Hugard's M A G I C
Monthl
V
DEVOT ED SO LE LY TO TH E I N T E R ESTS OF MAGIC A N D M A G IC IANS JUNE ,
Vol. XVIII, No. 1
1 960
50 cents
NEW WINE FROM OLD CUPS This is written to encourage those of you who have the small set of plastic cups (for the simplified version of the Cups and Balls) to dig them out and experiment with the following routines. These cups are available at your favorite magic dealer's. Any small set of cups will do providing, however, they have the recessed bottoms. The set I use is made of aluminum and measures 2 V4" high, 2" wide at the mouth and 1 Y&" at the bottom. EFFECT: Three small sponge balls vanish, penetrate and transpose themselves through solid plastic cups. REQUIRED: A set of plastic cups or their equivalent; four special sponge balls; a strong Alnico magnet from a "Snooty Pups" set; Johnson & Johnson flesh-colored plastic tape; a piece of Wiztax. PREPARATION: I use special sponge balls for this effect, although there is no reason why other soft material wouldn't serve the same purpose. My sponge balls are really small balls of
By FRED G. TAYLOR AMERICAN EMBASSY, PRAGUE Illustrations by the author
These are the dimensions of my cups. They need not be exact. rubber. These strips should be about Vi" wide and II/2" long. Coat one side with rubber cement. When strips are dry, wrap one strip straight around a ball and snip off the overlap. This first strip will leave the sides of the steel wool core exposed. Use the second strip to wrap the ball in such a way that the strip passes over these exposed sides. Snip off the overlap and roll the ball between the palms. The sponge cover should be thick enough to hide the steel wool core, but thin enough not to interfere with the working of the magnet. Instead of
HOW TO MAKE SPONGE BALLS
FORM Vi" BALL
COAT WITH
OF STEEL WOOL
RUBBER CEMENT
CUT THIN STRIPS OF FOAM RUBBER A N D COAT O N E SIDE WITH RUBBER CEMENT
PUT ONE STRIP EACH AROUND DIRECTION
ALNICO MAGNET
BALL IN OF ARROWS
steel wool covered with thin strips of foam rubber. To construct, form four balls of steel wool into half-inch spheres. Coat these with rubber cement and allow them to dry. Cut eight very thin strips of foam
AFFIX W STRIP OF WIZIAX TO TOP OF MAGNET
sponges you may wish to shop at the 5 and 10 for some of the small, smooth, cotton balls that are used as trim on window curtains. Remove the cotton filler, replace with steel wool and resew. Your magnet should be the flat Alnico type used with the "Snooty Pups." Make certain that it is strong, and when not in use keep a piece of metal attached to it. To prepare the magnet for this effect wrap it in one thickness of Johnson & Johnson flesh-colored plastic tape. The V2" width is suitable. PUT Vi" STRIP Of 1. i 1. FIESHCO1ORED PIASTIC TAPE ABOUND MIDDLE OF SECOND PHAIANGE OF MIDDLl FINGER Of RIGHT HAND
Before your performance, place a piece of the V2" flesh-colored plastic tape half way around and underneath the second phalange of the middle finger of your right hand. In addition to the strip being almost imperceptible, it will not interfere with the performance of card tricks or other effects prior to your performing with the cups. Affix Vi" strip of Wiztax to the top surface of the magnet and place the magnet bottom down somewhere to the right on your table. (I put mine behind a card case that is later moved to one side.) When you are ready to perform, simply press the second phalange of the right middle finger down on the magnet so that the Wiztax hits and adheres to the plastic strip around that finger. The only other preparation necessary is to see that the fourth ball is hidden in the second or middle cup. PRESENTATION: TO begin, the cups are nested and held mouth-up in the left hand. This is the basic position to (Continued on page 1)
Hueard's MAGIC
June, I960
Monthly
BACKSTAGE With FRANK JOGLAR Lots of hocus pocus on video. Ballantine as himself on one Ford special, as King Arthur, with beard and medieval costume on another... Vic Perry on Playboy Penthouse had. coins and adhesive tape over his eyes, then bandages. He did the signature duplication a la Dr. Jaks and identified objects among them—keys, a pipe, finally the numbers on a dollar bill held behind his back... Don Alan debuted on the Ed Sullivan Show May 22. First interruption bits with a chicken sandwich for Sullivan (fake chicken between slices of bread); extracting the silver from a coin in Sullivan's hand, winding up with wad of silver and transparent coin; an excellent square and round sponge change. On his own spot Don offered a nifty single cup and ball sequence with two big balls as kickers, then three variations of the rising cards. Routine with two coins and fez—winding up with his socko lump of coal production when fez is lifted. Don worked behind a tall table surrounded by other performers on the show. The camera work was first rate, ditto Don's presentation. He should be back . . . Randi was enclosed in ice on "Wonderama," but survived the ordeal handily... NBC's "Music on Ice" announced a "Magic of the Stage" program June 5. Joe Given was dressed as a magician, but the only "tricks" were techniques with lighting, scenery, etc.—nothing even slightly akin to conjuring.
Grim Reaper Dr. Harlan Tar bell died June 16 in Chicago. He was 70. Few have made greater contributions to magic. "The Tarbell Course" was his master work. His clear text and easy-to-follow illustrations covered the full range of contemporary mysteries. He had many talents—performer, lecturer, teacher, artist, writer. He was a Past National President of the S.A.M. and an honorary life member of the society. For years he played the lecture circuit featuring "Eyeless Vision" and a varied program of deceptions. Of more recent years his lectures for-magicians-only brought the latest wonders to the craft here and in England. One of his most notable performances was given in the Chicago Opera House where he utilized the scenery and special effects to dramatize his presentation. If the average American magician has a wide knowledge of magic in many fields it is largely due to "The Tarbell Course." Dr. Tarbell seldom used large equipment in his performances. His forte was patter and the ability to put across ideas with well chosen words and well thought out routines. He contributed extensively to the magazines of magic from Edward's Monthly to his column in M-U-M. He illustrated many books, including Hilliard's "Greater Magic." Magic has lost another of its greats and we have lost another friend.
