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Over the festive season (Xmas that was) I worked club acting as M.C. and doing a spot. On the bill was an act I hadn't seen for a number of years. A husband and wife team, they used to be a song and dance act. They are no longer youngsters and have since cut out the dance part of the act which was at least half the act.

They learnt to play several musical instruments between them and added some comedy routines and impressions. This, added to Lord knows how many costume changes now constitutes the act. Did I mention that they also carry their own P.A. system which is suitable for use in very large venues? I didn't? Well they do.

Got the picture? From a straightforward song and dance act, with one costume change, they have become a truckdriving caravan towing self contained showbiz unit capable of putting on a one hour show under almost any conditions. They have put in a lot of hard work and invested a considerable amount of hard cash into the venture and they make a living. They can, will, and do, travel anywhere.

We had a long chat before the show and he asked me how I was doing. So I pointed to my little bag, and said, "It's still more or less the same act". He looked at the bag and at ray suit hanging above it in amazement and said, "Is that all you have to carry?" He was even more amazed when I told him that as a general rule I refuse to travel more than sixty or seventy miles outside London. He just couldn't understand how I make a living.

The answer to that is that I have learnt how to keep my overheads low, like not eating too often, smoking O.P. cigarettes etc. Actually the main point I am trying to make here, is not money, but the act itself. Maybe I'm lazy. I'll rephrase that. I am quite lazy. For the last few years, I have been trying, not too successfully, to expand my performing repertoire, the effects I earn money with.

I probably know just as many tricks as the next guy. But I don't see why I should lug around a large box or table or cageful of animals or a female assistant to help me earn a living when, with a bit more care and long time thinking about it, I can probably achieve a satisfactory result with a vanishing and reappearing cane or some other similar prop which can be popped into the same little bag I'm using now. Is that a logical argument?

I keep thinking of Amadeo, Max Malini, A1 Flosso, Keith Clark. All of them, and there were many others, were both good performers and good magicians, and all of them used small props.

When I say small, I mean small in the sense that they didn't have much to cart around. Amadeo used to open by tearing up a newspaper and producing a paper tree perhaps fifteen or twenty foot tall. That isn't exactly a small prop by any standards, but a couple of newspapers isn't a lot to carry.

What these guys did do, apart from entertaining audiences, was to make them sit up and say to each other "How the hell did he do that?", which is a lot more than my truckdriving caravan towing trumpet blowing music loving impressario friends can do.

Can you do it? I don't know what kind of an act you do, you may even transport it with a coach and four rabbits, but can you make your audience say, "How the hell etc?"

Remember, I didn't say "How the hell was that done?", but "How the hell DID HE DO THAT".

Try it sometime, what ever kind of act you do. You'll know the difference.

Goodbye Patrick Page

If you have had trouble obtaining Pabular from your normal source, don't forget — contact us direct at the address on the back page.

** NOW AVAILABLE **

Thu >ti> a 34 page book detcuJUng the Ingenious card-magic oi Stephen Tucket.. The work ¿6 Mhutrcuted throughout by the matter pen o{) Vavld BsuXland. it lt> bound within a protective plastic covert and the generaZ production Jj> ¿econd to none.

13 {¡avctaAtic ( MOVEST EHHH??) card miracles axe foully detailed. Including

the in&cunouA 'NERVOUS CARD'...the much talked about 'ENCOUNTERS OF THE FOURTH K1NV and the Nobel pvize winning 'TI.ME-WARP'.

To exiAt without thJji bock at your companion ¿6 unthinkable 40 why not secure your copy today. Simply 6end £8.00 to Stephen Tucker, 33A SteoXoM Road, London NW3. Payment can be made In Ca&h, cheque, luncheon vouchers, ¿>tamp&, milk botXte top&, KruggerancU etc.

46 Queensfown Rd. LondonSWd England hi 017206257

Pabular is published after the second week in every month and is printed in England. Subscriptions may be obtained from the publishers Pabular. P.O.Box 180, London S»E12 8JJ England, or through many magic dealers. Subscriptions rates, including surafce mail worldwide: UK: £14.00 (12 issues), £7.00 (6 issues),£1.20pence (single issue). Abroad: £15.00 (12 issues), £7.50 (6 issues),£1.25 (single issue), USA: $30.00 (1^ issues) $15.00 (6 issues), $2.50 (single issue). Air Mail Extra: USA 85 cents per copy or $10.00 per year. Other rates on request. Editorial or Content Copy should be sent to Stephen Tucker, Editor, P.O.Box 130, London 5F1? RJJ. Advertising rates sent on request.

