Hugard's D E V O T E D
SOLELY
MAGIC T O T H EINTERESTS
O F M A G I C
Monthly A N D M A G I C I A N S
J U N E , 1954
VOL. xn, No. i
40 CENTS
ATOMIC RADIO VANISH By DICK RICHARDS as told to ABRIL LAMARQUE LIP ON BOTH SIDES OF TOP
Details of Effect and Presentation on Page 150
HINGE TO TRAY IN
PROMT ONLV
4-" H MAGNETS
CLOTH
HINGES
FLAT CONSTRUCTION VI&W (FRONT)
Figure 1— This is the view seen by the audience: the tray, the radio and the foulard. The foulard should be of colorful material with a flowery design so that it conceals the collapsible rectangular shape inside. Since the black art principle is involved, extreme contrast will enhance the effect. The side vertical parts of the radio facing out should be covered with black chiffon velvet as well as the inside of the radio. The entire top of the tray is also covered with the same
material. Make certain that the nap of the velvet falls in the right direction so that it isn't visible from the audience's view, which is the front of the tray. In other words, when the radio is folded flat against the top of the trap, the nap should all be in one direction. The base of the tray can be thin plywood or even tempered masonite. Install three small alnico magnets on the base of the tray (under the chiffon velvet) to hold the metal parts of the radio in place when it collapses on top of the tray. Build a bevel, or ledge, of about
%6 inch thickness around the edge of the tray. This is also covered with velvet and acts as a cover to the radio when it folds on the tray. Two small lips bend downward on the ends of the top piece of the radio and act as a catch to the vertical sides preventing them from collapsing prematurely. Figure 2— This illustrates the component pieces of the radio. The hinges can be made from mystic tape or bookbinder's cloth tape. Although you may follow the sizes shown in the sketch, I recommend that before making a finished model, you make one out of stiff cardboard. This will tell you whether the size indicated here is large enough for your needs. Figure 3— In this sketch, one is able to visualize the action taking place under the foulard. As the reader will note, when the tray is tilted downward (under cover of foulard) the radio collapses into a flat position and becomes invisible on top of tray. The gimmick inside the foulard is nothing more than a rectangle made of wood, wire, or plastic held together in the ends in such a way that it collapses or folds up easily. 145
Hugard's MAGIC Monthly
BACKSTAGE
Clever twist was the leaning of a Devano deck against a tumbler when he wanted the cards to rise.
with FRANK JOGLAR
NEW AND AMAZING? In the wonder section there was little to shout about on the shelves of the men who make and sell magic. True, Merv Taylor had a funny Heckle Gun that sprays spring snakes and a beautifully constructed wand for the water fountain effect. Russ Walsh bypassed canes to turn out a collapsible table which will sell like mad to emcees and comedian-tricksters, but there was not a single really outstanding baffler outside the hanky pank class. Magic needs a few new first rate foolers each year. Oh, for a new and puzzling EFFECT and I mean effect in the dictionary sense of the word! Where are the modern equivalents of the great mysteries of the past? We progress in almost every other field, but the magic thinkerupppers are asleep at the switch. Who wants another version of the Square Circle, or a slightly different edition of last season's silk trick? Not this scrivener!
If a single line, photo or comment on the S.A.M. Convention in Chicago appeared in the Windy City dailies during the affair it missed my lynxeyed observation. Why all the secrecy? . . . 470 magicmakers checked in at the Sherman. Worth the trip were the educational sessions presided over by Dr. Tarbell and Dai Vernon, the marvelous close-up conjurations of Johnny Paul, the acts of Jack Gwynne, Viggo Jahn, Julius Sundman, Roy Benson and Bill Murata . . . Bill Greenough was reelected. Congratulations! SIDELIGHTS Covering the convention with cameras slung over their shoulders and notebooks peeping from their pockets were intrepid Jay Marshall and Roy Benson of the New Phoenix . . . Interesting reading that large photostat of George Johnstone's letter on a pillar across from the registration booth. He pleaded off from appearing on any of the shows, saying magicians were familiar with his stuff, that he had nothing new to offer. Too bad, the Johnstones would have been welcome additions . . . Most noticeable absentee: Dorny . . . Outside hotel, Chicago weather was bright and balmy. Inside, in convention quarters the wizards froze. The air conditioning was turned up shiver-high throughout the affair . . . Not on the bill, but appearing at the Palmer House during the shindig— Channing Pollack . . . Only two goatees spotted— Will Weber's and Jack Gwynne's . . . Wonder what happened to Ken Brooke, Harry Stanley and the expected visitors from England? BEST SHOW Far and away the best show was the "open to the public'' entertainment at the Eighth Street Theatre. Bob Lewis, that old Chicago favorite, was a merry emcee with his rustic humor, zingy banjo-strumming and winning ways. The Sundmans, just in from Finland, led off with swift sorcery. Their Helsinki hocus pocus clicked, especially the stage-filling silks from cone conjurations . . . Roy Benson, with his standard Palace act, was the laugh hit of the b i l l . . . Lucille Burnette, a personable blonde, pattered with a Jack Webb "Dragnet" motif and appropiate music during her tricks . . . Bob McElroy, a husky handsome lad, pleased with his vent, a c t . . . Climax was Jack Gwynne with a stageful of big tricks and illusions. This was tiptop trickery of a sort seen seldom
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these days of streamlined sorcery. A wonderful windup to an enjoyable evening of magic! BRAIN SESSIONS Full marks for the Tarbell and Vernon talks. The doctor of deception told how he gave Cardini the slant which changed his vaudeville offering from just another act to the slick, suave speciality we all know. He admitted suggesting the top hat and tails to go with the gloves Cardini wore with a more mundane costume. He had a tip on the Passe Bottles worth jotting down. He used a glass with the liquid sealed via a transparent disc fastened to the top. With this he could handle the hollow bottle and pour freely without fear of the hidden glass spilling its contents. Another good one was the showing of a silk in the all-glass production box. The silk inside matched the one in the bottom •—so all sides could be shown at the start. The silk was taken out, vanished and the dupe made to appear inside . . . Vernon had me worried with his intimate sleights on such a big stage, but his talk was so enthralling, that even though I couldn't appreciate all the sleights I got my money's worth from his words of wisdom. Tales of Leipzig, Malini and other Leipzig idols added spice to his sorcery. Too bad he didn't pass out notes as Tarbell did. Would like to have had that poker deal set-up. CLOSE-UP It was a treat to see Sam Horowitz demonstrate his Okito Box handling . . . Don Alan lived up to the nice things we continue hearing about this hep trickster... Matt Schulien had a style all his o w n . . . Slydini ditto, Platt, ditto, but Johnny Paul stole the show. This husky barman baffler looks less likely to fool you than a Fuller Brushman, but once he gets rolling the wonders never cease. For real illusion, what close-up stunt matches his perfect bill tear? His cups and balls are slam bang not only in his handling but in the socko effect on his viewers.
