Series Of Climaxes

Read it again. A Series of Climaxes. Out went the beautiful Cups and Balls Routine, followed by Out of This World, the Coin Assembly etc. He didn't leave out the Cups and Balls, but all the prelims disappeared and he got to the punch as fast as possible. He thinks that this whole approach has improved his magic.


Change of subject. A thought. I have just started re-reading the Hofmann Trilogy, Modem magic, More Magic and Later Magic. The more I read it (and I am still just on Modern Magic) the more I am convinced that when it comes to straightforward out and out conjuring the Hofn\ann books have it all. There are many other books which I like. I love encyclopedia type books, Ropes, Silks, Coins etc. because they usually give you a variety of methods and incorporate some of the latest routines by well known performers, which is all food for thought, and that is all that it should be, Food for Thought. There are so few of us (US meaning that I am one of THEM) who try to bring something of ourselves to an existing effect or routine.

We have just had a series on TV which featured magic exclusively. It was good. It was very good. Each week thy closed the show with one classic illusion, using actors and actresses as the presenters. They did a great job but it was as if they had read the instructions, did their rehearsals, performed the effect, filmed or taped it, and showed it on TV. There no little extras, hidden or otherwise, to lift them above whatever level one judges these things by.

Let me try and explain the point I am trying to make. If Albert Goshman decided to include the Hippety Hop Rabbits in his act do you think he would do it exactly as we know it? Or would he try to improve or change the effect or presentation? If Dante the illusionist was still around, would he be doing Harbin's Zig Zag illusion just like everyone else? I doubt it. We can't all be Goshmans or Dantes or Cardinis, but we can at least try. Can't we?

Have you noticed the tendency on childrens' television shows recently for the presenters to scream and shout and encourage the studio audiences fo children to do exactly the same?

I don't like it. We all do routines where we encourage the children to yell out, but at least there is a sort of discipline to it. With the new breed of children's TV presenters it is almost a case of anything goes. Gunge is the magic word. The more mess they make and the more children involved in making the mess the better. Buckets of slosh, mud, spaghetti slime etc. are tossed aroud with abandon.

A clown friend of mine did a kid show over the festive period. He did his forty five minutes, came off, got changed and collected the bread, all of which took at least five minutes. On his way out he noticed another entertainer was on. The show was in a hotel ballroom. In the five minutes it had taken him to change the second entertainer was on and had succeeded in getting all three hundred of the kids out of their seats and gathered around him. It was chaos. The children on the fringe of the melee were mostly the smaller ones. Some of them were crying. Others were playing with toys. Some were standing around talking.

And what exactly was our entainer (?) doing? He was passing around paper plates, filling each one with a custard pie type mix from a barrel. He also had a young dolly bird assistant who was also surrounded, and she was painting the kids faces and passing around the paint for the kids to do likewise. Honest. This is a true story. Who was this entertainer? He was avery well known childrens' TV presenter.

And his fee? Six hundred pounds.


Patrick Page

SETA WALLET by Eric mason £75.00 plus postage

There have been many wallets on the market! Far too many in my opinion but there have been few that can be used to perform virtually every known kind of wallet trick. You need a Hiatoer Wallet, you need a Signed Card in liiallet you need a ... well you know what we mean!

Eric's Wallet consists of a Wallet with a zippered imer compartment. Inside the zippered inner compartment is another wallet. Iihen this is opened it is seen to have a zippered ir**r compartment and inside this can be found the siyied card. Yes, a wallet inside another wallet. Additionally the effect can oe performed without palming and without any sleight of hand either. You can load into an envelope inside either wallet. You can load a palmed card into either wallet. You can switch an item - a card or a note - with the wallet. In fact there is little that you can not perform with this wallet set. The wallet is made to hold either bridge or poker cards and it is of a size such that it can be kept in a hip pocket. It is neither too large nor too small. It is made from the finest leather and is so intricate that you will wonder why it is not priced at £150.00 when you receive it. The instructions are so comprehensive that they, took me 5 hours to type. The illustratons are copious and elaborately and concisely explain every move. A nunber of ideas and routines are supplied with each set. The nuitier of wallets are limited in supply and as they take months to manufacture do order now rtilst we have adequate stocks.




46 QueenstownRdLondonSW8Enghnd

!u afitSr-the second vveek in every month and is printed in England. Subscriptions may be obtained frorri the publishers Pabular l^iifff^ 8JJ En9'8nd< or through many magic aeaters. Subscriptions rates, including surafce mail worldwide: UK: £14.00

!u afitSr-the second vveek in every month and is printed in England. Subscriptions may be obtained frorri the publishers Pabular l^iifff^ 8JJ En9'8nd< or through many magic aeaters. Subscriptions rates, including surafce mail worldwide: UK: £14.00

Advertising i request.

