish in box with paper sides. Sucker table gag with giant rabbit surprise finish. Then the blooming rose bush, blindfold vision with objects held over metal ball under his fingers. Fast finish with acrobatics by Jack, flips in the air and flower productions. This young man should go far. He has a fine appearance, good stage deportment, fine voice and an obvious knowledge of what an audience enjoys. Sidelights Hugh Riley is the new SAM prexy. Dr. Tarbell was made an honorary
Hu-Gardenias to the Officers and Members of the Omaha Assembly No. 7 Society of American Magicians For their conduct of the S.A.M. Convention in May. Sincerest congratulations are due for the very fine programs of magic that were arranged. This Convention will go on record as one of the happiest in every respect.
member of the society. The 1959 conference should be a humdinger; it'll be a combined convention with the I.B.M. in Chicago... Among those present: Russ Walsh (he did a fine act on the dealer's show with color changing tie and production of table, hat and rabbit from foulard, etc.), Jim Sherman, who sat back, took is easy and talked old times, Arnold Furst, enthusiastic about his hyp. lectures... Tatroe's prize-winning sawing through an arm was snapped up right away by Joe Berg. You'll be seeing it on the market... Hal Products had a clever souvenir idea. Your photo on a document attesting convention attendance with space for autographs . . . Among the other dealers on display: Don Lawton, Jack Chanin, Ireland Magic (with Neil Foster minding the store for Frances and Jay) Ken Allen, Senator Crandall, Martin's Magic Shop, Satan Magic, Haines House of Cards, Arlane Mfg. C o . . . Mystic Craig filmed some of Brother Hamman's unusual card work . . . Speaking of Brother Hamman, you will enjoy the book about his card work which LePaul edited. He rates four stars for an original approach . . . The Omaha hosts arranged trips to Boy's Town and made the conventioneers feel at home. Behind the registration desk was Tatroe's window-display of a magician figure causing a girl to rise, then passing a hoop over her floating figure. Very attractive... There was considerable duplication on the shows. The current craze is, of course, dove productions , . . Many acts would have been better trimmed precisely in half... The
Monthly
Tony Marks influence was strong. No less than three magicians produced huge rabbits. LePaul Paul LePaul (Braden) died June 8 ol cancer in the Missouri Facific Hospital in St. Louis. He was 57. Through the war years and after Paul performed his marvelous card conjuring for our troops around the world. Chances are more service men saw him perform than any other magician. During his years in vaudeville and the night clubs his smooth sorcery and always friendly manner delighted audiences, inspired magicians. Paul was modest, unassuming. His close-up wizardy, especially the aces in sealed envelope matched the perfection of his stage performance. Thurston and Leipzig were two of his idols. What a thrill it was to see him play the part of Thurston a few years ago at the Chicago convention. Though few magicians knew it, painting was one of his hobbies. He enjoyed most working with oils. Paul LePaul was unquestionably one of the greatest manipulative artists of our times. Deep down where it really hurts we feel his passing. The curtains have closed for the last time on the smiling performer in faultless evening clothes, but he lives on in the memories of those who marveled at his skill, of those who had the good fortune to know him. News Dai Vernon made a hit among the magicians in Holland and scored solidly when his magic was televised... Slydini is off for Italy, with bookings in England to follow . . . Cheers for the members of F.A.M.E. who triumphed over a high wind in Central Park's Mall with their annual show. Guest artists Tony Correa, Arnold Furst and Al Flosso rounded out the afternoon. Antoinette Deutsch emceed ... Wish we could have seen the show at the Wilshire-Ebell Theatre in L.A. May 30 and 31st. Aubreym Brich, Kirkham, Harry Blackstone, Jr., Bill and Dottie Larsen and Senor Ermando were featured, with Art Baker emcee. Jottings Harry Green died in London, May 31. A comedian, he also enjoyed performing card magic. Winston Churchill and the royal family were among his spectators at one time or another. His exposures of tricks on TV aroused the (Continued on page 11)
June, 1958
Hugard's MAGIC Monthly
OUT OF MY PROFONDE By ARTHUR LEROY "Quo Vadis" — Part II — Old Songs are So Sad
There was no stopping it... the theatre was dying like a martyr. The demolition crew seemed to be tearing down the old Fifth Avenue Theatre with sadistic efficiency. In the morning's early light, the operation reminded me of Dore's illustrations for "Dante's Inferno." The half demolished structure, the engines of destruction chugging ... puffing ... slamming ... downing; the parade of tortured souls working ... plucking at the ruins like so many harpies. Yes, indeed, fellow passengers, this was 1958, the theatre was dying and this was the Inferno of our era... Hell to behold! But you and I are fortunate. God gave us a gift beyond all others. He gave us memory... and as I watched the demolition crew, out of my soul I sent a little prayer: "Oh God, please keep my memory green." For I so wanted to remember this theatre and so many others now departed ... so many. Many which had played so large a part in making me what I a m . . . good, bad, indifferent. I never wanted