EDITORIAL December '83/January '84

Hi there! You won't believe this but I'm actually typing this in Sweden! I've just completed a series of lectures in Copenhagen, Gothenburg and Stockholm. In four days time I fly back to London so in the meantime I thought I'd jot down all the effects that have been shown to me by the Swedish and Danish magicians I've met.

If you think England is cold, you should be here at night. At the moment it's six below Zero Brrrrr.

My good friend Gay Ljungberg, pronounced Yunberg, has donated two excellent routines within this issue and I too release an effect that I worked out whilst over here. The famous and the not so famous rub shoulders in order to bring you this Scandanavian issue.

El Duco is probably the most famous of all the contributors, and Gentleman Jack comes a close second. Both these excellent magicians are now regular attendants of our own English conventions.

Whilst in Stockholm for the one-day convention I was awarded the badge worn by members of the Swtedish Magic Society and also a tie with the insignia of the society.

I'd like to take this opportunity to thank all the magicians I met, I can't even begin to pronounce their names!

I'd like to extend my warmest thank you to Gay Ljungberg and his family for making my stay so enjoyable.

Quite recently I received some material from Phil Goldstein for future publication. With a bit of luck we may see a one man issue from him in a month dr so.

In next months issue Roy Walton heads the all star cast and from what I've seen so far, It's going to be great.

David Britland has also promised me a one-man issue in the near future and I know that this will please most card toting magi.

Let me just thank all of you for your kind letters and good wishes on my new editorship. Till next month . . . Byeeee!

"Your heart condition would seem to have been brought on f*> anumtQtfm

Love qffair."

"Your heart condition would seem to have been brought on f*> anumtQtfm

Love qffair."

Tommy Wonder entertains* By Jos Bema. This book is published and distributed by Jeff Busby Magic Inc. 10329 MacArthur Boulevard, Suites 5&6, Oakland, California 94605. USA. ($12.50 $18.00 inc. Air-Mail to Europe.)

This book, written by Gene Matsuura, edited by Jeff Busby and illustrated by John Elferink, outlines three Cups & Balls type routines.

Jos Bema alias Tommy Wonder is fast gaining a reputation as one of the world's leading thinkers and performers of fine close-up. Watching him work, one is aware of high class entertainment, coupled with technical skill and originality. However, it is^not until you study his writings that you become aware of the depth of thought and analysis that underlie the entertainment he creates.

His magic is based on a solid foundation of acutely observed audience psychology. It is the kind of magic that can only be developed by a thinking performer with considerable, practical experience.

In this book, three presentations of the Cups and Balls/Chop Cup are dealt with. All are covered in the minutest detail. The reader is taught every aspect of their presentation and the psychology behind it. The first routine is called 'Canned Craziness'. It involves a can of soup, a tin-opener and a meat-ball. The accent of the routine is on comedy, however, it is also very baffling. Firstly the can is opened and found to contain a solitary meat-ball. The ensuing routine contains a penetration, where the ball gets stuck half way through the bottom of the can. Finally, after the production of a giant ball, the can is found to be unopened and in tact. Like most of Tommy's stuff, the whole thing is reset in seconds, making it perfect for the table hopper.

The second effect is called 'Cough Cough* and is more of a gag than a trick. In effect, the performer, feigning a slight cough, removes a tin of cough sweets. On opening the tin, only one sweet is found inside. As the performer puts it in his mouth it vanishes, only to be discovered under the lid but in a surprising and hilarious manner, which involves a series of diminishing lids appearing in rapid succession. As always, with Jos, the presentation has been carefully put together and described in the minutest detail. Again the whole thing is reset in seconds ready for the next demonstration.

The final item is the Tommy Wonder 'Cups and Balls'. This is a two cup routine and features the famous open loading techniques, for which the author is justly famed. Having seen this routine worked several times I can vouch for its effectiveness. For the benefit of those, who have been less fortunate, I will mention its most salient features.