News and Notes Bits and Pieces Dai Vernon was the after-meeting feature of the Parent Assembly's election night. The professor was in fine form with coin conjurations and walnut wizardry. Then there were rope tricks and card sorcery in the Vernon manner. New prexy is Gerald Kaufman... Richiardi, Jr.'s run was extended at the Latin Quarter... Negotiations for Sitta and Korengo completed for the Boston Combined Convention. Added to the bill: Mark James, Roye and Connye (the Roy Bensons with their new act), Wally Dean, Mai Robbins... Jimmy James writes he is publishing a new 24-page magic magazine. It's the voice of his club for magicians, vents, clowns, comedians, etc. His address: 54 Keslake Road, London, N. W. 6, England.
Beginning June 27 at the Theatre Marquee, off Broadway at 59th St. and Park Avenue, Bob Fischer, in association with Gordon Stebenne, presents Sheila Barrett and Fred Keating in "Charades and Chicanery." The attraction will be offered Monday evenings at 9 p.m. Tickets range from $3.20 to $4.50. Make your plans to attend n o w . . . Celeste Evans played the Club Alamo in Detroit... George Johnstone sent the following clip from the June 8 Chicago Tribune: "A conjuror came on the stage carrying a pail of water. He hung the bucket on a hook fixed to a stand. He covered the lot with a large cloth and waved his magic wand above it. When the cloth was removed, the pail had disappeared and the water was hanging from the hook." The caption was "Fairly Good Trick" and George's
comment: Here's one for the magical masterminds to work on! . . . The Dutch National Magical Conference will be held in Nijnegen (Nimeguen) Sept. 1 6 - 1 8 . . . FAME members put on their annual show June 5 at the Mall in N. Y.'s Central Park. Roland Travers and Prof. Hurwitz were honored with special plaques. FAME's Larry Moss took first prize in the teenagers contest at the Paramus (N.J.) Magic Day, May 14. FAME'S Ronald Thomas was awarded third prize.
Memo from Morris Paul Morris writes: "The IBM Ring 26 banquet at the Beekman Towers Hotel, May 7, was run by Sam Schwartz and he did a good job. The show: Eddie Ward, Fred Kolb, Paul Draylin, Dick DuBois and Randi. DuBois was emcee and his act was the best of the evening, plus Randi's microphone illusion in which he used a pretty Oriental girl who brought down the house with her clever, comical antics. June 10 Max Katz lectures for the Boston SAM Assembly. Larry Berman will go along as his assistant. As usual Max will turn over the fee to the Houdini Hospital Fund . . . Charlie Reiss moved to Tucson, Arizona . . . Felix Greenfield was a hit at the last Open House meeting of the season."
Jottings Variety covering Franklin at the Empire Theatre in Glascow noted: "Franklin, magician, conjures doves from handkerchiefs and armpits." So that's where they come from! . . . Busy Mr. Ballantine was booked for the George Gobel show at the Dallas Memorial Colliseum, June 28 . . . Lucy and Eddie Roberts are set for the Claridge, in Atlantic City, August 1 . . . From Arnold Belais clippings from the N.Y. Times about the legal activities of Judge Irwin Delmore Davidson, who Arnold points out is no mean hocus pocuser himself as old Parent Assembly members can testify... Another Russian magician is on tour in England. This time it's Yury Rubanov, who does an act with the Moscow State Variety Theatre u n i t . . . A sudden splurge of last minute SAM campaigning has Bill McCarthy of Boston running for National Prexy and Dr. Neil Doren running for 1st National Veep. It's unusual for anyone to campaign for veep, but the pro Dr. Doren letters quote praise from Ray Muse, Bill McCaffrey, Leslie Guest and Lloyd J o n e s . . . Print-
Hugard's MAGIC
June, I960 ing News reported "Justini, The Magician entertained the group (Printers' Machinists Association) with a splendid array of mystifying prestidigitation . . . Arthur Leroy (Peggy Bridges is in Florida) continues Saturday matinees at Jan Hus House with magic minus the marionettes... Cliff Green is home from the Booth Memorial Hospital. We wish him a rapid and permanent recovery.
Slydini Tony Slydini typed from Henk Vermeyden's shop in Amsterdam: "The Bologna convention was very successful. Organization was excellent. There were about 350 people. The first day I was there was like a snow storm; all magicians around me day and night. We had a parade to the city hall, with confetti and paper filling the air—like a tickertape parade in New York. Nineteen nations were represented. Each nation had its own car with flag carried by motorcyclists. We had wine with the mayor and a nice reception at city hall. Regarding my lecture tour I had a wonderful reception everywhere. Last Sunday I lectured in Zurich. I have lectured in Amsterdam and also in Munich. Today I leave for Lille, France, from there to Brussels, back to Lille for a private show, then to Paris for a Sunday show. From there back to Amsterdam for private lectures, then to Cologne" . . . Since the letter was received Slydini has returned to Manhattan and is readying his lecture for the Boston convention.