to forget that Spring night almost thirty years ago... The Fifth Avenue Theatre was in her maidenhood—a purveyor of entertainment to those who were not overburdened with the world's wealth. A theatre where young, fledgling talent might be seen, appraised, and travel on to greater glory or go down to crushing defeat. But in those days one defeat was not final for opportunities were many and there was always tomorrow. Spring... a kid of sixteen "going on seventeen" ... the theatre a haven, a heaven; MAGIC... a way of life ... a dedication. The doorbell tinkled. I was alone in the apartment. My mother —Lola, my father—Jules, were off on a weekend. I opened the door and it was the friend of my youth, the translator of my immaturity—Harry Dreilinger. "Come on, come on! Fifth Avenue Theatre... fellow from St. Louis ... . met him at Ducrot's. Come on, come on! Braden ... name's Braden. Know him?" Harry's diction was worse than usual and, usually, it's worse than it should be. But Harry was excited for he had made a discovery: a new magician, trying out, at the Fifth Avenue 4
Theatre. And in those Golden Days this was to be valued above fame, fortune, honor, common sense. Harry Dreilinger, magical iconoclast, had discovered a new young magician ... and his name was Paul Braden. The theatre was only a few blocks away and we rushed through the streets so that we wouldn't miss the vaudeville bill and get stuck through a tenth viewing of "Ivan Moskine in Michael Strogoff" which Harry and I had caught for a year on vaudeville show after vaudeville show. We were in time. The tinny fourpiece orchestra was climbing into the pit, the Kinegram reel was winding up! The orchestra went into the overture: Von Suppe's "Light Cavalry" transposed for piano, drums, fiddle and cornet. Poor Von Suppe! He was, undoubtedly, doing acrobatics in his grave. Opening act: Max and his Gang— the "Gang" made up of poodles and fox terriers. Then the annunciator read "LePaul." The kid from St. Louis was on. The four-piece musical mayhem played his music. He was routined to a current pop tune, a waltz, "Remember Me!" When you're away, At close of day, Remember me! When shadows fall, And you recall, Remember me! Paul LePaul was on stage and his performance was a joy. The youngster was an immaculate stage personality ... smooth, svelte, trim, slender. His card fans, changes, palms, back palms, split fans, steals, loads, were things of beauty. On stage, before our dazzled eyes, for the first time, stood a magical poet ... a lyrical performance of sleight-ofhand was in progress. I hugged Harry ... Harry hugged me. Great! Wonderful! Beautiful! we commented ... We said Paul LePaul was a comer. And we were right. For his many years as a standard attraction proved that we were not mistaken in our first critique. "Come on," said Harry, "he wants us to pick him up in his dressing room." We went back and Paul was waiting
for us. He shook hands and I liked him immediately for he didn't ask Harry "What did you bring the kid for?" After all, he was fully six years older than I! The guy was sweet. He was a long way from home. His future was as uncertain as all show business is uncertain. And he needed friendship, companionship. We left the theatre and started down Fifth Avenue past Central Park filled with playing children and young lovers plying row boats in the lake. As we walked, we talked ... our hopes ... dreams ... plans ... what we would be ... what we would contribute ... what we wanted ... "Some day," I said, "I'll do an act with no props, no tables, no sets. I'll take the stage in 'one' and my act will be in my pockets. All skill. That's MAGIC! No boxes, no traps, no twins, no big junk." Paul Braden, superlative manipulator, a boy who's future was to be monumentally assigned to the subtle and skillful in the Art of Magic, answered: "Not I! This is only my start. I want the biggest magic show in the world. I want the greatest illusions, lots of assistants, plenty of flash and color. I want to top the Thurston show. Believe me, Thurston is the greatest performer of Magic in America. Anyone can do ten minutes with a deck of cards. Thurston is an attraction—really a show! That's what I want." And I was seventeen, or sixteen, or something and the oldster from St. Louis who was giving me such advice was only twenty-three. Then Harry Dreilinger changed the tune and said: "Naw! I want to be like Hymack! That's the greatest act in show business. That's what 7 want!" So we walked over to Madison Avenue for coffee and cake. And this was our first meeting. The three, with hopes ... dreams ... ambitions ... And for all the years that followed the meeting at the old Fifth Avenue Theatre, we were friends who corresponded, met at the most unlikely spots, and lived in love, respect, affection. During World War II, I was running an army theatre —The Pal— in Schwetzingen, Germany, and Paul LePaul came in with a unit and when we saw each other so far from the old Fifth Avenue and in such sorry times... (Continued on page 11)
Hugard's MAGIC
June, 1958
Monthly