At the beginning the cups are brought on in a cloth bag, which has a large pom pom attached to the draw string. This bag is left on the table, in full view of the audience. In spite of this, the large pom pom is stolen off the bag and produced from beneath one of the cups. It is then refastened to the draw string.

The routine continues until the climax when the pom pom once again appears under one cup and the bag itself arrives under the other. This is magic by misdirection par excellence. It should be studied minutely by every real enthusiast. There are many other subtle touches in the routine but Jos Bema's analysis of open loading is a major contribution, on the subject of the classic. Its importance can not be too highly stressed. For the student of advanced close-up magic this book is a must. For the practical performer it will prove invaluable.

'SPELL—BINDER SPECIAL No:3'

It was a couple of years ago that Joe Riding told me about a Uri Geller type watch routine, shown to him by Martin Breese. According to Joe it was real magic. Well that routine, the one that completely floored Joe, is just one of the 25 items in this issue.

Twelve of the others are by Stephen Tucker, four by David Britland and one by Tucker and Britland. What is more, they are all good!

I particularly like Stephen's spoon bending routine and 'Coineto'. This latter is a coin passing from hand to hand, a bit at a time; sounds wierd but looks good.

It would be impossible to mention all of the 25 items in the space available. All are first class and favourites are purely a matter of personal preference and prejudice. I liked Britland's 'Zennerism' because of the simple yet subtle way, by which it overcomes the basic drawback of previous versions. (You will have to buy the book to know what I'm talking about.)

Other contributors include Phil Goldstein, Reinhard Muller, Pascal Monmoine, Justin Higham, Daniel Kalinowski, Paul Brignall and Ian Land.

All in all, a worthwhile issue, packed with some really good, off beat magic.

Walt Lees.

This book is available from Stephen Tucker, 33A Steeles Road, Chalk Farm, London NW3. England. (£6.00 inc. Postage.) Also Martin Breese LTD.

ONE MORE Henrik Specht

Editor

Henrik Specht is both Swedish and Danish close-up champion and on my final day in Sweden a letter arrived from him containing three fabulous effects for future publication. The following is my favourite. It is completely void of sleights, yet the effect is fantastic.

I suggest you adopt the Stewart James 'Further than that' patter theme and the effect is thrust into the miracle class.

nut!

Henrik is what we call in England, a cärd-

He never moves without a deck of cards in his hands. So with this in mind, get yourself a deck and set the top 8 cards so that they run from the top down in Ace to Eight order. Suits don't matter.

Obtain a break under the 16th card from the top and have a spectator select a card from the portion of cards below this break.

You can of course spread the cards for a selection and visually count to the 16th card and obtain your break as you close the spread after the selection.

Have the card remembered, take it and insert it into the break.

False shuffle without distrubing the top 17 cards and set the deck down for a few seconds.

Explain that you'd like him to give you any number from 10 to 15. Count the required amount into a face down pile on the table and place the rest of the cards to one side.

You now state that you think his card is amongst the cards just dealt and you have a fantastic new method for finding it. Perform the Australian deal, or DOWN-UNDER DEAL as it is sometimes called.

Simply take the top card and deal it down onto the table. Place the next card under the packet and deal the next onto the other tabled card. Place the next under the packet and continue in this way until you are holding one card and the rest of the packet has been dealt into a pile on the table.

Proudly flip the card face up and act as if you expect it to be the selected card. The spectator will quickly point out that it is not his card and you must act a little upset and apologise that it must have gone wrong. Hand the rest of the tabled packet to the spectator and ask him to remove his card. He will now point out that his card is not even amongst the cards used.

Apologise again and explain that you will have to use plan:B.

Point to the card which you had left in your hand at the end of the Down-Under deal and state its value.

Ask the spectator to pick up the rest of the deck and remove the card which is that number of cards down from the top.

He does so and will of course find his previously selected card.

Example . . . The spectator names the number 11. You deal 11 cards in a face down pile on the table and set the deck aside.

spot. When he deals down to the 6th card in the deck it will be his card.

Editor

This is a very simple card effect but don't underestimate it. It has all the properties of a good SUCKER routine and the final pay-off is extremely satisfying.

