Now in its 3rd year.
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32 glossy pages in each issue.
THE INTERNATIONAL MAGIC STUDIO, (RON MACMILLAN) 89 CLERKENWELL ROAD, HOLBORN, LONDON, E.C.1.
Pabular is published after the second week in every month and is printed by Instance Printers, Paddock Wood, Kent, England. Editor Nick Bolton, Technical Editor Fred Robinson, Art Editor Eric Mason. Subscriptions may be obtained direct from the publishers. Pabular, PO Box 180, London SE12 8JJ, England or through many magic dealers. Price 50 pence per copy (US $1.25) surface post included. Air Mail extra depending on country and subject to UK rates. Editorial or content 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. Reproduction of old prints and historical magical items by kind permission of Tony Faro.
QCUITTECIMNQ pete biro
Typographically, Artistically — etc. second to none! Therefore I feel that a particular item that I have discovered and feature should be contributed to those that support and produce such a fine publication.
A borrowed ring is destroyed(!) and makes a visible (BAFFLING) re-appearance in a burst of flame. NOTE: I have performed this effect many times, both for magical and lay audiences, and the climax never fails to bring "oh's and ah's" — and there is room for comedy situation bits too.
At the moment the GRINDA RING is the best vanish (destruction) of the ring particularly for platform work. You are left with a ground up mess of gold glitter. I'll leave it to individual tastes as to the gags you do or do not use when you borrow the ring. Anyway what you are left with is the box in hand, full of the glitter and the ring finger-palmed. You now pick up or take from pocket a 4-inch square of flash paper I
comment on buying sheets of this paper in 1000
lots or sometimes just borrow the paper from the nearest W.C. Hand spectator the paper tell him (or her) to hold flat on hand and you dump
GLITTERING Pete Biro out the glitter onto the paper. Set box aside and ask spectator to twist up the package like a piece of candy and while said person is doing same you reach into pocket (or pick up) (there's a lot here for you to decide for yourself) a special little wire holder — mine is made from a "pointer" gotten from a stationery store (like a car radio antenae) with a bent wire hook on the end. (See sketch.) As you extend the pointer you load the ring onto the handle end (hidden in your fingers and the sound of the pointer being extended covers any sound of ring hitting the handle end as you load it). Ask spectator if there is anything in the package — other than the ground up "gold" and at today's prices you're ahead of what the ring must have cost!
Have spectator hook the package onto the end of the pointer it will slip under the hook and if you followed the sketch will stay in place. With your free hand, bring out a lighter and proclaim that the "precious metal has a memory... and a bit of heat applied will cause the pieces to
A ROCK no YOUR RING with the stone in place!" Needless to say the flame gets too close and ignites the flash paper and at that precise moment you let the ring slide down the pointer and it will stop at the hook. It will appear as if materialized at the end of the pointer. The flash of flame will provide perfect misdirection. A bit of handling time will show you you can "toss" the ring out and it will move to the hook faster. Believe me this is real magic!
If you do not want to use the GRINDA
RING prop perhaps a Mortar and Pestle?
Or you can make a ring out of a FLASH PAPER BILL (NOTE) and have it change to a real ring? You can do sleight of hand crushing ring at the table and dropping the glitter dust a la Slydini. Do anything you want but do it.
Yours, Pete Biro esq "The Sidewalk Shuffler., featuring the Leicester Switch!"
One of Magicik)'.s most interesting characters Tony 'Doc' Shiels is a man of many parts. Apart from working the Cups and Balls and being a 'Punch and Judy man' he performs and is involved with the 'Dogand Dragon \ a pub and restaurant in Cornwall. Most of our readers will certainly know about him already. The beer mat reproduced below is of more than passing interest.
If any readers know of similar publicity examples we would like to hear from them. (Editor)
If any readers know of similar publicity examples we would like to hear from them. (Editor)
"A magician giving out his bills, and boasting of his mighty performances, went down in the way of his calling, as other tradesmen do, to Bristol Fair, and there he did wonders."
The Cups and Balls, in my opinion, is the most marvellous piece of close-up conjuring ever conceived. It is not merely a trick, but a whole programme of tricks, a complete magic show in miniature.
