Joins The Staff

By the greatest scoop in magical history I am very happy and proud to announce that we have secured the services of that "WONDER BRAIN OF MAGIC'. . . THE GREATEST AND MOST PROLIFIC ORIGINATOR OF OUR TIME—EDDIE JOSEPH.

Well, I told you the news would make you gasp, and I think you will agree that it is really sensational.

In releasing this news, we can now tell you the inside story of the best kept magical secret for a very long time.

Henceforth, the renowned Joseph will write SOLELY for "Magic Magazine". HIS NEW AND ORIGINAL CREATIONS WILL BE ADVERTISED FIRST AND FOREMOST IN THE "MAGIC MAGAZINE".

Every month will see the advent of some New Miracle . . . so if you wish to keep abreast of the times—and be one ahead of most of the others . . .check up on your Subscription and see that it is up-to-date.

After thirty years of magic in his home country of India, Eddie Joseph was at last persuaded to dig up his roots and travel abroad. In doing so, he took his wife Sarah and youngest daughter Hazel with him.

Convention in Colon, has all been recounted previously in these pages. Eddie scored heavy personal triumphs in the States and travelled around a good deal whilst there. He met and made friends with thousands of magicians, gave countless shows, lectures and demonstrations to Magical Clubs, of his own exclusives.

The story of their journey from India, their brief spell in England in July last, their subsequent visit to the Abbott Get-Together

After five months, worn out, weary but happy, he decided to return to England, where his eldest married daughter lives, where was also his mother, newly arrived from India, and other relations with whom he could spend a quiet Christmas.

Having seen and done so much in such a comparatively short space of time, Eddie's mind was naturally disturbed from its accustomed tranquility. Since he has become one of the acknowledged Masters of the Western World of Magic today, it must be obviously realised that he is at least fifty years ahead of magic at the present time in India. There was no scope for his extraordinary abilities there, no magical dealer who could successfully market his ideas, and no audiences who could adequately appreciate his really high standard of personal skill and entertainment ability.

He has taken a great liking to England the English people^ the magicians, and to ourse ves, and he has decided to settle down here permanently. We personally think he is a great man, a warm hearted and very likeable person, who has a great future ahead of hem.

Obviously, he is no longer a young man, and like the rest of us, desires to make the best use of his talents in the best market. It is our job to see that the magicians of the world get their full share of the future Joseph-isms!

Eddie Joseph's Originalities will be marketed on a world wide Scale

Any magician anywhere in the World, who can get the right kind of payment to us, will be able to buy them as soon as they are released. We know you will be anxious, so turn to the advertisements right away.

DEALERS— PLEASE NOTE. You will be assured a wide and ready sale for these effects, so write at once for Samples and Trade Terms.

My Rising Wand Routine by EDDIE JOSEPH

In magic, any effect that has to do with either raising or floating an object, exercises a peculiar fascination upon the onlookers. This is the primary reason why the ancient effect known as the 'Rising Wand' still survives and continues to mystify and entertain.

Although at this stage, it is outside our province to trace back this old piece of magic to its original source, yet I will not be surprised if someone succeeded in turning the back pages of history to discover that the effect was not new even in Noah's time. Noah, in all probability, amused the inmates of the Ark with it while waiting for the floods to subside!

In this age, the Rising Wand, is by no means considered an original venture. The task before the modern magician is to entertain. Neither the originality nor the ancestry of a trick has any bearing whatever on its entertaining appraisement. The fact that an effect is new or original does not necessarily imply that it has greater entertainment potentialities than one that has passed its younger days. Since any effect in magic is only as good as the performer can make it appear, we should in reality have no qualm about it's vintage providing we are confident in extracting the full entertainment value out of it.

Most of us, during our earlier days, played around with the Rising Wand, but since then the majority dropped it out of their repertoire. The effect as originally intended could not be demonstrated in the midst of a crowd because the tell-tale motive agency would soon reveal itself. Perhaps this limitation was one of the reasons why many magicians look upon it with disfavour.