CHRISTMAS CARDS Gay Ljungberg

This little effect is ideal for performing at your Christmas party. You'll need three blank faced cards and one card which is blank on both sides.

Got the cards? Great! now jump on the number 36 bus and go to your local stationary shop. You'll need some adhesive Christmassy stickers depicting Santa Claus and the usual greetings of 'MERRY CHRISTMAS' and 'HAPPY NEW YEAR.'

On the faces of the three cards with backs stick a Santa Claus sticker.

On one side of the double-blank card stick the 'HAPPY CHRISTMAS' sticker and on the other side stick the 'HAPPY NEW YEAR' sticker.

S.et the four cards with the double-blank card third from the top. All the other cards are face down.

Performance

Wait until all the people who are usually bored to tears with your card tricks are assembled in the room. Introduce the cards and Jordan count to show four backs. Ignore the yawns and place the last card of the count under the packet. Flip the packet face up and Elmsley count to show four Santa Claus. (COULD BE CLAUSES?) Ohhh what's this? No spades, no Hearts . . . . could be interesting.

You borrow a paper napkin and fold it in half. You place the four cards into the fold as you explain that Santa Claus and his brothers are having their own party.

After a few seconds you explain that they've finished.

Reach into the napkin and remove any one of the cards with Santa on and place it face up on the table. Reach in and remove another and then another. You point out that these are Santa's brothers but Santa has completely vanished.

The spectators waste no time in pointing out that a small portion of the fourth card is hanging from the napkin.

You ignore them but they still insist.

Finally you remove the fourth card with the 'MERRY CHRISTMAS' side facing them and explain that this is in fact a Christmas card that Santa left behind.

They will insist that you turn the card around as they believe Santa is on the other side.

After a few seconds of banter Flip the card round and the words 'HAPPY NEW YEAR' will be seen!

Everything can now be examinedr

Gay informs me that this effect plays just as well with children as adults.

PICKPOCKEYT Gentleman Jack

During my stay in Sweden I had the good fortune to be invited to the home of the world's greatest pickpocket. . . Gentleman Jack.

Jack showed me countless miracles and gave me permission to include a couple in this Scandanavian issue.

This first effect is nothing short of fantastic. You'll need to put your hands to work on a little D.I.Y. but nothing too demanding.

Obtain 9 Poker chips. Jack uses 3 white, 3 Blue and 3 Red.

On the White chips Letraset the numbers 1, 6 and 8.

On the Blue chips Letraset the numbers 3, 5 and 7.

On the Red chips Letraset the numbers 9, 4 and 2.

You can of course use adhesive numbers or any other means to affix the required numbers to the chips.

NOTE. . As the numbers run from 1—9, you may be lucky enough to find chips already printed with the numbers at your local Games shop.

In addition to the chips you'll also need a door-key attached to a key-fob which has the number 165 printed on it. (The fob not the key.)

Have the fob in your breast pocket with the key hanging outside.

Introduce the chips and stack them in their respective colours. Ask two spectators to each choose a colour as you explain that each and every chip has a different number printed on it.

Assuming that one spectator selects the Red chips and the other the Blue chips, you can comment on their political interests . . . : if you like.

Point out that the White chips have been eliminated and show that they have different numbers on than the other chips.

Pocket the White chips and ask each spectator to shuffle his 3 chips. Ask them to decide between them who shall go first.

Ask the spectator who has decided to go first to place any one of his chips number side up on the table. Ask the other spectator to place one of his chips to the right of the tabled one also number side up. Explain that this simple procedure has generated a random two digit number. Ask the spectators to repeat the procedure beneath this first two digit number. Finally have them make another two digit number beneath this and they are finished.

Have one of them mentally add the three numbers together or if you like you could hand him pen and paper or calculator.

He will arrive at a total of 165!!!

Due to the very old mathematical principle on which this routine is based he will always arrive at the total of 165.1 know it sounds fantastic'. ... it is!!

Fig. 1 depicts some of the possible combinations of the layed-out chips and you can see that 165 is the only total possible.

If you are working to ladies you explain that you happen to be staying at a Hotel quite near to here and you also happen to be in room number 165.

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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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