The opinions, criticisms and approvals which appear in this column have the full endorsement and are the sole responsibility of the editor and publisher, Jean Hugard.
WIZARDS AT WORK The Night Before Party highspoted Chicagoland's ace intimate workers Platt, Paul, Alan and Schulien working behind "bars and tables, plus a midway atmosphere show with Marshall Brodien, Jack Gwynne, Senator Crandall and Sam Berman . . . Whitey Roberts, who used to run that "Always working" ad in Variety, was the standout showman on the Saturday Nite Show. Juggling, with funny platebreaking, and a Swiss bell number with wizards from the audience ringing the bells for him got the most applause . . . W. C. Weber opened with silks from Grant's screen, closed with threading razor blades in his mouth . . . Danny Johnson zipped through a manipulative turn producing one silk after another, conjuring with cards and multiplying lighted candles at his finger t i p s . . . Al Avalon didn't appear as programmed but a sock replacement was Paul LePaul with the clever card handling that has entertained so many G.I.'s around the globe. Williams demonstrated his liquid air act, which to judge from the patter is a favorite school assembly program. A real rose became brittle when immersed in liquid air and other strange properties of the equally strange stuff were s h o w n . . . Mild mannered, twinkling-eyed Bill Murata, in black Japanese robe over occidental clothes, won instant favor with cornball humor and a delightful Mr. Moto delivery... Ralph Pierce a (Continued on page 150)
Hugard's MAGIC Monthly
THE SMOKING-MULTIPLYING PIPES A ROUTINE by ARNOLD BELAIS with SUGGESTIONS by ROY BENSON When the Multiplying Pipes were first introduced, I arranged with Lou Tannen to become sole distributor. He wrote up a routine for their use which is a very excellent one, but a number of people found the moves a little too difficult. Therefore I have worked out the following simplified routine —with a number of valuable hints from Roy Benson— which requires a minimum of skill to perform but still retains the effectiveness of the trick. Requirements: 2 Fekes. One is metal trimmed and can be smoked; it is called the "Smoking Pipe". The other is all wood, is called the "Dummy Set" and can't be smoked. Either feke when opened represents 2 pipes and when closed looks like 1 pipe. (Fig. 1).
Remove the "Smoking Pipe" from your pocket keeping it concealed in the hand, the bowl of the pipe resting on your fingers, stem pointing toward you. (Fig. 3). Bring the pipe toward your mouth gripping the stem in your teeth and, at the same time, bring the lit match up to light the pipe. It seems as though the pipe suddenly appeared in your mouth. The pipe is held in the pipe smoker's natural position, the two first fingers curled around the front of the bowl, supported by the thumb in the back. (Fig. 4). It is important at this point to make sure that hinge of pipe is toward your left, to be in the correct position to swing the two halves apart to look like two pipes.
take a couple of puffs to show that you have apparently smoked both pipes. The "pipes" are now exhibited by keeping your hand in front of you as you face the audience but with the stems of the pipes pointing toward ceiling. You now face right and swing pipes to the right being careful to keep the fronts towards audience by dropping the hand and pivoting arm from the elbow to the right. The position of the "pipes" now is the same as it was, except that the half held by the thumb and the first finger is below and the half held by the first and second fingers is above. The stems point away from you to the right.
DUMMY PIPE AIR VENT
FINGER BLOCKS VEMT OF SMOKING P/P£. Preparation: A cigarette is inserted in the metal tube of the "Smoking Pipe". The other end of the cigarette should reach the small hole in the pipe bowl. (Fig. 2). The Pipe is closed and placed in right hip trousers pocket. The "Dummy Set" is closed and placed in inside right coat pocket. A parlor match is needed. The variety that lights by scratching on any surface. Method and Presentation: Take match in right hand and pretend to try to light it by rubbing on the seat of your trousers, without success. Transfer the match to the left hand. At the same time, the right locates the "Smoking Pipe" in the right hip pocket of your trousers. Raise your right foot and light the match by striking on the sole of your right shoe.
