Book Reviews

MAGIC AS A PERFORMING ART, A Bibliography of Conjuring by Robert Gill. Published by Bowker, London and New York. £7.50.

This exceedingly well produced book is unique among bibliographies in being of considerable practical value to anyone who performs magic, whether as a hobbyist or as a professional. It is far more than a mere compilation of titles with the usual bibliographical details common to similar publications. The author, with a commendable economy of words has managed to inform the potential reader which of the 1066 items contain material likely to be suitable for his personal use as a performer. This information alone could save its readers a considerable amount of time and not a little money. Apart from some wisely chosen classics only books published between 1935 and 1975 are dealt with, excluding only those of doubtful merit. Being in general agreement with Robert Gill's assessment of the contents of the titles included I am confident that little of real worth to the practising performer has been ommitted.

There is also a brief Appraisal of the most important bibliographical works which will appeal more to the students of conjuring literature, librarians, collectors, historians bibliophiles etc than to the man who just does tricks, though even the latter may find this book a starting point for widening his magical interests. Recommended without reservation.

Fred Robinson

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£4.75 U.S.S20.00 inc. Airmail Money back if not delighted

There's No Place Like KEN BROOKE'S MAGIC PLACE - 145 WARDOUR STREET LONDON. W.l. - ENGLAND Tel: 01-734 9240

Pabular is published after the second week in every month and is printed by Instance Printers, Paddock Wood, Kent, England. Subscriptions may be obtained direct from the publishers. Pabular, P.O. Box 180, London SE12 8JJ or through many magic dealers; Price 50 pence per copy (or US S 1.25) surface post included. Air Mail extra 12 pence (US 30.30) per copy or £1.45 (US 23.60) per y.ear. Editorial or ebntent copy should be sent to Fred Robinson, 1 Crescent Court, 24 Crescent Road, New Barnet, Herts, England. Advertising rates sent on request — smalls 3 pence per word (US 10 cents). Dealer enquiries welcomed. Reproductions of old prints and historical magical items by kind permission of Tony Faro.

ôbûôr tjè ¿Magazine of Close-up¿Magic cVol:3î,f§5<JAN. 1977

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A Happy New Year to all our readers and may it bring as much pleasure magically and otherwise as 1976 gave to us. Among the high points of the year was to see for the first time ever close-up magic presented on British television in a thoroughly professional manner by Fred Kaps and Ricky Jay thus setting a standard for all who aspire to present intimate magic on the box. The contrast in personalities, the hippy like Ricky with card tricks which included card throwing, a four ace trick, his laughing card trick etc and Fred performing among others, Chink-a-Chink, Gypsy Thread, Victor's Eleven Card Trick with paper money and the Floating Cork with his usual effortless ease, plus a part of his stage act giving plenty of variety, which was further enhanced by the illusions of Richiardi Jr. whose vanishing lady was somewhat of a sensation.

Hardly a week passes without at least one overseas magician appearing on the scene, many having already been here previously and almost all vowing too that they will be back again at the first opportunity — the reason they give us, that there is no place like it for magic. We have, of course, the Magic Circle, dealers who are in the game because they love it, and the British pub, all of which make their contribution to the enjoyment of our visitors.

The first one to arrive this year was Gaeton Bloom who was spotted by Archie Mclntyre, one of the few Englishmen working on New Year's Day, ringing a bell that does not work to a studio in Wardour Street which was closed for the holiday. Gaeton who hails from Paris is a prolific ideas man in the field of unusual and original effects mostly with a comedy angle. One of his ideas appears in this issue, and many of the others will be seen when he appears, for the first time in England, at the Ramsay Reunion. Also in this issue you will find an effect by Jan Heins which, when performed by its originator brought a look of utter disbelief to Gaeton's face when he realised he must be sitting on the card he had just chosen plus the entertainment produced by the presentation left us in no doubt that the trick is a winner for those who like to perform magic for lay people.