I know from experience that the Rising Wand is one of those effects by which a magician can draw a great deal of mystery by very little effort, comparatively speaking. I have used it in my lectures during my recent American tour and the many subsequent expressions of approval by magicians were sufficient testimony of its worthiness.

As you will see from the description of the Rising Wand as I perform it, it could be presented anywhere and under all forms of conditions. It will be found ideal for floor presentation and the closer you get to the onlookers during the demonstration the better the results you will obtain. Naturally, I have elaborated on the basic idea, and there are a few simple accessories that you will require.

To begin with, you will need a case made out of heavy material to house the wand in. Fig. 1 will give you an idea of what is required. The case has a flap at one end, and when not in use can be snapped shut with a fastener. Pull out the stud attached to the elastic cord and hold it at tension against the opposite end of wand. Now slide the wand into its case, retaining the stud on the outside. Fig. 2.

The moment the flap is unfastened the wand will naturally rise due to the tense condition of the elastic. However, the wand thus encased is left on the table until needed.

When ready bring the wand, still in its case, forward. Hold it up by the centre and unfasten the cap, as shown in Fig. 2. When the flap end is openedv tighten pressure on the wand to prevent it rising prematurely. The wand is introduced as the sceptre of the old Egyptian King, Tutankamen. You can tell them that it was discovered during the excavation of his tomb. It came to you quite by chance in a bazaar at Cairo. Since you have learnt that the sceptre possesses mystic properties, you have saved it for entertainment purposes.

Now wave the left hand over the wand and it rises mysteriously. Of course, you control the action of the wand by regulating the grip pressure. If you want the wand to to rise up quickly just relax completely—or if you want it to go up less speedily, tighten hold slightly.

After causing the wand to rise for the first time, you push it in again with the free hand and repeat its ascension. Continue this two or three times, and then as if struck by a sudden thought you look at the audience and remark . . . "Of course, you think that there is a hidden spring inside the case which forces the spectre up. I can assure you that is not so . . . perhaps someone would care to examine it". At this point you grip the case at the open end, curl the third and fourth fingers around the end of the wand itself. The case is gripped between the thumb, first and second finger. Stretch out the hand, release hold of case but retain pressure on wand. This will cause the case to sail swiftly through space and alight on somebody's lap. this in itself becomes an additional effect and at the same time helps dispel the thought of any hidden piece of mechanism being employed.

Having disposed of the case, you are now left with the bare wand to proceed with the rest of the routine.

Walk up to some man and borrow his pocker handkerchief. As you take the cambric, you lay the wand on his hands. Show the handkerchief on both sides and then spread it over your arm as shown in Fig. 3. Take the wand away from the gentleman and stand it on your hand over the handkerchief as in Fig. 4. While the left hand steadies the wand, the right grips the bottom stud through the handkerchief, between the first and second fingers and then rubs the handkerchief up and down retaining the wand as in Fig. 5. The use of the handkerchief, as

you explain, is to avoid contamination by touch and also to generate and accumulate sufficient electric charge.

The real purpose of the handkerchief is, of course, to conceal the presence of the elastic cord which would otherwise reveal itself. You can now safely walk amongst the audience as you cause the wand to rise. When the wand reaches its full height, you push it down and repeat the operation.

At this stage you explain that the whole secret lies in the fact that the sceptre is wrought out of special material which develops natural electricity by the mere action of rubbing!

You now claim that the sceptre would work in anyone's hands. Again rub the handkerchief several times and hold as depicted in Fig. 5. Turn the wand horizontally and place your left hand momentarily under it. Ask someone to stretch out his hand and you lay the wand on his palm. Remove the left but do not let go of your grip with the right fingers which in reality is retaining the tension on the elastic cord. Relax pressure and the wand will now move out horizontally. To the onlookers it would seem as though the wand moved of its own accord without any interference from you.

Once again get the wand in position for the rise as in Fig. 5. You remark that sometimes people think that the sceptre does not really rise but you only create the illusion that it does. In order to prove to them that you can endow it at will with a mysterious form of motive agency, you would ask some lady to bunch her handkerchief and rest it (Continued on Page 26).

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