MILBOURNE CHRISTOPHER'S COLUMN What is the best way to force a page in a book? Talk with a dozen mentalists and the chances are that you will get a dozen answers. Personally I dislike any of the procedures in which numbers are multiplied, or subtracted or otherwise manipulated to get a page number. If you must use numbers, however, the classic technique of having several persons jot down single digits is perhaps the best. You look on as they write. When the total approaches the sum you have in mind, secretly add the number to make up the page to be forced as you draw a line on the pad and pass it to someone to use for the addition. Those who distrust their ability to calculate quickly can use the Ad-a-no mechanical pad. A tug of the string and the dirty work is done. Forcing a Page Long ago Will Goldston described the simple, direct force in which a spectator inserts a card in a book, the book is passed to another spectator and the book is opened at the point the card entered. His instructions left much to the imagination. He said you should have another card inserted in the pages you wish forced. The book is held with this card toward your body. After the spectator pushes in a card, you boldly turn the book, push in his card and extend the volume to another spectators so that he opens it at where your card extends. Many magicians have used this stratagem, especially those who go down in their audiences. Here is a cleaner version, which is easy to master. This, deftly done, is good from all angles. The handling is natural. There is no obvious bookturning. Take a book, hold it so the spine is toward your body. Insert your force card in the edge of the book to your right. Allow it to extend from the pages about three-quarters of an inch. Before your performance put this book on a table so that the end in which the card has been inserted is to the rear of the stage. Have the book extend over the rear edge of the table about two inches so that you can pick up the book easily when the time comes to use it. Put a folded handkerchief over the book so that it will hide the
protruding card—just in case someone, during your act, passes behind the table. When you are ready to perform your book test pick up the handkerchief, mop your brow. Put it aside. Pick up the book with your right hand, fingers underneath, thumb on the top. Your hand hides the card. Take a matching card in your left hand. Give it to a spectator. Hold the book between your two hands, the spine toward your body. The long, open side of the book is extended to the spectator. Instruct him to insert the card anywhere in the book, leaving an inch or two of it extending. When the card has been inserted turn to the left toward another onlooker. Grasp the edge between your right thumb and the first joint of your right index finger. Move your right hand around the edge of the book toward the protruding card which was put in by the spectator. The force card goes along with your hand. Most of it is hidden in the book, your hand hides the rest. Be sure no trace of it appears between your thumb and forefinger as the thumb and forefinger approach the spectator's card. If the spectator's card is below your force card, bring the force card over and above the spectator's card. Secretly push the spectator's card into the book with your middle and ring fingers. This leaves the force card in view. If the spectator's card happens to be above the force card, when the force card comes close to it, slide your hand over, push the spectator's card in the
MAGICANA More than 100 years ago, RobertHoudin excoriated those magicians of his time who habitually exposed the secrets of rival magicians in order to enhance their own. How often today do we hear magicians say. "I do not force a card on you" or "You see, I do not palm the card" and the like at the same time exposing these sleights? So far from adding to their own prestige, such tactics actually diminish it. On hearing such revelations, the onlookers naturally conclude that the tricks being performed are done by equally simple methods.
book and grasp the left edge of the force card between your thumb and index fingers. As you are doing the above, your patter explains that you wish the book to be opened where the card has been inserted. If you have the force card in the upper quarter of the book, almost invariably the first handling outlined can be used. This is the better cover of the two. Just as the spectator reaches for the book, lift the card slightly so that the spectator can open the book easily. The force has been made! Suggestions Use a book most spectators will know. An almanac, for instance, or a current best seller. Playing cards or business cards may be used. If playing cards are used, employ a matching pair. If you are performing in someone's home, borrow a book before your show. You can choose a page to force and insert the force card in a few seconds. Which P a g e ? Now for the best part of the whole test. Look through the book you plan to use until you find two pages, one opposite the other, which begin with the same word. Memorize the first line on each page. The spectator has a FREE choice of either page. Have him concentrate on the first line. First spell out the word which leads both pages. Then try the first letter of the second word. One letter will indicate whether you have the right page. If it's right, go ahead. If it isn't, appear to concentrate more intensely. Give the first letter of the second word on the other page and —with sufficient dramatics— continue to call off the rest of the words. Even if you don't use the cardinserting force, this method of allowing a free choice of two pages will come in handy with other techniques. Suppose you can't find two facing pages which begin with the same word? Then you find two which have words which begin with the same letter. Your calling of a second letter will give you the clue for the rest of the sentence.