Goodliffe The London Magic Circle feted Goodliffe of Abra at the Cafe Royal. He was presented M.I.M.C. degree with gold star, a silver wand, gold wrist watch, pen and pencil set. The latter from the Flying Sorcerers. Good gag was the sudden appearance of two vendors on cycles who passed out a special issue of the magazine to all present . . . Goodliffe merits the honor. His breezy publication features news of the moment, workable tricks and the peppery comments of Goodliffe and Fabian on the current scene. Rope Trick Lewis Nichols in his "In and Out of Books" column in the June 12 N.Y. Times Book Review section carries a long plug for Bill Severn's new volume "Rope Roundup." He finished off (Continued on page 9)
Monthly
THE WIZARD'S VARIATIONS
MY CARD ON CEILING By AL STEVENSON Two years ago I put this unusual card-on-ceiling effect on the market but did not follow it up with publicity. Because of this, it never attained vast distribution and has not been seen by the majority of magicians. The effect is as follows: An ordinary deck is shown, a card selected and returned to the pack. The pack is inserted in its case and the flap is sealed by a spectator. Performer then shows pack front and back and tosses it to the ceiling. The spectator catches the deck on its return and the seal is found to be intact. Nevertheless, the selected card is on the ceiling! This effect has raised a few brows even among magicians who see it for the first time. PREPARATION: Cut out the entire
back of a card case. To the back of this paste an ordinary playing card, face up. This is the gimmick: A card with the back of a card case as its back. With four bits of magician's wax (I have found Ed Mishell's "Suspense" excellent for this), affix the gimmick to the back of a card case, one bit of wax under each corner. You now have an apparently ordinary card case in your hands and may show it front and back. Place a bit of magician's wax on one of your coat buttons where it will be easily accessible. M E T H O D : Take the deck out of the case and force a duplicate of the gimmicked card. You may now either palm off this forced card or leave it in. Replace the cards in the case and allow a spectator to seal the case with mystic or scotch tape. It is vital that you direct the spectator in this: One end of the tape must be pasted on the top back edge of the case then brought forward over the flap and sealed down. Tape must not touch gimmicked card. (See i1 lustration.) At an opportune moment during your presentation, obtain the piece of wax from your coat button and place it in the center of the gimmick. With your thumb covering the wax, show the pack back and front as you recapitulate what has been done. Toss the pack —wax side up— towards the ceiling. Spin the deck horizontally as you toss it and it will hit the
PLACE EDGE OF SCOTCH TAPE FLUSH WITH TOP BACK EDGE OF CARD CASE
Illustration by Ed Mlshell
ceiling flat. The wax will cause the gimmicked card to adhere to the ceiling. Allow the spectator to catch the deck when it drops. WARNING: The four bits of wax used to hold the gimmick to the case must be very small. If you use too much wax you may surprise everyone —including yourself— by performing the Deck on the Ceiling.
Variations After case has been sealed, have a spectator drop it in his coat pocket. In this case, no wax is used on the outside of the gimmick. You may now reach into spectator's pocket, remove the "selected" card, show its face to your audience, put it in your pocket and let the spectator verify that the case remains sealed. (If you have any qualms about being asked to allow selected card to be examined, have a duplicate in your pocket.) # # • The spectator may hold the sealed deck under a silk and you can —with a sudden, sharp pull— remove the gimmick leaving him holding the case. « • • After the deck is sealed you can do a surprising rising card effect by holding the sealed case facing the spectators and sliding the gimmick up into view. • • • You can do a combination using , Gene Elmo's "Coming Up" (HMM, February, I 9 6 0 ) .
Hueard's MAGIC
June, I960
Monthly
MILBOURNE CHRISTOPHER'S COLUMN A few years ago I bought an excellent rubber imitation of a modern telephone receiver, the kind which has the speaking end at one side of the handpiece and the listening apparatus at the other. Most magical rubber goods leave me cold. Especially when they are used for massive productions. However, the phone intrigued me. As a change in my egg bag routine, I used the receiver and a ringing device for a surprise finish. Phone in Bag Dealers sell both the rubber telephone receiver and the ringing device. The latter is worn under the coat. When you expand your waistline this causes two pieces of metal to come together and the battery-operated bell rings. I compressed the receiver in a small package and held it together by slipping a U-shaped piece of metal around it to clip it in place. I put the folded-up phone in my right trouser pocket. At the point in my routine where I wished to load the telephone receiver, in the bag I used this technique: I made believe that I took the egg from the bag and put it in my right trouser pocket. In this action my right hand was closed so the audience could not tell whether I had the egg or not. The covering patter went: "Some people think I take the egg from the bag and slip it in my pocket, but I wouldn't do that—or did you see me?" My hand went to my pocket with the words "my pocket." There it quickly grasped the folded-up phone with my fingers masking it from view. The phone was taken to the bag with my hand as I asked the question "Did you r-.?"
see me.' Then I openly took out the egg, which had remained in the bag, and openly put it in my pocket with the words: "I'll try it again... see if you can catch me." I showed my right hand empty as I withdrew it from my pocket and again put it in the bag. "Now, watch carefully. At the count of three, the egg will leap from my pocket back to the bag." My hand in the bag meanwhile had. grasped the folded-up receiver and was
ready to push away the metal clip and let the receiver expand to its normal shape. I counted slowly, distinctly: " O n e . . . two..." I expanded my waistline. Immediately the ringing was heard. Out from the bag came my hand with the receiver. I put one end to my ear, held the other near my mouth. "What's that? It's time for the next act?" I smiled at the audience, shrugged my shoulders and went off to the music. Phone Production The collapsible rubber receiver may also be used as a surprise bit during a production. Not, I hope, a production of other rubber items, such as catchup bottles, fruit and vegetables, but during a production —let's say— of silks. About half way through the production set off the body-ringing device then reach in the box and take out the phone. Use any quick, funny line that's topical or appropriate, then put the receiver aside and go on with the production. Emcee Item I have also used the rubber receiver and ringing device as a quick emcee between-the-acts stunt. In this case the receiver is simply under my coat on the left side, not folded up, but held by the coat itself.