SMOKING PIPE CIGARETTE Pipe is now lit by allowing the bowl to rest on your coiled third finger which will cover the hole at bottom of bowl, (Fig. 4), so that air is drawn in only through top hole in the bowl igniting the cigarette contained in it as you draw in the usual manner. It is well to get a good light by drawing and blowing so it will keep lit. Move your hand away in front of your body the fingers toward the audience and the stem pointing to the left. Remove your third finger and, by gravity, the pipe opens. One half is now held by thumb and first finger and the other half has dropped into space between your first and second fingers. (Fig. 5). It looks as though you have produced another pipe. As this half contains the lit cigarette you
You are about to give the effect of a pipe vanishing and going up your sleeve, across your shoulders and down the other sleeve. Pretend it gets caught and produce it from your inside right hand coat pocket. To accomplish this you must first vanish a pipe: merely release the upper half gripped by first and second fingers and it drops by its own weight out of sight behind the other half. Be careful that the half drops on your thumb and not against other half, to avoid tell-tale click. You reproduce the vanished pipe under your coat into inside right pocket and left hand displays "Dummy Set". You now have a pipe in each hand. Smoke the pipe in right hand finally retaining smoke in your mouth so (Continued on page 154) 147
Hugard's MAGIC Monthly
BOOK
PROFILES
By JOHN J. CRIMMINS, JR. MIRACLE CARD CHANGES — by Ed Mario. A 23-page offset printed book with 54 illustrations. Published in soft boards by the author, 2329 West Thomas Street, Chicago 22, Illinois. Price, $2.00. Following closely upon the heels of Mario's recent book "The Cardician", comes another two books of which we will first take a look at "Miracle Card Changes." Three miracle card changes are explained in detail, together with several effects utilizing these Mario sleights. As the author explains in the preface, "nothing in the whole realm of card magic is as startling as the changing of one card to another," and in this I think we all agree. However, Ed feels one should be selective in the choice of the "change" to use, for he points out that "the effect on a person or audience is in direct proportion to the method used, and it's presentation." As time and situation and audience reaction change, proficiency in various methods will be found a worthwhile accomplishment, and I'm sure every true lover of card manipulation will welcome the card changes explained in this book. Miracle Card Change # 1 is designed for use at a card table. Basically this seems to be a combination of the gambler's palm and the rear palm and should not be too difficult to master in that 10 illustrations cover every move. A deft single hand switch of two cards is cleverly employed, and the misdirection has been so planned that the result should be completely astonishing. While the mechanics ,of the gambler's palm appear upon first
MAGIC ANA Perennial "News": The National Safety Council predicts that 500 americans will die in traffic accidents this holiday weekend. Drivers to right of them, Drivers to left of them, Drivers behind them Watch them with dread. They do not reason why, They only speed and die, Reckless five hundred. The editor of a magic journal has as many oportunities of sticking his neck out as a chicken in the coop, as my old friend Al Baker used to say. But he must take the risk.
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reading to be almost impossible to cover up, yet the fact remains that when it's executed perfectly, as I've seen Dr. Daley do, it is absolutely free of detection. Mario's moves here are his own, and well worth learning. Four methods of utilizing the first card change are explained, and one which requires a paper clip is really extraordinary. Miracle Card Change # 2 is based upon a Tenkai idea, and is ideal when standing and apparently holding but one card in your hand. Very good, too. Miracle Card Change # 3 will open, I think, a new field in changes relying upon sleeving. This is quite unusual and, I believe, practical. I have never seen anything quite like it so far as cards are concerned. Two effects employing this subterfuge are described, both of which are very startling. For the last effect in this book, Ed Mario outlines the procedure of sleeving as it can be employed to vanish the final card in the "Cards to the Pocket" effect. It's all fine material, and is recommended to those who like to manipulate and are willing to give the sleights proper time and attention. THE MAGIC SEVEN — by Ed Mario. A 23-page book with 32 illustrations. Printed by offset and published in soft board covers by the author. Price, $2.00. While the sleights described in the first book on card changes may be considered as working sleights, the material in this second book, "The Magic Seven," is a complete routine based upon a novel presentation of the mystic power of the number "7". The effect is as follows: "A selected card placed in a face up portion of the pack is magically squeezed into the face down lower portion where it is found to be face up and occupying the 7th position from the top of that packet." Five methods, or phases, of acomplishing this effect are described in detail, each of which is entirely different in execution. The routine has been very carefully worked out and should afford accomplished cardmen a brisk and completely baffling sequence of effects. Some extremely subtle handling of the cards will be found in the various phases of the routine. Additional material on an "Opening Phase", and a "Climax Phase," is also included so that the routine may be expanded to seven phases. As a checklist, the author gives in the back of the book a condensed outline of the numerous moves
employed. This summary will be appreciated by those who learn the routine as a ready reference in practicing the effect. KORNFIDENTIALLY YOURS — by Karrell Fox. A 49-page book with 58 illustrations. Printed by offset and published in soft board covers by Town House Magic, 1377 Union Avenue, St. Louis 13, Missouri. Price, $2.00. Looking for comedy gags, zany stunts, hilarious actions bits, laugh-packed props that really get 'em? Then this collection by Karrell Fox (the King of Korn) is what you're seeking. Material of this type seldom sees print, and Bev Taylor the publisher can add an extra feather to his cap for persuading Karrell Fox to release these side-splitting antics for other MC and comedy magician to use. One of the highlights of the book is the detailed description of the cock-eyed routine employing one ear phone between two (apparently) deaf persons. In this case, of course, one is a magician. While it is an old burlesque gag (according to the author), he adapted it for magic and has successfully presented it together with Joe Karson and George Jason on several occasions. I saw one of these, and can vouch for it. Aside from the action gags and comedy props, Karrell also includes a wide variety of clever tricks with coins, cards and miscellaneous objects. Some of these have humorous touches in keeping with his style, yet all of them are good magic and will be welcomed by every magician. Indeed, the book is a mixture of comedy and straight magic, so you can take your pick. If you want comedy, it's here in abundance; if you want magic you'll find that, too, and can give yourself some merry chuckles looking over the gags. MARGINALIA. Collectors will be interested in adding a children's book to their library which can be picked up in most any bookstore. It's called "LITTLE LULU AND HER MAGIC TRICKS", and is published for 25£ by Simon and Schuster, New York. This is one of the Little Golden Books (#203-25) and has a small package of Kleenex embedded in the cover. Three objects made with the tissue are described: a rabbit, a doll and a carnation. Just thought you'd like to know. Maybe making the rabbit some time might get you out of a fix! BOOKS FOR REVIEW should be sent to John J. Crimmins, Jr., 265 Park Hill Avenue, Yonkers 5, New York.