Hugard's MAGIC
June, 1958
Monthly
BOOK PROFILES by JOHN J. CRIMMINS, JR. 1957 CARD ANNUAL—A 36-page offset printed book with 15 illustrations by Dr. Gloye. Published by Ireland Magic Company. Price $1.50. This is the second of the card annuals issued each year simultaneously with the Ireland Year Books. I would say the material in this year's issue is better by far than what appeared last year. There are 18 card effects contributed by 13 magicians but space will not permit me to describe every trick. However, the following are noteworthy: Ed Mario gives his version of what I've always considered as one of the finest card tricks in existence—Hofzinser's "Everywhere and Nowhere." Mario's version eliminates the top and bottom change, and offers one of the boldest methods yet described for assembling the three necessary force cards on top of the deck right under the spectators' noses. He also gives and additional climax you may like for this trick, and finally contributes his Buckle Break to the collection. Geof. Buckingham offers his "Super Do As I Do," which is excellent and makes use of an old-time and almost forgotten strategem which makes the trick a knockout. Al Leech contributes two excellent tricks, one of which is his "Kings on the Loose"; Harry Riser offers his preface to "Out of this World" that will appeal to those who've mastered the Second Deal, and reprinted here is that excellent story-card trick which L.L. Ireland and Carlton King created back in 1935 and which appeared in the limited edition of "Exclusive Magic from Our Notebook." This is real entertaining magic and should find favor with many of today's magicians. Other contributors include Billy Wiggins, Jack Avis, Everett Lyda, Henry Durkin, Dr. R. Moershall, Roy Walton and John Derris. All in all it's excellent value; you card sharps better latch onto a copy. IRELAND'S 1957 YEAR BOOK—A 44-page offset printed book with 16 excellent illustrations by Dr. Eugene Gloye. Published by The Ireland Magic Company, Chicago, Illinois. Price $2.00. This year's edition, like all the previous ones, contains a wealth of miscellaneous tricks (including mental stunts) with all types of magical props. For good
measure, a couple of easily-built illusions by Dr. Gloye are also included. Probably the highlight of this year's book is a beautiful series of manipulations with from one to eight thimbles by Geoffery Buckingham. The finale is a startling and surprising penetration of a large cloth by four thimbles, not one at a time but all at once. If you are a manipulator and that doesn't whet your appetite, then I don't know what will. Another feature is "The Book Within a Book" which in this issue is a reprint of Bert Douglas' "Modern Club Act With Patter." For those present day magicians who may never have heard of Bert Douglas, may I point out that all his material is first rate. True, most of it was published some twenty years ago, but in looking over the five tricks in this section (20th Century Silks, Card to Pocketbook, Cut & Restored Rope, Paper Shavings to Pabst Beer, and a Sucker Card Trick) I was struck by the many ingenious and practical twists he built into his routines, all of which are as good today and when he first published them. For instance his wallet for the "Card to Wallet" can easily be made by anyone, and it will probably fool the pants off most magicians. Aside from audience-tested routining of the tricks, Douglas' patter is short, entertaining and right to the point. Aside from the above, contributors consist of Jack Avis, Lane Bateman, Bob Henderson, Everett Lyda, Dr. Conrad and Wanda, John Gannaway, Terry Nosek, Frances Ireland, Allessandro, Tot O'Regan, L.L. Ireland, Bob Schmidt, Bill Hendricks, Harry Benfer, John Pomeroy, Oran Dent, John Derris, Bob Parrish, John Mangan, and Gene Kirk. Finally, this issue is dedicated to one of my favorite comedy-magicians, Carl Ballantine, and features a fine photo of him as a frontispiece. MARGINALIA—When I reviewed that book of new and original card effects titled "The Card Magic Of Brother John Hamman" I was so intrigued by the freshness of the material that I just had to find out who this Brother John Hamman, S.M. was. Blanca Lopez met him at the Omaha Convention and
has supplied the following information which I'm sure will be of interest to every card magician. Brother Hamman is a member of the teaching order of the Society of Mary being a professor of English at their high school in St. Louis, Mo. He showed an early interest in magic some fourteen years ago when he visited Ireland's Magic Shop but the inoculation did not take hold until he was 25 years old and was fighting a courageous battle against polio which had laid him low. At that time he wrote again to Ireland's requesting a catalog which Frances Ireland supplemented with a batch of magic books and magazines. Further than that she sent his name to the I.B.M. Sick Committee and Brother Hamman found himself the recipient of thousands of letters and cards from members all over the world. Magicians dropped in to see him, and cne —Forest Hendricks, Prexy of the I.B.M.