RISE and FALL An ingenious Version of the rising matchbox, which at the finish permits the box to be passed for examination. One end of a hair is attached to vest. The other end is fastened to a match in the box. Box in vest pocket before exhibition. Put box on left hand so that the hair passes between fingers and under hand, i.e. along back of hand. End of box from which hair runs is toward spectator. By extending hand the box is made to rise and fall to tell forced card, etc. Take out match that has hair attached, strike it to light cigarette. Throw box down on table. — F R O M J E A N HUGARD'S NOTEBOOKS
I hold up my left hand so that the coat sleeve comes back. I point to my wristwatch. "This looks like a wristwatch. Actually it's a two-way radio—a la Dick Tracy. It does not have too much volume though, I prefer the old fashioned telephone." I expand my waistline and the ringing device is started. I reach under my coat and come out with the telephone. "Hello. Yes. Why, sure!" I say, talking into the mouthpiece and apparently listening at the earpiece. "They're calling from backstage. The next act is ready. It's my pleasure to present..." and I introduce the next performer and walk off. I have used the phone to put across a joke about someone's car parked outside, a lost ear ring, or such similar material, then after the laugh I introduce the act. A Phone Twist Here's still another way to use the rubber receiver and ringing device. To one side of the stage is a table on which is a telephone. At any time during your act set off the ringing device. Head for the phone, lift the receiver and answer. "Hello, hello." On your second hello, set off the ringing device again. Immediately replace the real receiver and pull the rubber receiver from under your coat with the explanation "It's the other phone!" A funny line or two, then put the receiver back under your coat and go on with the act. Phone Vanish Here is a novel vanish of the phone receiver. You will need a regular phone base. The rubber receiver is cradled on the base. A black "wire" runs from the end of the phone to the base. A regular wire should run from the base offstage. The phone is on a table to one side of the stage. Cause your ringing device to sound. Go to the phone, lift the receiver and listen, then say "Sorry, wrong number." A little while later cause the ringing (Continue
on page 9)
June, I960
Hugard's MAGIC Monthly
YOGI VARIATIONS By PHIL THOMAS
Grant's Wonder Screen For many years magicians have been using this effective method of producing a small load. A good way of starting the trick is to have the load chamber hanging down in back of your table, thereby allowing the screen to be folded flat on the table top. To the lay audience, this is an effective way of showing that nothing bulky could possibly be concealed between the layers of the three-fold screen. Upon opening the various layers, casually show one side and then the other. Do not over-emphasize the showing of both sides by repeating the move, because it would merely incite suspicion. Showing it once on each side is enough. A few minutes practice in front of a mirror will enable you to add many clever ideas. Always remember, that you are merely showing both sides and then produce something rapidly from it. Tempo should be maintained throughout the effect, from the beginning when you show the panels, to the climax. If possible, the last object should signal the audience that it is the final production item! A rabbit-in hat silk, or a rubber skull, with appropriate wordage, will do the trick. Candle Tube Tip Magicians should be as topical as possible. Instead of referring to the candle as such, why not paint it over with a few marks converting it into a missile or rocket? It could be placed into the landing pad (the tube) and then sent off to the moon! When you remove the cap you have a silk with a picture of the moon painted on it. Magic Spell Tip Those of you who are using this very effective card trick will find that it is considerably enhanced if you use JUMBO CARDS. The size of the cards enables everyone to discern the pips much more clearly and though the trick is very effective, this embellishment adds a great deal. Transposition Tip In changing one object from one place to another, why not place a small piece of flash paper in an ash tray, calling it the "launching pad"? When it is
lit, the object is seen to vanish and appear elsewhere. The addition of the fire and shooting flame does add something! Appearing Cane Tip After greeting the audience, remark that your wife forgot to pack your cane and you telephoned your wife to rush it on to you via special mail. Reach into your pocket, take out an envelope and opening the paper, read: "Dear hubby: Since you forgot to pack your cane, why not do real magic and produce it?
Lovingly, Wifey." With that, crumple the letter and the Appearing Cane magically pierces the paper and makes its startling appearance. Those of you who have the cane will recognize that the Walsh cane is merely in the hand as the envelope is opened and the paper is extracted. The paper is crumpled around the cane which enables it to open suddenly. This could also be used with suitable wordage as a "Telegram to Cane." The telegram could read: "Have a good time at the (localized) convention. Don't raise too much cane, (signed) Your loving wife." Look at the audience and say —"But we will— won't we?" With a wink, the cane is produced.
STOCK SPECULATION SORCERY By GERALD R. BLOUNT, JR.
Stanley Collins' "A Conjuring Melange" offers many ideas which can be presented with topical patter. In his "The Tables Turned" (p. 86), he presents a sleight around which I have woven a tale involving the extreme speculative interest which the public is currently showing in the stock market. First the story outline and effect: I begin by placing two aces face up on the table before me and by acknowledging the public interest in the stock market. This reminds me of a friend who was equally interested in the bull market of 1928-29 and who had several thousand dollars to invest. (The aces are turned face down.) His broker was equal to the occasion and promised to double his money. (The aces are turned over and are shown now as deuces. These are turned face down on the table.) In fact, the broker does quite a good job of explaining to my friend how he will be able to retire by January, 1930, but you know what happened to his pile by then! (The cards are again turned up. They are now blanks!) Second, the set-up: The top two cards on the deck are aces, one red and one black, the next two cards are the matching deuces of the same suits, and about halfway down in the deck are two blank cards, the top one of which is crimped or corner-shorted.
Third, the sleight from Stanley Collins: While showing two cards face up on the table, the performer secretly turns the top two cards on the deck face up and holds a little finger break under them. If he has taken care to conceal the existence of the face-up cards, the performer can singly place the cards he is showing face-up on top of the deck (and on top of the concealed face-up cards), turn over all the cards above the break, and thus subtly switch one packet of cards for another. Fourth, the mystery in motion: Starting with the deck set up as indicated in step two above, the performer deals the two aces face up on the table and, as he draws attention away from the deck, turns the next two cards (the deuces) face up on top of the deck. Naturally, he holds the deck with the top facing downward and toward his body to conceal his chicanery. Next, he picks up the aces and performs the Stanley Collins move and deals the cards (now the deuces) face down on the table. While building to his first climax, the performer cuts to the crimp, which brings the two blankface cards to the top and sets up these cards for a second execution of the Collins move. He discloses the first climax, performs the sleight again, and builds to the surprise ending with all the showmanship he possesses.