Advertising i request.


Hi there again and welcome to yet another star studied issue of Pabular. So ... . Why has it been so long since the last issue, I hear you ask.

Well, lot's of things have been happening recently. I've been uprooted yet again and am now living in Great Malvern in Worcestershire. Your letters can still reach me at the usual address on the back cover.

Nick Bolton, has also had his fair share of turmoil over the past few weeks and once again, we can only apologise, bear with us for a short time, until we get things running smoothly again.

The last issue saw the Phil Goldstein solo feast delivered as promised and this issue contains delicacies from such names as . . . Ian Land, John Carney, Jerry Sadowitz, Gay Ljungberg, Paul Hallas and of course your host on the ivory, typewriter, keys Stephen Tucker.

And as if the above weren't enough, I've just received a last minute offering from Barry4 Richardson of the USA. If nothing else, this issue could be deemed an International one.

So, what's been happening to good old Stevie? I hear you ask?

Well ... I trecked half way across the world, 256 miles to be exact, up to the Harrogate Easter Parade hosted by the Northern Magic Circle. I decided to enter for the Close-up competition, only later realising that friend Janet Claire had also entered. To cut an extremely long story short . . . Janet snatched first prize with her fabulous Jet-Vanish act a la David

Copperfield and I managed to hobble over the line just in time to receive the second prize of the John Pye trophy, a very unusual piece of modernart sculpture in wood.

I was extremely pleased to do as well as I had done, having seen many top flight close-up workers toppled by the undeniable skills and professionalism of Janet Claire. At the convention Janet also opened the Gala show with her stage act and virtually received a standing ovation for her splendid performance.

It was a fantastic four days made even better by the unbelievably good food served by the Hotel restaurant. I can heartily recommend the event to anyone.

I also managed to get up to the B.M.S. dinner/dance do in Birmingham a few months ago. Again the food was fantastic and the entertainment even more so. The two outstanding items of the evening, to my eyes, were the performances of both Philip Theodore and Wayne Dobson in the Cabaret spots. Nothing need be said of Wayne's performance, it's already been said in countless reviews by now ... He was superb,

Philip Theodore 6n the other hand is a far less known name amongst the usual performers. His act, which reminded me much of Vito Lupo, was spellbinding and the Dove production at the finale had everyone blinking their eyes in disbelief. I predict in these hallowed pages that Philip Theodore will go far.

A few weeks back I received a letter from Aldo Colombini, Fabian, asking if I would be interested in a lecture tour of Italy. I replied telling him that I was frothing at the mouth at the though of such an expedition and quoted my usual, reasonable, fees. It's just a matter now of sitting it out and waiting for the thumbs up or down sign from over the water. I'll let you you know the result in a future issue.

Nothing much else happening to me at the moment. Malvern is a little cut off from the hot and running magic supply that I was used to in London.

Before I go let me tell you that I have an article and effect in the Ben Harris, soon to be released, magazine 'NEW DIRECTIONS' Keep your eyes peeled for it in the coming months. That's all for now folks. See you in the next issue.


This is an excellent 38 page booklet. Staple bound between a high gloss card cover. Illustrated throughout by the author and containing 11 fabulous effects with many unusual items. You even receive the special cards required for the effect 'SWEDISH SANDWICH'. This small publication is highly recommended £5.00.


This is a pleasant change from the usual j barage of card and coin effects. Armed with four j clear plastic bags, each containing a strange j black circle, you proceed to entertain your victims, j

Cutting a long description short, one of the j circles completely vanishes from its bag only to j appear at a place of your.choosing. On the back j of a selected card maybe?

The instructions for this effect are second to none and the small manuscript is photographically illustrated throughout.


Again this is produced in the usual Ben Harris style 11 p^es, 23 photographs make this torn and restored card routine very easy to perform.

This is a two part routine, which is computer justified and every detail you need is found within.

To be quiet honest, not having seen the routine performed, I can't see how the thing would fool anyone. I don't like the actual series of events but no doubt it will be another story when I see it demonstrated.


This is a novel idea using the coin-fold. To be quite honest, I think this would have been better released in one of Ben's books as it doesn't really rate marketi g. It's the kind of thing that you might brand 'OBVIOUS' but then again , you never thought of it, nor did I.

You receive everything that you need in order to perform 'NEEDLED' right away.