— obtained permission and took him to an I.B.M. picnic. Brother Hamman joined both the I. B.M. and the S.A.M. in 1953. Among his many friends are Don Lawton who has marketed Bro. Hamman's "Final Ace Routine," which I reviewed some time ago and which is a honey, and Paul Le Paul who was so impressed by the unusual Hamman slant on card magic that he edited and illustrated a fine selection of Brother John's tricks under the title of "The Card Magic of Bro. John Hamman." Incidentally Brother John won the close-up contest at the Omaha Convention which for a man who has only been in magic a few years speaks volumes for his originality and ability. For those who may like to correspond with Brother John his address is 4701 South Grand Avenue, St. Louis, Mo. Edgar Heyl, 223 E. Biddle St., Baltimore 2, Md. has issued his May Catalog No. 26 listing some 347 items including books, memorabilia, scrapbooks, periodicals, etc. Copies are free for the asking. Those liking mentalism will be pleased to hear that with the current issue (No. 9) of "The Cardiste" the publisher is starting a section on mental magic under the editorship of Hardell, the Magician. Send your contributions to Hardell at 658 W . 8th Street, Erie, Pa., but send your subscription to Rusduck, P.O. Box 372, Philispsburg, Pa. Cost, only $3.00 per 12 issues. Just received for review is a new (Continued on page 8)
Hugard's MAGIC
June, 1958
and tell them it is really blank too as you have removed the drawing. When the demand to see the other side has reached a climax turn the slate around. What they will see is now explained. It is the picture of the engineer of the train. Pass the slate around for closer inspection if you wish. There is nothing to disclose. PREPARATION: Secure as large a slate as you wish to use. Prepare an ordinary flap for this slate. Use the drawing as a sample and make a cut-out of the engine large enough to fill the slate. Using the cut-out as a template draw an outline in pencil on the flap of the slate, the side that will face the audience. The flap covers the blank side of the slate; on the other side of the slate draw or paint a picture of the engineer. I drew the picture in colored chalk and then sprayed it with a fixative, or, you non-artists can paste a picture on the slate. On the same side of the slate the cut-out is affixed. This is where the spring clip comes in; ostensibly it is used to hold the chalk and string. Actually, it is to hold the cutout on the back of the slate as well as
TRICKS FOR CHILDREN IN SEARCH OF A MAGICIAN
CHATTANOOGA EXPRESS By THEO DORE It is with pleasure that I embark on the pages of Hugard's MAGIC Monthly with a series of tricks for children. I consider it a high privilege to join the illustrious company that surrounds me and am indebted for the opportunity to convey to you some of the effects that I have used over the years with marked success. It is axiomatic that not all tricks are suitable for all magicians, so here's hoping that in this series you will find at least a few that you can use. Certainly they have been tried before audiences of youngsters and been favorably received, and the very least that can be said is that they are away from the run of the mill and the familiar props so dear to the performer. In "Chattanooga Express" the entertainer picks up a large slate and shows it to his audience. It is a blank slate and fastened to it with a spring clip is a piece of cord with a stick of white chalk fastened on its end. "Of course, everybody here knows what this is, that's right," you say, as some exceptionally bright boy tells you it's a slate; "As a matter of fact," you continue, "it's the very same slate I used when I went to college... I always hated arithmetic so whenever there were sums to do why I would draw pictures. Let me think, I think I'll draw a cow, does anyone know what a cow looks like?" The child who thinks he knows "what a cow looks like" is then asked to describe it and this usually brings some laughter; and don't forget to have the child "Moo" at the end. Repeat this idea with another animal or two but do not overdo this (a common fault when entertaining children). Please understand that this by-play creates a rapproachment with the children and makes you an entertainer of children rather than one who does tricks for them. I am also assuming that you are working for a fairly intimate audience rather than in the center of Madison Square Garden. Finally say, "I love trains, I think I'll draw a train." Penciled in light outline on your slate is a picture of an engine. Fill in the outline with chalk, and then remark that you have no room left for the rest of the train. Sometimes I do not tell the audience what I am
going to draw and fill in the outline up-side-down, letting them guess what I am drawing. This depends on the mood of my young audience and the time and place. Hold up the picture and say this is the engine of the "Chattanooga Express" or use any colloquialism you care to. If your audience is quite young draw the slate across the table and make a noise like a train whistle. Now the engine is going through a tunnel. The tunnel is nothing more than a sheet of black card-board pre-
SLATE WITH CHALK DRAWING OF ENGINE ON THE FLAP
SPRING CLIP AND CHALK
WHITE CARDBOARD CUT-OUT
/ THE ENGINEER.