The last visitor of the old year was Juan Tamilix from Madrid, a professional who has been,appearing on Spanish television every week for almost two years. We had several sessions with him and saw some great magic which we will not detail because he also will be appearing for the first time in England at the Ramsay Reunion. He has a distinctive style angled towards comedy but does include items requiring considerable skill and is one of those lucky individuals who can enjoy magic both as a professional and when mixing with hobbyists doing magic which only really appeals to magicians. His presentation of Oil and Water is the best we have seen and laymen must be convinced he never 'touched' the cards, and the effect in which a losing hand of poker visibly changes to a Royal Flush instantly with the faces of the cards in view is something that Cy Endfield, who was present at one session, must still be pondering over. Apart from appearing in his own country Juan has toured South America and written five books, two for beginners, one on trick cards, another describing colour changes with cards, balls, and handkerchiefs. At present he is busy with one on knives. Some of these have been published in French and German and will ultimately be available in our own language.

In the April issue of last year we published an effect sent in by Ed. Mario entitled 'Spectator cuts to locate the aces'. Subsequently we received a letter from Larry Jennings claiming that he had invented the effect and that his notes showed that he first had the idea in 1964. He sent copies of letters from two other magicians who had seen him perform the effect at a convention on the morning of March 19th 1976 and that money had been spent on artwork with a view to publishing the effect in a booklet.

In this column we offered Ed. Mario the opportunity to reply if he so desired. He did so at some length and states 'The effect and whatever ideas and approaches within the text I sent you are strictly my own and not derived from any other source'.

This unequivocal statement leaves us with nothing further to say other than to advise anyone wishing to claim any trick or move (or whatever), as their own invention, to get it in print before they show it to anyone — even a friendv

■Hip DAI VERNON ^«B FRED KAPS • DAVID ROTH PHILIPPE FIALHO • BOB DRIEBEEK JUAN TAMARIX • RON WILSON

PATRICK PAGE all at BIRMINGHAM on Saturday and Sunday 12th and 13th of March 1977 Write now- there are still some places left! Fred Robinson, 1 Crescent Court, 24 Crescent Road, New Barnet, Herts, England _

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Some months ago two top flight cardmen, Derek Dingle and Ricky Jay and myself were invited by Cy to his home for a session of magic. On arrival we found Alex Elmsley already there and the ensuing hours brought out some high powered magic from these gifted individuals.

Cy, a film producer by profession, was responsible for Entertaining Card Magic which was written by Lewis Ganson and published in three parts some twenty five years ago, containing material which has remained undated and contains at least one effect, Aces for Connoisseurs, which is still being performed by many leading cardmen ne nas a new hobby — electronics — and this new interest has given further scope for his inventiveness. We were shown the results of his endeavours in this direction which involves communications and will be of particular help to people with certain disabilities once it gets into production.

A few days later we received details from Cy explaining one aspect of the invention and giving permission to publish it in Pabular only to receive a phone call the follqwing day with the request to hold it until he gave the go-ahead. Fortunately, he also sent a card location which goes something like this.

The performer takes a shuffled pack which may be borrowed and gives it a few table riffles to get, so he says, the feel of the cards. The performer now turns his back and requests a spectator to give the pack a riffle shuffle and square up the cards. He is then invited to lift off a few cards and note the card at the face of the cut and then to cut the packet he has lifted off and replace it on the section of the pack left on the table. He is finally instructed to square up the pack. The performer now turns round and picks up the pack and running through the cards face up removes the card noted by the spectator. Voila.

The secret is rather subtle. As the performer is giving a pack the preliminary riffle he notes, by secretly glimpsing, the two top cards. When he has the two glimpsed cards on top he cuts the pack as if to give it a further shuffle, but this time it is a slip-cut — an Endfield slip-cut if you will — which leaves both halves with a known card on top of each half.

At this point a spectator is requested to riffle shuffle the two halves together as the performer turns his back on the proceedings. It will now be obvious that when the shuffle is completed one of the glimpsed cards will end up on top of the pack, and it will also be clear that the card noted by the spectator will be next to this glimpsed card when the packet has been cut.

To find the card the performer has only to leaf through the face-up pack disregarding the first of the glimpsed cards he comes to, and remove the card immediately to the right of the second glimpsed card. It will be the one noted by the spectator.

Cy has some even more mysterious dressings for this location, but this simple straightforward presentation is completely baffling.

by Fred Robinson

"THREE CARD

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Fundamentals of Magick

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