Hugard's MAGIC
June, I960
Monthly
BOOK PROFILES By JOHN J. CRIMMINS, JR. NOTES FOR COLLECTORS: During the early days of the War between the States (Civil W a r ) both Compars Herrmann and John Henry Anderson were appearing here in the States. While Anderson's billing as "The Great Wizard of the North" put a quick end to his southern tour, little seems to have been recorded about Carl Herrmann's tours which apparently were restricted to the northern states. Probably the more important war news crowded out the usual publicity stories which would normally be found in the papers of those days. Checking back in Sidney Clarke's "Annals of Conjuring" we find that Herrmann's American tour was disposed of in a single sentence saying that he went to America in I860 and returned to England in 1863. H. J. Burlingame in "Herrmann the Magician" likewise gives little annotated information on the Compars' American visit during the war period, although certainly he should have been in a better position to check the newspaper morgues than his English friend Clarke. Recently, in connection with another hobby of mine, I picked up two copies of "Harper's Weekly"—October 19th, and October 26, 1861. Among the classified ads I ran across the following which will be of interest to many collectors: "ACADEMY OF MUSIC — Herrmann's Soirees de Prestidigitation — Every Evening. Notice. — During the coming winter it is the intention of Mons. Herrmann to visit the following cities in this State and the West, viz., Albany, Rochester, Buffalo, Pittsburgh, Cincinnati, Louisville, and St. Louis." Since "Harper's Weekly" was published in New York, the theatre mentioned was, of course, the famous Academy of Music in New York City. You will have guessed by now that my other hobby is the Civil War. I'm particularly interested in any memorabilia of the North and South that can be mounted in scrapbooks. Items such as old letters, old envelopes stamped or without postage, Confederate bills, Northern Shinplasters, Confederate and Union stamps, checks, bills, recruiting posters, newspapers or news clippings, photos, Sanitary Fair items, and any other general items of a similar nature.
If you have any such in your grandfather's old trunk in the attic, and don't particularly want them, you'll make me very happy if you'll pass them along to me. MARGINALIA: "Ibiden # 2 0 " has just arrived and is full of some extremely fine card magic by Ed Mario. Important, too, to collectors is the second half of this issue which gives the complete contents of the unpublished "Cardiste # 1 2 " which Rusduck had prepared just before he died. This was
obtained from Milton Kort, 18690 Hubbell Ave., Detroit 35, Mich, who also has the few remaining sets of "Cardiste" magazine ( # 2 to # 1 1 ) for sale at S3. with proceeds going to Mrs. Duck. To get back to "Ibidem" it sells for $1 a copy and every serious card man should be a subscriber. Order them from the publisher, P. Howard Lyons, P.O. Box 561, Adelaide PO, Toronto, Ontario, Canada. Teral Garrett has just issued "Psycho # 1 2 " which you should subscribe to if you're interested in mental effects. Small in size, but always giving good value in new and novel methods and (Continued on page 10)
ALMOST IMPOSSIBLE By JOHN V. HOPE E F F E C T : A coin is tossed into the air and, as it descends, the performer waves his hands over it and—the coin vanishes! It doesn't seem possible that a coin should so vanish, but it does. In a way that seems like real magic. METHOD: This is not an easy effect to accomplish as the coin and both of your hands are in motion. Let's get the motion of the hands straight first and then start handling the coin: Flip or toss an imaginary coin up from your right hand; as a continuation of the flipping or tossing motion, spread your hands about twenty inches apart. At the end of this gesture, turn your palms up then down so that they are facing the floor as you swing them toward each other. The right hand should pass about three inches above the left. The swing is made in such a way that the right wrist is above the left wrist at the end of the swing. Keeping the palms towards the floor, swing your hands back to the original position —about 20" apart. This is a standard Hollywood (or mystical) gesture. Before we go any further I had better tell you what we are trying to accomplish: The descending coin has to hit the back of your left hand just before your right passes over it. Then the coin bounces off the back of your left hand and into your right sleeve. As previously stated, this is not an easy sleight but it is not impossible. Merely almost im-
possible. I have found that the best coin with which to practice is a twentyfive cent piece. This sleight stands or falls on your timing. If you stop to allow the coin to reach the right sleeve, the method is obvious. If you move too quickly, you will miss the sleeve and be obliged to pick up the coin from the floor. The best procedure is a o n e . . . two . . . three... four... count in an even beat: 1, Toss coin into the air 2, Spread hands apart 3, Swing hands together and bounce coin into your sleeve 4, Swing hands apart showing coin has vanished To cover the traveling of the coin into your sleeve, palms should be slightly turned towards the audience. Don't worry about the coin bouncing into your sleeve. The swinging motion of your hands towards each other, plus turning them from palm up to palm down, sends the coin in the proper direction. One last item concerning presentation: Throughout the effect, follow the coin with your eyes until the moment when you sleeve it. At this point continue moving your gaze downward until your are looking at a point about ten inches below your hands and keep your eyes there a few seconds. This will strengthen the impression that the coin has vanished in mid air at that particular spot.