viously shown flat and then opened up in the form of a triangle. You back up the engine inside of the tunnel, which is lying on the table. The slate is held in the left hand and the right hand reaches inside the tunnel while the slate is out of view inside and draws out the engine. The "engine" is a white piece of card-board heavily chalked and cut out in the shape of your drawing. Blow on it as if it was the original chalk drawing you had just made and the dust will fly around a little. Lay it on the table and then pull out the slate and show that it is blank. It will be perfectly obvious to the children that you, even as a magician, haven't really removed the drawing and they will clamor to see the other side of the slate. Hesitate within reason; keep looking at the other side yourself,
Monthly
SLATE MELD WS/DE TUNNEL
< DRAWING THE ENGINE OUT OF THE TUNNEL
the flap itself. This permits of free handling of the slate. However, the clip is removed before the slate is placed in the tunnel. The tunnel itself is a sheet of black card, as previously explained, and folded in three parts. The base rests on the table. When the slate is placed inside the tunnel, the flap is allowed to fall on the base of the tunnel. First the slate is turned around inside for easier handling. This permits the engine to be drawn out naturally from the tunnel. Be sure it is so placed as to permit it to be drawn out in a forward manner. The flap is picked up inside the tunnel as it is folded and put away, a perfect getaway. The trick, of course, is now finished. Be sure that when you withdraw the slate the blank side is (Continued on next page)
Hugard's MAGIC
PATTER Collected by CLIFF GREEN Most men don't know that the weaker sex is the stronger sex because of the weakness of the stronger sex for the weaker sex. Girls of today are just as pretty as the girls of 20 years ago. In fact, under all that makeup, they might very well be the same girls. * * # Women have their permanent waves. All men ask for is permanent hair. * * * TOSSED SALAD: He had a hydramatic handshake—no clutch . . . Show business today: talent or bust—one is a must... Hell hath no music like a woman playing second fiddle... "I met my wife at a travel agency. She was looking for a vacation and I was the last resort."... A woman will buy anything she thinks a store is losing money o n . . . Girl talk: "Wait till yo'u meet my cousin. Tall, broad shouldered, with big muscles and a mustache. Otherwise she's a lovely girl." . . . The people hardest to convince they are of retirement age are the kids at bed time. *
•
•
An American is free to choose his own form of government—blond, brunette or redhead. * # * The easiest way to support a wife in the manner to which she's accustomed is to let her keep her job.
BOOK PROFILES (Continued from page 6) book by C. R. Wylie, Jr. called "101 Puzzles in Thought and Logic" which I'll look into for my next column. Thanks a million fellows for all your cards and letters which kept me cheered up during my recent hospital stay. It's nice to know one has so many friends in magic. BOOKS FOR REVIEW should be sent to John J. Crimmins, Jr., 265 Park Hill Avenue, Yonkers 5, New York.
8
June, 1958
Monthly
CHATTANOOGA EXPRESS
SHADOW MAGIC
(Continued from previous page) showing so that the inevitable "Let's see the other side" will be heard. You may refer to a trick of this kind as a "sucker" gag, a word I detest and never use. Please don't end effects of this type by saying "I fooled you that time," or, "You got stung, didn't you?" A perfect way of antagonizing the children as well as adults that may be watching. No one likes to be "fooled" and your job as a magician is to deceive the audience but not to make fools out of them. When you turn the slate and see the picture act surprised as if you were part of the audience seeing it for the first time. You could remark, "I wish I were an engineer of an Express Train, don't you?"
GAMBLER'S FALSE CUT By HARRY LORAYNE This interesting false cut was given to me by Chop Chop of magic fame with special permission to have it published in this magazine. This is a table cut and is done completely on the table—not in the air. If the entire deck is bent upwards, the long way, it will help in the handling. Unless cut is done on a soft surface. PROCEDURE: Deck is on table, face down, with a long side facing you. Deck is grasped from above, with thumbs on long side, near the ends. Second and ring fingers of each hand on opposite long side, also near the ends. Both forefinger tips rest naturally on top card. Little fingers play no part in move. (This is almost the Hindu Shuffle grip with each hand.) Lower half of deck is pulled outwards with right hand (Deck A ) . This is placed on top half (Deck B ) , but a step is formed by placing this half (A) further to left than Deck B. In other words, top half should now be overlapping the bottom half at the left end. The right hand will cover the obvious step on the right end of deck. Now the lower half (Deck B ) , the original top of deck, is pulled out. The right forefinger carries along the top card of Deck A (top of deck, at this point). Incidentally, you can facilitate this, and be sure of getting only one card,
by moving the right hand sort of towards the right and away from you. You'll see what I mean when you try it. Now, right hand returns to tabled portion. Left forefinger lifts slightly to allow it to take the same card from top of half in right hand, pulling it back onto tabled half. Right hand brings its half back, and slaps it on top. That's it! REMARKS: Practising with top card face up will help follow what's happening, although this is not the card that moves. The left hand actually does not move throughout, except for the forefinger lifting. When slipped card is taken back onto tabled half, the right hand moves away while left forefinger simply holds the card back. It may help to remember that this is a "four beat" move. No. 1. is the undercut, and forming of step. No. 2. is the removal of lower (now) half and top card with right hand. No. 3. is the right hand coming back, then away, as left forefinger retains top card of right hand packet. No. 4. is right hand slapping its half onto tabled half. This move should be done in an offhand manner, or, perhaps the word is "nonchanlant," and fairly quickly.