Hugard's MAGIC Monthly
FARELLI S L O N D O N MAY I HAVE YOUR AUTOGRAPH? (An Unusual Routine) Gentlemen, Those of you who attend magical conventions know that many young people —and old ones too— collect autographs, and I hope you will have some fun the next time that an enthusiastic amateur says: "Mr. Jones, will you please sign your name in my album?" REQUIREMENTS For this trick, or rather "gag", you will need a deck composed of 20 ordinary playing cards and 32 with blank faces. The latter must have the same kind of backs as the regular cards, and on these 32 white cards you should write, in black ink, the words: "Kindest regards, Cordially yours," followed by your usual signature. Have the twenty regular cards at the bottom of the deck, and the 32 autographed ones on top as shown in the accompanying sketch. Having placed the complete deck in its case, you are ready to present the following little effect. WORKING 1. When asked to sign your name in an album, or on the back of an official convention program, reply: "Certainly, with pleasure ... By the way, are you interested in card magic? You are! Well here is a little trick that you may, or may not, have seen before." 2. Remove the deck from its case, turn it face up, and casually fan out the twenty ordinary cards at the bottom. Close up the fan, and turn the deck face down. 3. Again fan out the cards, but keep the twenty ordinary cards together at the bottom. 4. Proceed: "Please touch one of these cards with your forefinger. Now draw out that card, but do not look at it. Place it, face down, on your left palm, and cover it with the other hand. Thank you." 5. Remove a pen, or a miniature wand, from your pocket, and make a "mystic pass" over the man's hands. Then say: "Turn up the card and look at it." The selector of the card will be surprised to see your name on it, and you conclude by remarking: "You may keep that card and paste it in your album." 6. With Two or More Cards. The same gag may be performed for several persons. Force the required number of signed cards, and get them held as indicated above. Then say: "When
I count three, turn your cards faces upwards... One, two... THREE!!!" This is quite effective.
BY MEANS OF THE "GLIDE" The following version takes a little longer to perform, but there is more "mystery" in it. The effect is that a playing card is placed, face down, on the table, and changes into a white card with the magician's autograph written across the face. The only preparation required is to have one blank card with your signature on it, and to place this card second from the top of a regular deck. A. Remove the cards from their case, and fan them faces up. Close the fan, and turn the deck face down. B. Holding the deck face down in the right hand, "run" two cards into the left, and shuffle off. This brings the autographed card second from the bottom. C. Place the deck face down on the table, and execute a riffle shuffle keeping the bottom cards in position. D. Ask somebody to cut the deck into two portions. E. Point to the original bottom half (the one containing the autographed card), and ask another person to cut. F. There will now be three heaps on the table, thus:
The autographed card is second from the bottom of the center packet. G. Pick up the heap on your right (No. 3), and hold it in your left hand in the "glide" position. Display the face card of this packet to the company, and remark: "Please remember this card." H. With the tips of the first and middle fingers of the right hand, draw out this card, and lay it, face down, on the table in the position previously occupied by packet No. 3. I. Drop the packet, held in the left
LETTER hand, face down on heap No. 2. Seize both these packets with the left hand, and display the bottom card. (The autographed card is the one above this). J. Having requested a spectator to remember the card you are showing to him, pretend to remove it with the right fingers but, by means of the "glide", take the one above it, namely, the signed card. Lay this card, face down, in the position previously occupied by heap No. 2. K. Drop the packet, held in the left hand, on top of heap No. 1. Pick up the deck, thus reformed, with the left hand, and display the bottom card, asking the company to remember it also. L. Remove this card with the right fingers, and place it in line with the other two cards. Turn the deck face up, and lay it on the table. M. Position. The autographed card (®) is flanked by two indifferent cards, Nos. 1 and 3. Needless to add, all cards are faces down.
N. Adressing the man who asked you to give him your autograph, inquire: "Can you remember the names of these three cards?" No matter what his reply may be, turn the end cards (Nos. 1 and 3) faces up, and then instruct your victim to look at the center card. You conclude by telling him to keep the card and to paste it in his album. *
•
*
Full instructions for performing the "glide" will be found in Professor Hoffmann's famous work, "Modern Magic". (Chapter II, Figures 24 and 25). As far as I know, this most useful and easy sleight has not been explained in any of the modern books on card conjuring. A TRUE STORY Some collectors of autographs are catholic in their tastes, and they are pleased to secure the signature of any magician whoever he may be. Others are more particular, and never ask a man for his autograph unless he has a big name in magic. Some years ago, at one of the Conventions held in England, two internationally famous magicians were in conversation with an official of the society, a proficient part time performer. A strippling of about fifteen years of age —after having had a good (Continued on page 155) 149
Hugard's MAGIC Monthly
ATOMIC RADIO VANISH (Continued from page 145) Ever since portable radios came into existence, the magic fraternity acquired a new prop for stage presentations —the radio vanish. The variations of this effect, both in presentation as in operation are many. One of the most convincing radio vanishes from the standpoint of cost, space occupied in packing, and for startling effect in general is the brainchild of U. F. Grant. In the original effect, as sold by Grant, the radio is vanished inside a newspaper. Those who remember this effect and presentation will recall how convincing the illusion is. Dick Richards, the cheerful New York magician, who in the April issue of this magazine gave us "Cheerio!", a magnificent vanishing bird illusion, now comes forth with another baffling effect based on Grant's ingenious trick. Using U. F. Grant's basic folding idea, Dick Richards has adapted this to the principle employed in the vanishing alarm clock and with it produces a terrific vanish of a portable radio. The illustrations and accompanying captions (page 145) explain in detail the modus operandi of this trick. You may start off by buying U. F.