Hugard's MAGIC Monthly
June, I960
NEW WINE, OLD CUPS
TABLE SET-UP
(Continued from page 1)
AUDIENCE f SPONGE SAUS
which the cups are returned unless otherwise noted. The three balls are lying on the table four or five inches from each other. ROUTINE No. 1 is more or less the normal routine described in the instructions that come with the set of plastic cups. The moves are as follows: 1. The bottom cup is placed mouth down to your right; the middle cup is placed mouth down center; the top cup is placed mouth down to the left. The fourth ball is now hidden under the middle cup. These moves should be made in a smooth, unhurried manner. 2. Place one ball on top of the middle cup, cover it with the left cup and then with the right cup. Tap cups and lift all three to show the penetration of the first ball. Return the cups to the basic position in the left hand. 3. Repeat the identical moves for the penetration of the second and third balls. After the appearance of the third ball, separate the balls on the table and return the cups to the basic position in the left hand. MAGNET IN PLACE
BOTTOM VIEW
SIDE VIEW
ROUTINE No. 2 provides the first shocker to fellow magicians who believe that you may be using the standard effect. Here are the moves: 1. Bottom cup to middle, middle cup to right, top cup to left. The fourth ball is now under the right cup. 2. Starting with the left cup, lift the cups an inch or two with the right hand to show that there is nothing underneath them. In picking up the right cup move it slightly towards yourself, making certain that the magnet is touching the cup on the outside near the table surface (Vi" to %" from the table is about right). Moving the cup permits the hidden ball to touch the side of the cup where the magnet takes over and picks it up. You may prefer to move all three cups back slightly in making the pick-
CAKD CASl
'MAGNiT WITH WI1TAK ON TOP
PERFORMER
up so that the handling of the one cup does not differ. After showing nothing beneath the right cup replace it on the table. 3. Place the ball on the middle cup and cover it with the left cup. Tap and lift both cups to show that the ball has vanished. In lifting the cups turn the right hand about 45 degrees to the right thereby exposing more of the palm. This permits the ball hidden between the cups to roll over to the underside where it can be picked up and held by the magnet. Replace both cups and then retaining the same grip lift the top cup to show that the ball placed there a moment before has vanished. Lift the right cup to show the appearance of the first ball. Naturally, in lifting the right cup the magnet does not touch the cup. Place the right cup on top of the two cups in the middle and return all three to the basic position. 4. Repeat these same moves (bottom cup to middle, middle cup to right over the one visible ball, and top cup to left). Again, beginning with the left cup, lift each cup singly with the right hand. Only one ball will be visible under the right cup. It has been my experience that the magnet will pick up only one of the balls no matter whether there are one, two or three underneath that cup. Again, place a ball on the middle cup and cover with the left cup. Lift both, letting the right hand make its 45 degree turn to the right, reset and then lift the top cup to show that the second ball has vanished. Lift the right cup to reveal its arrival. Stack the cups and return them to the basic position. 5. Go through the identical moves for the appearance of the third ball. At the conclusion stack the cups and return them to the basic position. Separate the balls on the table. ROUTINE No. 3 1. Bottom cup to right, middle cup to center, top cup to left. 2. Place the ball on the middle cup and cover it with the left cup. Tap, lift both in a 45 degree turn as described earlier and show the penetration of the
first ball. Reset and lift the top cup to show the ball has vanished. Take both cups back to the basic position, leaving the right cup on the table. 3. Place the bottom cup to the left and the other cup in the center over the ball on the table. Place the second ball on the left cup and cover it with the right cup. Tap, lift both to 45 degrees and show the penetration of the second ball. Reset and lift the top cup to show that the second ball has vanished. 4. Still holding the top cup mouth down, place it to the right. Vanish the third ball by your favorite method and make a throwing motion towards the right cup. Lift it to show the appearance of the third ball. Uncover the other two cups to show one ball beneath each. ROUTINE No. 4 (optional) Reset one cup over each ball. Announce that the audience will be permitted to choose the manner in which the balls are to vanish—visibly or invisibly. Pick up the left cup with the right hand, allowing the magnet to hold the ball against the inside wall. Draw the hand back to the edge of table and ask a spectator to indicate the next cup from which a ball is to disappear. As the spectator does so, allow the second finger of the right hand to relax. This will permit the ball to drop from the cup into your lap. Replace the cup on the table and repeat the moves with the other two cups. Strip off the magnet and you are clean. Watch the spectators grab for the cups!
WORDS FOR WIZARDS "The beginner must practically arrange his 'patter' to suit himself (that which suits one person will not suit another), and if he confines himself to making it explanatory, genial, polite and interesting, interspersed with a little good humor, he will do all that is necessary, and it will be found to be far preferable to a quantity of burlesque rubbish, which is rarely appreciated by an audience, and is often taken as an insult to their common sense.
— CHARLES BERTRAM
Hugard's MAGIC
June, I960
Monthly
A SPELL OF ACES By R. L. TILFORD The magician shows the four aces, then deals them face down, side by side, in a row. He puts three face-down cards on each ace, then gathers up the four heaps. The resulting packet is cut several times. "The aces have an affinity for their suits and names," the performer explains. He illustrates by spelling out "Clubs." On each letter he moves a card from the top of the packet to the bottom. The card at "s" he turns face up. It is the Ace of Clubs. He discards it. He spells out "Hearts." This time the Ace of Hearts appears as he turns up the "s" card. He puts this aside too. "They even come up when their full name is spelled," the magician continues. He spells out "Ace of Diamonds." The Ace is turned up at the "s" and put aside. To demonstrate further the strange properties of aces, he gives the packet to the spectator to shuffle. After the shuffle and a cut, the performer holds the cards face down in his left hand and announces he will spell the last ace from the bottom. He will spell it either "Spades" or "Ace of Spades." The spec-
tator makes a choice and the magician pulls one card, as each letter is mentioned, from the bottom. The card on the final letter is the Ace of Spades. METHOD: After the aces are shown they should be dealt face down in this order: Clubs, Hearts, Diamonds and Spades. Three indifferent cards are dealt face down on each ace. Pick up the heaps with the right hand, place them in the left, one on top of the other. Pick up first the heap to the far right then the next, the next and finally the heap that was on the left. In gathering up the heaps crimp the bottom card of the packet (the Ace of Spades) lengthwise. Invite a spectator to cut the cards and complete the cut several times. If the crimped card winds up on top continue on; if it doesn't, make the final cut yourself, bringing it there. Pick up the packet in the left hand and move one card with the right hand from top to bottom as you spell "Clubs." When the Ace turns up on the last letter, put it aside. Spell "Diamonds" moving a card on each letter
from top to bottom. When the Ace of Diamonds turns up, put it aside. Then spell "Ace of Hearts," again moving a card on each letter from top to bottom. Show the Ace of Hearts and put it aside. Give the packet to a spectator for shuffling. If the crimped card winds up on the bottom go right ahead. If it does not cut the cards to bring it there. Hold the packet in your left hand your fingers around it on the top and the cards face down. Glide the bottom card (the Ace of Spades) back about an inch. The closed fingejrs of the left hand hide the protrusion of the Ace from the other end of the packet. With your right fingers pull one card for each letter of either "Spades" or "Ace of Spades," whichever the spectator chooses, from the bottom of the face-down packet and toss it aside. When the final "s" is reached the right fingers bring out the Ace of Spades and turn it face up. As you can see, the feat is practically self-working. Only the crimp and the glide are used. Neither is a difficult sleight. Another point in favor of this effective little trick is that it can be performed any time, anywhere, with a borrowed pack.