June, 1958
OUT OF MY PROFONDE {Continued from page 4) we embraced, and laughed, and the questions and the tears flowed unashamedly . . . And the Colonel said, "They are old friends" . . . And the Captain said, "Kids together" . . . And the younger privates said, "They cried... I saw them cry!" And they were right for I cry again. As I write, the newspapers are carrying the obit: Paul LePaul is dead of cancer. The Fifth Avenue Theatre where we first met is dead of cancer, too— economic cancer. And the bell rang and it was Harry Dreilinger. "Hurry! Fifth Avenue Theatre . . . New Magician . . . St. Louis . . . name's Braden . . . Paul Braden ..." And the four-piece orchestra climbed into the p i t . . . and the lights went down . . . and the annunciator read "LePaul" . . . and the music followed his superb manipulations . . . When you're away, At close of day, Remember me! When shadows fall, And you recall, Remember me!
Hugard's MAGIC
COUNT-OFF By GERALD KOSKY If you like set-up, puzzle type, card effects, the following might be of interest to you. Set up 13 cards of one suit as follows; 4, A, J, K, 2, 10, 6, 7, 3, 5, Q, 9, 8. The four spot being the top card of the set-up and the eight spot the bottom card. Explain to your spectators that you've trained a group of cards; same as rookies are trained in the armed services, to count off to their position when they are at attention and, commanded or ordered to do so. In order to prove your statement, you take your set-up group of cards and do as follows: Take the top card and place it on the bottom of the set-up. Remove the card that is now on top; show that it is a 1 (ace). Put the ace so that it is face up on the table. Now, take two cards from the top of the set-up, one at a time, and place them on the bottom of the set-up. Show the next top card to be a two spot. Put the two spot
BACKSTAGE MEET THE ROYAL FAMILY By GERALD L. KAUFMAN (Solution to last month's problem) The King can't be on the left end, because this card said the card next to it was the King; and the King always tells the truth. The King can't be in the middle, because this card said it was the Queen. So the King must be on the right end. Therefore the middle card is the Jack, because the King truthfully said the Jack was next to him. So the Queen must have been lying; for the only place she can be, is at the left end. Houdini — Robert-Houdin The two preceding pages consist of the 13th installment of the book HOUDINI'S "Unmasking," by Jean Hugard which may be removed for separate binding without damage to the magazine.
(Continued from page 2) ire of British wizards. Not too long ago he came back to his native U.S.A. hoping to sell a magic program, including revaltions for television here, but did not suceed. He was 65 . . . Rep. Kenneth Gray did magic at a Democratic fund-raising affair in Washington. His photo pulling a gal's head from a hat was in the N.Y. JournalAmerican, May 27 . . . Senator Kefauver also popped up in the news. The item said he did rope-spinning and magic . . . Thanks to Ace Gorham for the page ad from Motor Age of May in which the Wilkening Mfg. Co. of Phila offers a free color-changing cube trick, number two in a series. Who knows the story here? Maybe Bob Lund has some information. .. Heidelberg Brewing Co., of Tacoma, Washington, used their label superimposed on Bosch's famous painting of a magician in their TV spots... George Jason was hilarious on the Jack Paar show with his two-tiered, eggs, trays, and glasses comedy.
Monthly
on table. Now take three cards off, one at a time, from top of set-up and place them on bottom of set-up. Show next top card to be a three spot. Three spot is placed on table. Repeat the same moves for the four spot by removing four cards, one at a time, from top to bottom (show four spot, discard it). Then five cards are placed from top of set-up to bottom; show five spot and discard it. Continue to count off cards for the 6, 7, 8, 9, 10 as described above until you have just three cards in your hand; the Jack, Queen and King. You now spell J-AC-K removing one card at a time from the top of set-up and placing it on the bottom of set-up. Turn up the top card after spelling Jack, and show it to be the Jack. The same moves are repeated for the spelling of the Queen. The last card in hand is turned over and shown to be the King. EDITOR'S N O T E : By placing the arranged set-up on top of the rest of the deck, the deck can be riffle shuffled twice without disturbing the sequence of the cards in the set-up. The first riffle will distribute these cards through the upper half of the deck. The second riffle shuffle will then distribute them throughout the whole of the deck. You can now turn the deck face up and remove the cards of the set-up suit in the same order in which they are in the deck and proceed with the counting as described above.