BACKSTAGE (Continued from page 146) slim, moustached performer went through a neat act of standard magic with amusing patter to wind up the evening. BANQUET Gene Bernstein, banquet toastmaster, had the most gags about mortuaries we've ever heard at a fun fest. An unbilled, but personable and adroit juggler whose name we didn't get, put the performers through their paces ... Lloyd Jones showed what could be done with bottles in a bar setting. A novel idea ... Tenkai and Okinu drew heavy hands with their cleancut oriental conjuring. Bob and Ginny Lewis, with their parody version of prestidigitation, brought the session to a close. The program planners who scheduled a short, snappy final show deserve a special nod of recognition. ODDS AND ENDS Jack Chanin was far quieter in his pitches than in previous years ... Ed 150
Grant's vanishing radio, which is well made, or go to the trouble of making your own. The effect is as follows: Radio is covered with a foulard. Covered radio is picked up with one hand, tossed into the air and... that's it! It's as easy as that, and just as baffling. Now for the working: The visible props to the audience are a tray, a foulard, and a radio. The foulard is of double cloth and has concealed in its center a collapsible shape, equivalent to the width and length of the radio. From this point on, there are two possible ways of working: 1— Without a table: Performer holds tray with right hand and picks up and places foulard over radio with left hand; picks up foulard and radio as one with left hand while right hand disposes of empty tray by placing on table, chair, or giving it to assistant. 2—• With a table: Magician places tray on table with right hand, and then picks up foulard with both hands and proceeds as described above. In placing foulard over radio, it is advisable to push in both ends of back of radio so that it will tip in easily at the proper time.
Miller's Museum got a steady stream of visitors ... After-convention parties were up 'til the wee hours at Johnny Paul's and Clarke Crandall's ... Bert Allerton attended the events in a wheel chair. Here's wishing him a rapid recovery... Bill Baird, the Johnstones and Ed Mario were among those present... Sam Horowitz was a treat to many who had never seen him work... All in all it was a pleasant convention, but not up to super Chicago spectacles of the past. JOTTINGS Haile Selassie saw Fred Keating perform during his visit to Manhattan. Fred reports he was an excellent assistant... Dick Richards is flying to Hollywood to appear on "Place the Face" with Victor McLaglan ... Dr. Marcus Bloch is readying a directory of magicians, he announces ... Tracy's "Directory of Magicians" has been cut to $2 and if you don't have it, now's the time to get i t . . . Mac Murray sent in some fine offset publicity of Chicago and Montreal triumphs... Paul Duke drew a photo and interesting interview in the May 3, NY Journ-
al American. Jay Palmer is the new prez of the Magicians Guild ... Frank Clinton plugged "The Mad Magician" on N.Y. TV and made two personal appearances in the lobby of the Holiday theatre opening day ... Dr. Pressman has opened a School of Magic in the DeMane Studios, 136 West 44th St. He sends an outline of six sessions with items that range from history, presentation and sleights to magic for physicians, dentists and teachers ... Arthur Leroy will be back again at the Brooklyn Academy of Music this coming season with guest tricksters to supplement his magic and the Peggy Bridges marionettes. MAD MAGICIAN Filmed both 2 and 3D, "The Mad Magician" arrived in New York in the flat version. Reviews were lukewarm but magic fans will enjoy it. Bob Haskell, who is credited with the magic arrangements, appears as Vincent Price's assistant. He's also the Hindu assistant who helps so much in the Vanishing Birdcage stunt. Best screen magic is the Water Fountain scene. There's also a Buzz Saw and Cremation. ALBACKER "You got your wires crossed. We are buying part of the Blackstone Show. Since Mr. Blackstone has about $200,000 tied up in equipment he is happy indeed to sell some. In fact he has several others interested in Blackstone equipment. Harry is going to Biloxi the end of June to talk with Blackstone. Blackstone has hinted that young Harry will be perfect in a No. 2 unit of the Blackstone show. And too, he will no doubt understudy the great one next season. You were right in one respect. Harry Blackstone will tour next season." Thomas Albacker. ANSWER The announcement given out originally to the press by Albacker that he would take over the Blackstone show was strictly with an eye to the publicity. Truthful publicity is great stuff, but hokum deserves the rap Variety printed in a coverage of the story. In the above letter note the "$200,000" figure! Note the "part of the Blackstone show." Note the "he will no doubt understudy." The case rests. T.A.O.M. R. H. Brin, Jr. sends news that the Texas Association of Magicians will convene Sept. 4th to 6th at the Hotel Dallas, Skyline Terrace, in Dallas. There's also a Night Before Party Sept. 3rd. Registration is $9 for members, $15 is the family rate and nonmembers, can come for $11.
Hugard's MAGIC Monthly
ENCYCLOPEDIA OF IMPROMPTU TRICKS (Continued from last issue) A good presentation of thick described at close of last month's article is as follows. Begin with burning match held by thumbs (Fig. 503). Close hands, securing match in nail of right middle finger as you interlock your fingers. Finish by grasping match between tips of thumbs once more and opening the hands to original starting position of Fig. 503.