This is another cute idea, using a small plastic wallet and a currency note. The effect being that the note is penetrated by a pen, which is inserted through a hole in the wallet. The pen is then slid across the wallet and into another hole a few inches away. The pen is withdrawn and the wallet opened. Needless to say the note is completely unharmed!

Once again, everything is supplied.

Should you be interested in any of the 'Harris' effects, write for full lists and details to____


The ElDuco publication can be obtained from EL DUCO 'S MAGIC - BOX 31052 - 200 49 MALMO — SWEDEN.

(An extract from the ElDuco publication can be found within


The above name will already be extremely well known to most close-up workers in this country. Let me just give you a brief intro taken from the Genii magazine and written by Faucett W. Ross

That time flies is an ancient saying but it applies most forcibly to those like myself of declining years.

Although my first meeting with John Carney must date back a dozen years, it now seems much less than that.

Well do I recall one lovely spring afternoon when there came a timid knock on my front door, and upon it being opened. I beheld a most personable youth who introduced himself as John Carney of Des Moines, Iowa. He further stated an intense interest in close-up magic and hoped eventually to join the ranks of the professionals.

So our first session started without further ceremony. He surprised me with his handling of cards and coins. However, I was able to make numerous suggestions from which he took notes.

This was our first session, but it was followed by many others over a period of several

years. There was a remarkable thing involved in all this. Our sessions rarely lasted over three hours, and to make them possible, John had to drive over one hundred and fifty miles to my abode, which meant three hundred miles of \ driving to spend a mere three hours.

Since those days, John has made incredible progress in our noble art. Among other engagements, he presented close-up magic in the lounge of a leading hotel in Houston, Texas, for several years. Later, he was a featured performer at the ill-fated Magic Island Club in Newport Beach, California. He now performs frequently, with great success at the Magic Castle.

I most not omit that at the present time he is busy framing a new stand-up act which will involve a number of novel notions.

Genii readers have enthused over several recent contributions from the talented Mr. Carney and they have elicited praise from such notables as Dai Vernon and Charlie Miller.

John is still a young man (24) with many magic years ahead, and I have every confidence that he will take full advantage of them.

Whether you are an amateur or professional you will gain knowledge and inspiration from Mr. Carney's work. This young man has the happy ability and genius to impart it.

Three cards disappear very cleanly, then reappear in a fan.

Hold the deck from above with the right hand. The deck is face up and held with the fingers at one short end and the thumb at the middle of the other. You are about to execute a side steal (from the bottom) under the cover of passing the deck into the left hand.

As the deck is placed into the left hand, the left fingers naturally contact the bottom card of the pack and push it into the right palm. The left hand continues to the left, while the right hand (with its concealed card) drops naturally to your side. It is important to realize that this action is performed on the offbeat, before the audience has realised the trick has actually begun.

Call attention to the face card and prop it up with the left thumb in preparation for Arthur Findley's 'Tent Vanish'. In a nutshell, the palmed card, is placed on top of the face card of the pack, and "both cards Eire allowed to fall flush. Do not move the left thumb. The right hand imitates the action of carrying away the face card. Since an indifferent card shows on the pack, the audience will assume you have 'palmed' the face card (Figure 1)

Owibs CeticaaJod

The right hand continues to the right and assumes the position shown in figure 2. Make a rubbing motion with the fingers and thumb then show the card has disappeared.

Pick up the deck from above in the right hand making some plausible excuse for the transfer then transfer back into the left hand, stealing a card from the bottom as before.

Repeat the procedure for the second card, making it disappear. The vanish of the third card will not require a side steal simply obtain a break (without creating suspicion) below the three face cards of the pack.

Prop up the three cards as one as you approach the deck with the right hand. Palm all three cards and turn to the right, assuming the position shown in figure 2. Rub the fingers and thumb together as if making the card disappear. Due to the position of the hand; the cards »emain hidden this is a classic position for producing a fan of cards. You have conditioned the audience to believe your hand will be empty. They see the hand apparently empty, and discontinue their attention on that' hand to all appearances, you have vanished another card.

Riffle the deck sharply with the left thumb, three times, then produce the right hand's three cards in a fan. It will always be met with a startled reaction when neatly performed.

♦It's another coachload of tourists back from the Tower.''

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Fundamentals of Magick

Fundamentals of Magick

Magick is the art and practice of moving natural energies to effect needed or wanted change. Magick is natural, there is absolutely nothing supernatural about it. What is taught here are various techniques of magick for beginners. Magick is natural and simple and the techniques to develop abilities should be simple and natural as well. What is taught on this site is not only the basics of magick, but the basics of many things.

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