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 Rates 1 year, 12 issues, $5.00 (6 issues for $2.50)
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June, 1958
Hugard's MAGIC Monthly
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MAL ROBBIN'S "CLEAN AS A WHISTLE" A close-up nifty. An ordinary sized whistle on a chain when placed In opposite hand shrinks to miniature size when stroked with a miniature wand. They want to see what's in other hand; open it and display (surprise) a giant whistle $1. CHOP CHOP'S "ENVELLO" Greatest impromptu version of spikes thru balloon. Take out letter, trim ends off envelope and squeeze into tube. Place balloon in tube and inflate so ends protrude. Now stick pins thru envelope, push skewers and dagger thru, yet balloon does not burst. When spectator tries, It doesl $3. COIN OP WOT PANG (xcellent) $12.50 MINIATUROPE OP INDIA (UP. Grant) 2.00 ACROBATIC THIMBLES (very good) . . 1.00 HAMILTON'S SILK PLIGHT 4.S0 SCIENTIFIC ROPE (Best yet) 2.00 CARD MAGIC BY MANIPULATION 1.00 CARD MAGIC OF BROTHER HAMMAN . 3.00 ACE GORHAM'S PABTASTRICK 7.50 ENTERTAINING CARD MAGIC, Part 3 . . 2.00 OUR LATEST CATALOG 1.50
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SEVEN VOLUMES OF "Hugard's MAGIC Monfhly" IN FIVE HANDSOME BOOKS, $25 Magicians acquainted with Hugard's Magic Monthly will not need to be reminded of its excellence. Those who are not yet acquainted, owe it to themselves to look into this great storehouse of magic secrets contributed to Mr. Hugard's little journal over the years by himself and by expert professionals and amateurs. The FLEMING BOOK EDITIONS of this magazine are fine, entirely reprinted editions, made like books from start to finish, stitched (not stapled) so as to open flat, indexed by Paul Fleming, end beautifully bound in handsome, durable buckram, gold stamped. Still available in limited quantity are five of these great books, which include seven volumes, as follows: No. 2 (Vols. Ill and IV), 208 pages; No. 3 (Vols. V and VI), 228 pages; No. 4 (Vol. VII), 123 pages; No. 5 Vol. (Vol. VIII), 136 pages; and No. 6 (Vol. IX), 148 pages. These five handsome books contain a total of 843 pages, size 816x11 inches, which are roughly equivalent to 3,000 pages of ordinary book size. Now is the time to buy if you are interested for once the supply is exhausted it will never be replenished. All five big books, by return mail, packed to reach you in perfect condiction $25.00
"I am continually browsing through my bound volumes and never fail to come up with something I can use." . . . "If the whole literature of Magic, with the exception of these bound volumes were destroyed, the whole art of Magic could be reconstructed from them alone."
DAI VERNON BOOK (LEWIS GANSON) Hey fellows, get this, the hard cover, cloth bound edition of the Dai Vernon book is yours for only $6.50. 33 Vernon miracles, worth hundieds of dollars are yours, 200 crystal clear photos. 240 pages. Get yours while it is still available at this low price Only $6.50 BOOK OF THE MIND (PETER WARLOCK) Famous first! Convention Hit! This will rate with the all time greats. Spectator's select one or all of four cloth bound books. (The books are absolutely legitimate!) Without asking questions, nothing written, no stooges, no memory, you reveal by writing them on a slate the words on any freely selected page. Instantly repeated. We can't make them fast enough! Complete. A. super gimmick $18.50 GHOST WINDOW (RANDI) A television hit! Randi did It with a full size window sash. We Just put It out in a 20" x 20" size. Four initialed panes of glass are penetrated with 4 metal blades with ribbons attached. Finally, and here's the kicker, the initialed glass is removed from the frame and It's one solid sheet of glass, not 4! WOW! The last word. Beaautiful prop Price $40.00 ROLL'N' FOLDAWAY NITE CLUB TABLE (TANNEN FIRST) This type of table Is recognized as the ultimate in magic tables but it had one drawback, it was 36" high even broken down. Now at last we've developed the perfect table because it has all the features, two shelves, large top 18" x 24", roller casters, plus, and it's a BIG PLUS, the fact that it folds in half again making a small package 17" x 21 \'2" x 6", small enough to fit in a suitcase! Covered in black and gold leatherette trimmed in stainless steel. Neat but not gaudy! Guaranteed the best magic table ever perfected. Complete Table $50.00 Fibre case to fit $6.50 GERMAN PASSE COINS Three German coins pass one at a time from one metal cup to another. Cups small enough to fit in vest pocket. Ask the boys who have it. it's a best seller. Entirely mechanical, no sleights Complete $2.00 MENTAL TOUCH (DR. JAKS) First time advertised. Five giant E S P . cards are put in five envelopes while you are out of the room, you proceed to draw the correct symbol on each of the envelopes. This is verified You'll love the devilishly clever method! Only $6.50 DEVIL'S FLASK (TANNEN EXCLUSIVE) A large heavy glass flask is demonstrated Indestructible by banging it with a steel hammer, Yet at your mental command it shatters to pieces. A genuine show stopper. First batch sold out in one month $1.25 each $12.00 a dozen LOUIS TANNEN 120 Went 42nd Street, New York 36, N.Y. Charter Member ol M DA. THE GEN . . . Britain's Outstanding Magazine ol Magic . . . now In its 12th Year. Subscription $4.00 lor 12 monthly Issues . . . start with ANY issue. Remittance by Personal Check or International Money Order. HARRY STANLEY 14 Frith Street, London, W.I., England
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