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EDDIE JOSEPH continued . . .

on top of the wand. This time when you cause the wand to rise the lady's hank goes up with it (As in Fig. 4).

In place of the lady's hank you may use a child's bonnet, lady's glove or any orher light object.

It is a good plan to place the wand in the hands of the spectators now and again. I would not advocate that you ask them to examine the wand. Just place it on different people's hands as you show the handkerchief on both sides. This in itself will convey the tacit suggestion that since different people handled the wand, you would not dare to pass it into their possession if it was tricked in any way.

Now to bring the routine of the Rising Wand to a climax you hold the wand upright and ask someone to spread the handkerchief over it as shown in Fig. 4. Borrow a key ring with a few keys on it, or have your own handy.

With the left hand reach under the hankerchief and under pretence of rubbing you pull down the stud to get elastic at tension and hold the four corners of the hank pressed against stud. The key ring is now slipped over the handkerchief covered wand. The moment you relax pressure on the four corners of the handkerchief the key ring will fly up and off the wand. Of course, you must use your discretion in the selection of the key ring because if there are too many keys on the ring it becomes too weighty and you could not produce a satisfactory result. In the alternative, a gentleman's ring will answer the purpose equally well and if your wand is not sufficiently thin then I would suggest you carry a blank Curtain ring of your own.

Naturally it is up to the individual performer to decide upon the different sequences of action, but before leaving the subject I would like to describe two other bits of business which you could incorporate with great advantage into your routine.

The first is this. After holding the elastic at tension have the wand covered with a handkerchief. Crip wand and handkerchief as shown in Fig. 5. Advance to some lady and ask her to wave her hand over the wand. You relax pressure and the wand rises. Now ask her to take wand away in one hand and the handkerchief in the other. When she does this ask her to see if she could repeat the same effect.

This would be another fitting business for the Climax. Get a coin envelope. Push it right over the end of wand. This will force a hole at the bottom. Now rub it up and down several times and finally pull down the stud with it to hold elastic at tension. The right hand holds the wand with fingers pressed against the envelope. Ask someone to blow. As he blows you keep saying 'harder, harder', and eventually let go of the envelope and it will shoot straight up towards the ceiling. The velocity depending on the tension strength of the elastic cord.


intricate movements, most of his figures had moveable mouths, so that they were able to sing, dance and talk. Amongst those that especially appealed to us were two "Old Soldiers," a Contortionist", and a little cameo wherein a little boy was 'talked at' by a magic piano, which persuaded him he could play if he tried. This he eventually did, and finished by playing a difficult concerto. The whole show was given to a series of synchronised gramophone records and was one of the most notable and original presentations seen for a long time.

The dancers were regaled from time to time by originality numbers, spot dances, and competitions. The spectacle of Col Ling Soo dancing sedately round with a paper drinking cup balanced on his head, fighting it out for the final prize against Max Andrews and his partner. Herbert won in the end . . . trust the old school! (or did I start jiving!!)

The evening ended at midnight for those who had to go any distance to get home, but for our country visitors there was the prospect of tea or coffee in the very cosy lounge of St. Ermin's Hotel (for so many years the wartime home of the Magic Circle). I would have liked to have mentioned the names of so many well known magicians who were present, but lack of space and natural diplomacy prevent me from doing so. For Helen and myself however, it was one of the most enjoyable evenings ever spent.

BAMBOO STICKS continued . . .

Well, there is the idea, and I hope someone will take the trouble to experiment with it. For platform work, use a small sloping display board to rest the sticks upon, and remember that small cloth pockets can be fixed to the back of this board, near the top, from which to obtain, or into which to discard, the thumb tip(s).

Max Andrews'

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