CARL GERMAIN'S CARD STAB A letter in Stuart Cramer's collection tells of the problems posed by Karl Germain's loss of sight and of a new method he devised for the card stab. It was written by Germain to his friend George Stipp, August 9, 1917. "I have not as yet made any definite plans for the future, but will have to do so. I believe with a good assistant, one whom I could trust with business details, I could toiir again and give as good a performance as ever, although I should of course have to omit tricks requiring good sight, as for instance —irony of fate— some of my blindfold tricks. "I'm in a deuce of a fix with some of my best effects, for instance my blindfold cardstabbing trick. I gave a little performance for some friends recently for whom I have often performed the trick through the years, who think it is the very best thing I do, whom I long ago convinced that I am thorough-
8
ly blindfolded and who can't see why I shouldn't do the trick better than ever now. There were some illustrious guests from the East and I simply had to include the blindfold trick. I did, but it was an awfully crude fake, i.e. compared with my old free and easy routine. "I devised a very good method of doing the trick, securely blindfolded, some time ago, but this way does not come up to my requirements for a company of sharks where palming and passing may only be resorted to in emergency. This method requires so little practice that you may find it useful sometime. "The performer allows himself to be securely blindfolded. A pack of cards is shuffled, one is drawn and replaced, and the pack is shuffled again. The performer throws the cards, face down, on the floor, one by one, endeavoring not to have the cards cover each other. He
then spreads a borrowed newspaper over the cards, takes his pocketknife and stabs the selected card through the paper. He may name the card before he turns it up. "A drawing pin, such as I enclose (this is a thumb tack with the point filed down until it will just penetrate a card and protrude a tiny bit on the far side) is forced through the middle of a duplicate card of the pack. This card is placed in my pocket with a pocketknife. The underside of the head of the pin is waxed so that when the pin is pushed in the card the card will be held secure, the point of the pin projects a little from the back of the card. "The card to be forced is palmed out of the deck before the blindfold is put on. After being blindfolded the performer adds the force card to the shuffled deck and forces this card. He has it replaced and the deck shuffled. He throws the cards onto the floor, getting
Jane, I960
Hugard's MAGIC
down on one knee to do this, then reaches into his pocket for the knife. In doing this he palms the prepared duplicate (the one with the thumb tack through i t ) , and places it among the other face down cards as he puts the knife on the floor. "The borrowed newspaper is then spread over the cards. As the performer smooths out the paper he ascertains the whereabouts of the duplicate card with the thumb tack. Its point cuts through the newspaper just enough to be felt, but not enough to be seen. "All he need then do is stab the card through the paper, and get hold of the thumb tack as he turns the card face up. The thumb tack is, of course, removed at once and after the blindfold is removed, the card which was originally selected is found and palmed out as the remaining cards are gathered up.
Variation "A borrowed pack may be used, even though the back be quite different, but the performer, in that case, must be careful not to allow the back of the stabbed card to be seen and he must slyly put a knife incision into the original drawn card just as soon as he gathers up the cards, which he does at once at the end of the trick. He must of course palm out his own card. "I neglected to say that where a borrowed pack is used the performer must introduce his card under the newspaper as he places this over the cards. As the card does not have to be in any particular place or position this is rather easier than it would appear before trial."
BACKSTAGE (Continued from page 3) with: "The Indian rope trick? Mr. Severn's never seen it, if indeed anyone has ever seen it. Fooling around once in his magic days, he tied a black thread to a line of rope, pulled it to the highest limb of a tree. The tree was on a main highway, and first thing Mr. Severn knew there was a screaming traffic jam, as motorists stopped to watch a rope apparently climbing by it-
GERMAIN'S TAB TIP-OFF By STUART CRAMER While Karl Germain was in England, long before there was any hint of a brain tumor, or the least consideration that he might some day lose his eyesight, he started to study Braille. Years ago he presented me with a pair of pliers, that he had purchased in London about 1905 or 1906, which made an indentation about this size (-)• He had a number of celluloid tabs about half an inch by an inch in size. These were punched with the pliers and arranged backstage so that his assistant could select them in order to cue a chosen word or color. The stack of tabs, in proper sequence, would then be deposited secretly on a table, as his assistant brought something out. Germain, who was in the lobby with a committee at the time, would pick them up and read them by touch in his pocket, then reveal the color or name.
self to heaven. Hasn't tried that trick since, and has no intention of ever trying it." Dunninger on Hurkos The tabloids carried news that Peter Hurkos, the "psychic," had solved the mystery surrounding a murder in Virginia. A story by Anthony Marino in the June 12 N . Y. Daily News quoted Dunninger's views. "I discount the entire thing. I am surprised that anyone will listen. He is putting a man's life in jeorpardy. Hurkos' analysis is ridiculous. I don't believe anyone has psychic powers. I do believe in telepathic communication and hypnotism, but what this man is trying to do is absurd and smacks of the middle ages. It is dangerous. He claims to have seen visions by handling socks and pants of Jackson. An inanimate object has no brain, no mind. I have known many people who claimed to have psychic powers. As chairman of the Universal Council of Psychic Research, I investigated more than 1,000 claims over more than 35 years. I haven't found one person who actually did possess psychic powers."