John Boyko suggested the comedy effect of trying to light your cigarette with the floating match. On each attempt the match jumps to the other side of hands, away from cigarette. Finally you allow the match to float slowly over to cigarette and light it. The basic idea for this effect (without clasping fingers, one hand simply placed in front of other) first appeared in Genii, Feb., 1947. The handling of the effect is obviously made much easier if wax, rubber cement, or some similar adhesive is used to stick match to fingertip. MATCHES
(3) Hand to hand transposition. Two matches are placed on table about a foot apart, the heads pointing away from you. Turn left hand palm up and place it flat on table, the fingers covering match A (Fig. 504). Pick up
match B by grasping the head between thumb and first finger of right hand (Fig. 505). Place this match in left palm, actually leaving it there. Left hand should close before right fingers leave the palm. In other words, right hand withdraws only after left fingers have almost completely closed. This prevents audience from seeing
By MARTIN GARDNER
the match, even though you actually leave it in left hand. As left hand closes, match A automatically comes into view. Pick up this match in right hand, holding it by the head as before. The hands separate. Left hand rolls its match to the table, then right hand does same. Nothing of course has happened. The moves are now repeated and should look exactly as before. This time, however, right fingers retain match B, withdrawing it as left fingers close. The exposure of match A distracts attention of audience from this sleight. Immediately pick up match A with right hand and separate hands. When left hand makes a slight throwing motion, as though rolling out the match, it is seen empty. Now roll out both matches from right hand. When these moves are made slowly and rhythmically, the transposition is extremely effective. Any two small objects —sugar cubes, paper balls, cigarette butts, etc., can be used instead. Another handling of the trick is to count aloud from one to ten, making certain moves on each count as follows: 1. Put match A on table. 2. Put match B on table. 3. Cover A with left hand. 4. Pick up B with right hand. 5. Appear to place B in left. 6. Pick up A with right. 7. Place back of right fist on table. 8. Place back of left fist on table. 9. Open left hand showing it empty. 10. Open right hand, showing two matches. The counting insures a rhythmical presentation and makes it difficult for spectators to detect the moment of skullduggery. An interesting variation, after spectators have seen the previously described sleight several times, is this. Instead of placing left hand over match A, put the hand palm up on table, then pick up match A and appear to place it under the left fingers. Actually, retain match in right hand. Now proceed as before, picking up match B with right hand and placing it in left, only this time you leave both matches there. As left fingers close over the matches, reach for match A, then look surprised to discover that it has vanished from the spot where it had apparently been placed. Search about on the table for the missing match, then open left fist to reveal both matches. (4) Returning match head. The well known trick in which one of three small objects keeps mysteriously returning to left hand, after it has apparently been thrown away or placed
in pocket, has been described as No. 28 under CIGARETTE. Matt Schulien's match version of this trick appeared in The Sphinx, April, 1940. It goes as follows. A match is broken in three parts. The part with the head is thrown under the table repeatedly, but it keeps returning to the left fist. An extra piece with a head is used, of course. It can be concealed in right hand by clipping the head between tips of second and third fingers, or simply by clipping it between thumb and middle fingertip (Fig. 506), leaving index finger free to pick up other pieces.
36?. SOY,
If you have additional head pieces on your knee or on the chair between your legs, you can permit spectator to throw the head beneath the table several times. It is a simple matter to lower right hand and secure an extra piece, so trick may continue. Matt's finish is to drop the first two pieces in spectator's hand, asking him to close the hand immediately after each piece is dropped. The extra head is added with the second piece. When spectator opens his hand to reveal three pieces, take advantage of this misdirection by lowering left hand and securing from your knee a whole match. Keep left hand in a fist and pretend to drop the two pieces into top of fist, actually retaining them. Pick up head and toss all three pieces on the floor. This time, when left hand opens, pieces have apparently joined to make a single, undamaged match. If paper matches are used, a pretty effect is achieved by using two match heads of one color and a third head of another color. It is the latter, of course, that keeps returning after being tossed away. Paul Curry thought of this novel finish. A burnt head is kept on your knee or chair where it can easily be obtained. Allow spectator to toss the head under table, while your right hand palms burnt head. Open left hand to show head has returned. Drop the two pieces in left hand, adding burnt head. Pick up unburnt head and start to toss it away, then change your mind and strike it. (If you have previously put a cigarette in your mouth, (Continued on page 153)
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MILBOURNE CHRISTOPHERS COLUMN Since writing "Chance or Control" in April I have found that eight paper clips and as many safety pins will serve to display the ten giant cards. The safety pins are pinned to the back curtain of the theatre in which the magician is performing. Each has a paper clip attached. The giant cards are slipped in the paper clips. This method of display keeps the giant cards in better condition 窶馬o holes are made each time as in the thumb tack and board method. Pin the safety pins about six feet up from the floor with a space of twelve inches between each hanging card. If the giant cards are hung before the show they cause speculation long before the feat and make an interesting display. FUSE COMEDY
Some time ago in his Tops column Sid Lorraine mentioned a type of fuse that was available in Mexico. Richard Himber utilized these fuses in his "Eternal Candle". You may also use them effectively in the P and L Firecracker Trick. Light the firecracker, then blow it out and hand it to your assistant from the audience. It flares up again. Blow it out and repeat several times. Finally finish the trick in the usual fashion.
TV MAGIC
Tommy Windsor recently wrote that he is giving up his TV show. He had performed 95 times, he said, and the show was going great. He added he had not done "any classics, nor any trick that I consider good." He was alarmed that his club dates were falling off. "Why should they hire me when they can see me free?" he pondered. I have found that TV is a big boost to other forms of show business. Frequently bookers or agents who have never seen acts perform, catch them on TV and book them in clubs, for private dates or in theatres. Naturally the act seen on TV must be such that it creates a demand. Tommy says that he has never done any trick that he considers good. This would, I believe, explain why his club dates have dwindled. As a result of a television date, Al Flosso received, just this week, one
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of the best offers for a single date he has ever had. The agent saw his success on video and was sure he could repeat it in person. A performer with a time-tested act can use it only periodically on television. But when he does, it should help him with other bookings. Bookers use acts they know. A man in the midwest who has never seen a New York magician can "audition" him on a regular TV paid show. Television today is as important as the movies once was as a builder of reputation. The magician who appears regularly, or frequently, on television, must have new material to sustain interest. It is to his advantage to do the best show he possibly can on all occasions. The regular performer sells his personality, the tricks are his vehicles. Unless a magician has a supply of effective, new magic his television playing time is limited. So far I have been speaking about network shows. But what about the local show which is much more to the point as far as Tommy Windsor is concerned? LOCAL TV
A few years ago I appeared 26 times on WAAM in Baltimore for a food market. What happened to the demand for my services in that city? I played the theatre, the Hippdrome, at a larger fee than I had received for my previous appearances there and I followed that with a two-week date at the most important local club. Both at the theatre and the club was a round of applause when I walked on, recognition from the TV audience. In addition to this I played more club dates, at higher fees, in Baltimore during that period than ever before. With television appearances you can build a local following in a few weeks such as would be impossible with any other medium. If you are in show business, you must adapt your work to new mediums or you will suddenly find you are not in business. Many of the fine old two-a-day vaudeville acts never made the transition to night clubs. When theatres closed and nights clubs became the principal show business outlet, these acts passed from the picture. Many stars of silent pictures faded when talking pictures came in. They were found to be successful only with pantomime, not with speech. You can't overlook television today.