That doesn't sound like a mentalist's opinion, does it? Maybe not, but mindreaders are two-faced devils and, as I scribble these words, the sun is shining and I'll soon be on the road, packing a set of cups and a Punch and Judy show, to play my summer role around the country fairs. I use the Cups and Balls as a crowd-puller, it is perfect for the purpose and never fails to attract an eager audience.
Punch showmen and their 'bottlers' (the men who drum up a crowd and collect the money) have employed the cups for hundreds of years. The word, 'bottler', is, in fact, derived from the French, 'bateleur', a trickster or sleight-of-hand man, an expert at Le Jeu des Goblets. It could hardly be an accident that Britain's king of Punch professors, Percy Press, is a dab hand with the Cups and Balls.
Last year, my sons, my wife and 1 took part in the great Bankside Festival of Punch and Judy, at the Globe Playhouse site near South-wark Bridge. I did the old routine there, as it happens, and spied Patrick Page, eyeing me critically from the back of the 'hedge'. On the day after the festival, I found myself in Davenports, chatting to Pat about the Cups and Balls. I mentioned that I had always wanted a set of heavy Burtini cups but that I thought the chances of obtaining such a thing, these days, were very slim. The Page boy, bless him, reminded me that nothing is impossible and promised to prove it. Within a few weeks, I received a parcel, containing — naturally — a beautiful set of Burtini cups. Patrick may disagree with almost everything I say on the subject of magic and mentalism, but he can't be all bad!
The very first cups I ever owned were an antique set, fashioned from soldered tin, which I bought from the late Charles Fitness, who used to run a magic shop, not far from Blackpool's Central Station. That would be about twenty five years ago — a quarter of a century - good grief! 1 have no idea where those ancient, rather battered cups are now, but it would be nice to think that somebody, somewhere, is using them as they should be used, to make magic.
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The performer requests the assistance of five persons to each collect five different small objects which are readily available in the room or in their pockets or handbags, and place them in a single heap on the table.
From the twenty-five objects, coin, cigarette, pen, wallet etc., each person selects at randoni five which he either holds or makes into a separate pile on the table. The mentalist then requests each one to think of one of their five objects, and to repeat the name of their choice silently three times to help them to develop a clear mental image of it.
The performer now explains the significance of the five E.S.P. symbols — circle, cross, three wavy lines, square, and five pointed star, and how they are used to test people's ability to read minds.
Cupping his hands in a fashion which will allow him to hold the items as they are placed in his hands the performer continues, saying, "I now hold a circle in my hands. Please visualise the circle, and as I come to you place one of the objects you are holding into my hands. It may, or may not be, the one you have mentally selected. Try not to give any physical clues." One object is collected from each person and all five placed on the table.
"I now hold a cross in my hands. Please visualise it and place an object in my hands." The five objects are added to the heap on the table. The process is continued with the wavy lines, square, and star in that order, at the conclusion of which, all the objects will be in a single heap on the table. During the collection the helpers are requested to remember the imaginary symbol being held when they put their mentally selected object into the cupped hands.
Reminding the participants that they must now have a clear mental picture of both the object they are thinking of, and the E.S.P. symbol associated with it, the performer asks the first person if he has any idea what symbol the person next to him is thinking. He doesn't. "Relax now — guess." No.l says "Square." You smile, and with a knowing look at No.2 ask him, "What symbol were you thinking of? "Star" he replies. You nod knowingly and state, "Someone else is thinking of a star — who is it?" No.4 is.
"Let's try again — No.3 what symbol is No.l thinking about?" "Wavy lines" he replies. "Yes" says No.l. "Anyone else on that path?" enquires the mentalist. "No."
The performer requests No.3 to visualise his symbol inviting the rest of the group to try to receive a mental picture of No.3's symbol. He asks No.5 to guess. No.5 says "Square." No.3 says "Right." Performer now asks No.5 if he said 'Square because it matches his own symbol. No.5 replies, "No, it just came into my mind."
The above is just an illustration of the type of discussion that takes place. The performer could use a thumb-writer and 'divine' one or two symbols. He can also ignore one or two persons and work with a smaller group. The description may sound dull. It is not. There is plenty of audience participation and scope for entertainment when the group are 'reading one anothers' minds'.
You are now able to perform what appears to be 'real mindreading' and reveal each one of the specific objects which are 'locked in the minds' of the participants.
Each revelation should be different. No.4 may stand over the table as you pass a pencil over the objects it 'taps' down on the one mentally selected. No.3 may hold your left
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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.