Monthly
CHRISTOPHER (Continued from- page 4) device to shrill again. Lift the phone and again say "Sorry, wrong number" and replace it. The third time, after you lift the receiver and listen, don't say a word. Take a pair of scissors and snip the wire which runs from the receiver to the base. Drop the receiver in a paper bag. Squash the bag. Apparently the receiver has vanished. Toss the bag offstage. Passe Passe Receiver Have two open paper bags on your table. Lift a regular receiver, then cut the wire and put the receiver in the bag to the left. A moment later take it out (actually the rubber replica which was already in the bag) and put it in the bag to the right. Squash the bag to the right. The rubber receiver crushes with it. Toss the bag off stage. Reach in the bag to the left, take out the real phone, display it, then drop it back in place on the base. The body-ringing device may be used effectively at the start and finish of this variation. Ringing Package The rubber receiver may be pressed down in a small thin box, a fraction of the thickness of the phone. Someone can hand you the box, which has previously been wrapped in paper and tied with a ribbon. Set off the ringing device, look for a phone on either side of the stage, then put the box to your ear and smile. Untie the ribbon take off the paper and open the box toward yourself, so the closed side of the lid will hide the instant expansion of the receiver. Take out the receiver, stop the ringing device and take your call. Purse The rubber receiver when compress sed as much as it can be compressed will fit in a large snap-type purse. However, when the receiver is taken out the audience can see it expand. It is obvious that it is collapsible. To my way of thinking it is far better to take the phone from an egg bag, or a thin box or from under your coat. In the latter instances the actual springing back to shape of the receiver is not seen by the audience. It is fully expanded as it is brought into view.
Hugard's MAGIC
SNIP SNIP By HEN FETSCH One of the most puzzling cut and restored rope tricks is the one which Haskell performs so well and which Fred Rickard described in M-U-M several years ago. It is, you may remember, accomplished with two short ropes held together with imbedded magnets. When the rope is wrapped in a piece of newspaper, a cut or two with a pair of scissors parts the paper and the rope. The two cut pieces of newspaper are put together. Hocus pocus, the rope comes out in one piece. Here's an offbeat presentation: Put a length of red ribbon with the rope in the newspaper. The ends of both the ribbon and the rope extend. When the cut is made, pull a length of red ribbon from each side of the paper and toss the ribbon aside. This is definite proof to the thinking spectator that the rope has been cut too. Put the two pieces of paper together and —heigh ho— thanks to your hocus pocus a magical restoration is made. Magicians who insist on being different may use a yellow ribbon.
BOY FROM PAPER D'Alvini's production of a boy from a heap of paper ribbons is described in one of Augustus Roterberg's unpublished notebooks. D'Alvini, "The Jap of Japs," first produced a huge quantity of paper ribbons from his Inexhaustible Box, he carried the mass of paper to the footlights and fanned it with his colorful oriental fan. Out from the paper popped a boy's head. D'Alvini put his closed fan under his arm and took one ear of the boy in each hand then pulled up. Out stepped the boy for a rousing audience response. No traps were used. At the side of the table on which the Inexhaustible Box rested was another table. Its front drapery reached down to the floor. Behind this the boy was hidden. When the paper ribbons were taken from the Inexhaustible Box they were heaped in the process in front of the
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June, I960
Monthly draped table, close to the cloth. The boy, a small one, slipped into the paper mass as soon as it was large enough to conceal him. D'Alvini then picked up the paper and boy as one and carried the heap to the footlights. A touch of showmanship with his fan and he was ready for the startling finish. This is a perfect example of a stage technique of long ago which could be adapted for modern use. —M C
BOOK PROFILES (Continued
fron page 6)
tricks, it costs but 25c per copy. Garrett's address is P.O. Box 72, Albany, Kentucky. Garrett also issues a monthly list of second hand magic books for free. Ed Heyl's latest Book Catalogue just in numbered # 4 8 . Some 336 items including books, magazines and memorabilia are offered, and I note some particularly choice items in this issue. A post card to Ed at 223 East Biddle St., Baltimore 2, Maryland, will bring you a copy. Axel Rasmussen, "Hegnsborg"— Holse Fyn, Denmark, has just issued List # 6 0 5 of second-hand magic books and magazines. Some excellent bargains will be found among the 175 items listed. Write for a copy. J. B. Finlay also has a new book list ready. His address is Firbank Private Hotel, Crescent Road, Shanklin, Isle of Wight, England. Ireland's "Trick Talk" # 2 of Volume 2 is also ready and, as usual, not only lists all the latest items but carries the usual columns of light banter and magic news notes which always make this house organ a welcome visitor. Write for a copy to Ireland Magic Co., 109 North Dearborn St., Chicago 2, Illinois. And another house organ worth getting is Lou Tannen's "Top Hat Topics" # 5 of Volume 4 now being ready. This, too, is chock full of good things including a wide selection of exclusive tricks. Write to Tannen's Magic Shop, 120 West 42nd Street, New York 36, N. Y. This last item should make some collectors happy. Surprisingly enough you
PATTER Collected by CLIFF GREEN TOSSED
SALAD:
Marriage
is
the
only business that pays dividends after it fails... The world is full of people who speak twice before they think once... Bar Room Chatter: "There isn't another woman in the world like my wife—thank G o d ! " . . . "I told her that she's not the only one who's always thinking of the other men she could have married." . . . Fellows who drive with one hand are headed for a church aisle. Some will walk down it and some will be carried... A peeping Tom is just a wolf gone window shopping . . . The way taxes are today, you might as well marry for love. •
•
•
We've just heard of the auto mechanic who went to a psychiatrist—and from force of habit climbed under the couch. • • • Of course there are bigger things than money. For example: bills. #
*
•
'Tis no wonder some of us are confused by rock 'n rollers. In their world you haven't arrived until you're gone. # • • We've a brother-in-law who says that his wife is taking up bird imitating. It seems that she watches him like a hawk.
can still get a copy of "Learn How To Be a Handcuff King & Mystery Man" from Johnson Smith & Company, Detroit, Michigan. It's item # 1 1 7 8 and costs but 15 c. The copy I got looks as though it might have been printed about forty years ago. It runs to 24 pages with illustrations and not only describes 13 escapes from handcuffs, chains, ropes, vaults, and trunks, but also explains how to pick locks and, for good measure reveals how to do the Levitation Act, and The Vanishing Assistant (from the top of a ladder), as well as the lowdown on "The Crack Marksman Act" famous during vaudeville days. About the only place to see this act today would be at a carnival or State Fair. BOOKS FOR REVIEW should be sent to John J. Crimmins, Jr., 265 Park Hill Avenue, Yonkers 5, N.Y.