Many of the fine acts I used to know in the magic field ten or twenty years ago are in other businesses today. The era of entertainment which they knew passed, they didn't keep up with the times so, ipso facto, they had no outlet for their talents. Motion pictures displaced vaudeville theatres, night clubs took over from the theatres. Today TV is king. Each of the new mechanical mediums cut down the live outlets. One picture could play in hundreds of theatres, taking the place of hundreds of live shows. Today television is seen in millions of homes and you have only to study the theatre and night club situation in your own city to see what television has done to these outlets. As time goes by, fewer entertainers appear before more and more people. Competition becomes keener. Only a few entertainers do well today, compared to the great number who earned comfortable, or better, livings in the past. The performer is more important than the act in television. If the audience likes you, most of the battle is won at the start. In half a dozen or more American cities, magicians are appearing regularly with local programs. A few magicians appear regularly, or frequently, with network shows. There's still an opportunity in the magic field for outstanding personalities. The competition is not with other magicians, but with all other types of entertainment.
FLASH PAPER IGNITER
Rereading Prof. Hoffmann's translation of Robert-Houdin's "The Secrets of Stage Conjuring" I came across a thought-provoking note. The great French magician mentioned that he proposed to give descriptions of several of his tricks including "The Instantaneous Combustion", something he never carried out. Hoffmann commented: "The instantaneous combustion was probably produced by means of what is now known as a 'flash' handkerchief, i.e.: a handkerchief so treated with a mixture of nitric and sulphuric acid as to transform the fabric, in effect, to gun-cotton. A handkerchief of this kind held to a lighted candle, or merely touched with a hot glass rod, disappears with a (Continued on page 154)
Hugard's MAGIC Monthly
ENCYCLOPEDIA
OF
I M P R O M P T U TRICKS
(Continued from page 151) you can use the flame to light cigSINGLE arette). Blow it out and toss it away. 7iq.508 MATCH When you open left hand, the burnt piece has returned. If you follow procedure of putting the head in your pocket each time, instead of tossing away, simply have that one goes to the left and one to burnt head in pocket. It is easy to the right, forming two piles. The reexchange the pieces while your hand maining single match is added to is in pocket. whichever pile spectator designates. (5) Pocket to pocket. Johnny Paul You now cause the extra match to often does this as a behind -the-bar transfer invisibly to other pile. When stunt. He lights a match, places it for each pile is counted by pairs, the transa moment in right trouser pocket, then fer seems to have occurred. Trick removes it still burning. This is done works automatically. by cupping the hand, clipping match (8) Tramps and Geese. This ancient between tips of first and second fintrick is usually described as follows. gers as in Fig. 507 so hand will shield Five matches are placed on table to flame from pocket. Moving hand back represent geese. Each hand holds a and forth in pocket will keep flame single match. These two matches are from burning the palm. Match will not tramps who intend to steal the geese. go out. Remove hand to show match Illustrate this by picking up the five still burning. matches one at a time, beginning with Once more Paul puts the burning right hand, then alternating hands. match in his pocket, but this time his This puts four matches in right hand, right hand comes out empty while his three in left. left hand removes a burning match from left trouser pocket. This can be The tramps now hear a farmer apdone in several ways. One method is proaching so they quickly put back to have loose matches in bottom of the geese. Illustrate by replacing the left pocket, and a striking surface five matches one at a time, starting attached to upper part of pocket. with left hand. This leaves you with Match is struck by a downward motwo matches in right hand and none tion, the thumb pressing head of in left, but keep both hands closed match against the surface. Another in a fist as though each contains a method to have pinned to pocket a match. When the farmer leaves, the packet of matches of the type that tramps pick up the geese again. Begin ignite when they are pulled from the taking matches with right hand. This packet. In either case, keep left hand puts five matches in right hand, two in the pocket while right hand within left. The tramp on the left now draws the burning match. While atcomplains that he has only one goose tention, is on this match, left hand while his friend has four. Open the strikes a match inside left pocket, hands to show that this is indeed the holding it as previously described. case. Right hand puts the burning match (9) Turn your back and ask someback in pocket, then snuffs it out by one to form three heaps of matches slapping it against thigh. By this time on table. The number in each heap the initial flare of left match will have must be the same, and must be more subsided, so when you take it from than three. Spectator now names any pocket it will not look as if it has just number from one to 12 inclusive. been lit. Large hands and tough skin Without turning around you are able are decided assets in performing this to give directions which will bring trick. the number of matches in center heap to the desired number. This is done (6) Making match burn twice. by asking him to take three matches Strike match, blow it out, and dip from each end heap and place them head in a glass of water. Under prein the center. He then counts the tense of drying it, stroke it through number in either end heap and reyour hair. In doing so, secretly exmoves that number from the center, change it for another match previousplacing the removed matches on either ly concealed in hair. The second match end heap. This always leaves exactly is then struck. nine matches in the center, making it Mathematical Tricks a simple matter for you to give instructions for bringing this heap to (7) The well known Piano card trick chosen number. can be performed with 15 matches by placing them between spectator's finThe trick may be varied by using gers (Fig. 508). Remove the pairs one some number other than three for the at a time, separating the matches so initial transfer, provided it is less than
the number of matches in each pile. The procedure described above always brings center heap to three times this number. Once you know the number in center heap, you need not bring it immediately to the desired number. Have matches transferred back and forth a few times to make the procedure more confusing. (10) Three small objects (for example, a penny, ring, and key) and 24 matches are on the table. Three spectators, whom we will call 1, 2, and 3, are asked to take part. Spectator 1 is given one match. Spectator 2 gets two matches. Spectator 3 gets three matches. You now turn your back and ask each spectator to take one of the three objects, which we will call A, B, and C. Tell the person who took A to remove from the pile of matches as many as he already holds. Tell person who took B to remove twice as many as he holds. Remaining spectator, who took C, is told to remove four times as many matches as he holds. All three spectators put their matches and object in their pocket. You turn around and immediately tell each person which object he is holding. The number of matches remaining on the table provide the clue. If 1 match remains, Spectators 1, 2 and 3 hold objects A, B, and C in that order. If 2 remain, the order of objects is B, A, C. If 3 remain, the order is A, C, B. If 4 remain, then someone made a mistake, as it is impossible for this to happen. If 5 remain, the order is B, C, A. If 6 remain, the order is C, A, B, If 7 remain, the order is C, B, A. This key must be committed to memory or referred to in some secret manner, such as having it inside a match folder where you can read it when you pull out a match to light a cigarette. The trick is discussed in several medieval treatises on mathematical recreations. For a recent discussion see Ball's Mathematical Recreations, revised American edition, 1947, p. 30f. Mnemonic devices for performing several variations may be found on pages 23 and 218 of The Magician's Own Book, 1857. If three letters could be found which would combine in six different ways to form six different words, they could be substituted for A, B, C as symbols of the three objects. The six words could then be easily memorized by associating them in a chain of mental pictures. Does any reader have a solution for this problem? (To be continued) 153
Hugard's MAGIC Monthly
MULTIPLYING PIPES (Continued from page 147) that you can apparently smoke the "Dummy Set" in your left hand when you place it in your mouth and go through the motions of smoking. The smoke which you retained is blown out and the illusion is that you are smoking the "Dummy". Before removing the "Dummy" from your mouth, transfer the "Smoking Pipe" from your right to your left hand, and then remove the "Dummy" with your right hand, holding it in the proper position previously explained for the "multiplication". Facing the audience again, open the pipe in your right hand to appear as two. The "Smoking Pipe" which you have just transferred to left hand is puffed a couple of times, then withdrawn by left hand and placed between second and third fingers of the right hand with the hinge to your left. Just as your left hand is leaving your right hand, flick the pipe open so that the rear half of the pipe comes into view between your third and fourth fingers. Smoke it, and you will appear to be holding 4 pipes, all of them apparently having been smoked. You can stop here as this is a climax or continue manipulations. You will undoubtedly work out routines of your own. However, in the next issue, I will give you one for a starter.
CHRISTOPHER (Continued from page 152) flash, leaving not even a shred of tinder behind." This glass rod idea has possibilities. Use a glass swizzle stick or stirring rod if you're in a bar to set off a flash bill, which has been switched for the real thing. Light a match and explain that you intend to sterilize the rod. Hold the flame of the match under the end of the rod. After a few seconds blow out the match and touch the rod to the flash bill. The bill vanishes immediately. In experimenting, I heated the end of a thin metal rod and used it with like effect. In a mental effect, during the course 154
BIBLIOGRAPHY on the "Stripper" Deck
Hu-Gardenias
Compiled by VICTOR FARELLI
to
(Continued from last issue)
DON ALAN for his performance at the Convention of the American Society of Magicians held at the Hotel Sherman in Chicago. Don Alan has the happy talent of injecting comedy interludes which greatly enhance the entertainment value of his Magic.
of which you have two spectators write dead names and one spectator write a living name, the hot rod may be used with great effect. If the dead names are written on white flash paper and the living name is written on a matching, but nonflash, piece of paper you have only to touch the three cumpled slips with your "sterilized" rod and the "dead" names will go up in flame, leaving only the "living" name. Some ingenious magician will probably devise a heating unit so that, during a stage show, he can pick up what seems to be —and is except for the heated end— an unprepared glass rod and use it to touch off the flash paper in his Television Card Frame or some other mystery. "GLASSED" VARIATION On page 10 of The New Phoenix, No. 303, is a clever mental stunt by E. J. Norman. A crumpled prediction in dropped in a glass and a piece of newspaper is fastened around the top of the glass by a rubber band. A switch is made when the magician tears the center of the newspaper and apparently takes the prediction from the glass. If ypu paste a piece of cellophane (from a cigarette pack) to the underside of the newspaper beforehand, you can perform the switch more deftly. In this case you don't have to crumple the paper, a folded billet may be used. Instead of a small tear in the newspaper you can tear off a large piece. When you tilt the glass to pour the billet into your waiting hand, which holds the other billet, the cellophane over the mouth of the glass holds the slip inside. It is concealed from view by the sides of the newspaper which extend beyond the rubber band. When you seem to pour, turn your hand holding the other billet to bring it into view.
JONES, Carl W. See HILLJARD. JONSON, Wilfrid. Card Conjuring. On page 88, reference is made to the stripper deck. The book contains 92 pp. (7*4" by 5")- 13 sketches by the author. Board cover. London, 1950. Wilfrid Jonson's Card Tricks. This, an American edition of the abovenamed book, has been edited by Chesley V. Barnes, and contains 96 pages and 49 illustrations. Board cover. New York. M MARLO, Edward— The Cardician. Describes several original ideas in handling tapered cards. The book contains, in all, 190 pages and 154 illustrations. Published recently in Chicago. McDONALD, Peter. Thoughts on Slipper Packs. Interesting article on the stripper deck. "The Magic Wand," December, 1949. 3 pp. 6 sketches. Enfield, England. (In Britain, Strippers are sometimes called "Slippers." But not often.) Test Your Wits. A novel thoughtreading effect for two persons. "Abracadabra." Vol. XV, No. 369. Birmingham, England. 1953. N NEWMANN, C. A. George. Clever Card Conjuring. A typescript publication. 19 large pages. Describes thirty-seven good tricks with a tapered deck. Useful suggestions and advice. Limited edition of 100 copies. Minneapolis, Minn. 1922. Reference to this manuscript will be found on page 998 in Hugard's MAGIC Monthly. October, 1952. NORMAN, Anthony. Basic Card Technique. One page deals with Strippers. The book itself contains 298 pages. (7*4" by 43/4".) Copiously illustrated with sketches and cartoons. London, 1948. (To be continued)
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MAGICAN A In the Art of Magic, imagination is more valuable than knowledge. Knowledge may enable you to copy the work of another; imagination will allow you to create original work.