The Magic Glass Of Milk

EFFECT. The magician shows a square box which is suspended upon an axle. The door is opened to show an empty, black interior. A glass of milk is then placed inside, the door closed and fastened by any appropriate means, and the box is then turned slowly on the axle. The turning may then be speeded up as required until finally the box comes to rest. The glass of milk is then taken out, none the worse for rhe ordeal.

WORKING. The diagrams will expfain all there is to know, but a brief explanation may help. The box is constructed to revolve on the axles, without the latter turning round. Although to the audience the two axles reach from the stand to the outside edge of the box, actually they are continued inside the box, and almost meet within, except for a distance equal ro the width of the glass to be used. At the ends of these axles a rubber sucker is fixed. The whole interior, box and axle extensions are painted dead black.

c/cLf 'fy, Poof ts noh rAow/j.

The glass is not really resting on the bottom of the box, but a slight distance above it. Thus, if the glass is supported by the suckers, the box may revolve freely while the glass remains quite stationary inside.


straight down, with no wavering or deviation to one side or the other, or you will disturb the packed rice.

Having reached the bottom of the jar, if you will gently raise the knife you will feel the grip of the rice and the latter and the bowl will be suspended on the knife. Confidence, after a few trials, will enable you to eventually swing the bowl from side to side, aways having in mind not to twist the knife or jerk it to one side.

Lower the bowl to the table, and with a gentle twist of the knife, you will find that it will come away quite freely. At your first few attempts, if the rice does not grip the knife, then you may be sure the rice is not packed tightly enough, and often, a few jabs into the rice with the end of the knife blade will do this. Further settling down of the rice by jolting the jar on the table, or pressure with the thumbs will help.

When you have withdrawn the knife, pack the rice again with the thumbs, and taking a full length pencil thrust the pointed end into the rice, and again you will be able to suspend the bowl To my mind the wood pencil or a skewer give much better and easier results than the knife. The use of the knitting needle to obtain the suspension is not as difficult as it may sound. It is merely a matter of packing the rice firmly and using a firm downward thrust into the centre of the rice.

Having read so far, I wonder if there are still any sceptics? If you will take the trouble to get the right shape of jar, follow the above instructions and exercise a little patience, you will suddenly find yourself performing the Rice and Bowl Trick and will make one less to the number of doubters. If you still cannot work the effect, and you care to call on me some time, I will gladly demonstrate the thing for you.

Eddie Joseph dealt briefly on the effect way back in January 1941, in Jinx No. 129, but I am firmly convinced that the matter has been touched upon earlier than that, though in what book or magazine, I cannot say, having little time to spare for a search I may, of course, be wrong and would be obliged if any reader could give me information of its earlier appearance in print.

Of this, I am sure. No one has vouched a reason as to why the 'thing' works! There must be one, and anxious to discover what this

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is, I carefully tested the 'rice-pack' at the end of the effect. As we know the grains of rice are formed in what I would term a long-egg shape and I am sure the shape of the rice has something to do with it. Definitely sago and semolina, which are both sphere shaped, will not do at all. I have tried them many times.

After suspending the bowl , I have carefully upturned the jar, and, excepting for the centre where the knife has been, the rice will not fall out. By revolving the bowl in the hand with the bowl upside down, it will be noticed that the grains of rice down the centre hole gradually loosen themselves and fall away, and at one period, the centre hole being large enough, it wifl be seen to have formed itself into a miniature 'quarry'. Carefully note the grains of rice on the edges of the hole, and it will be seen that almost all of them have one of their narrow ends pointing inwards and downwards towards the bottom centre of the jar.

One gets a sort of 'shark's tooth' effect, all the grains radiating downwards and inwards and I have no doubt that it is this peculiar 'packing' of the rice which gives the necessary grip. The grains on the edge of the hole can be gently disturbed only to make way for other grains similarly packed. Whether my 'solution' is far-fetched or otherwise, I wouldn't know, but I would like to hear of a better reason for the grip given by rice packed in a bulbous jar.

Having gone to so much space to convince readers that there is no feke, it may be that, at a later date, I shall return to the subject again, giving various ways in which the effect CAN be obtained using a feke or gimmick, and, considering that, for stage work, it is neither essential or desirable to give everything out for examination in order to prove that one is not a trickster, then I don't see any logical reason why a feke should NOT be used. Do you ?

P.S.—Since the above was written, I have found that there are two distinctive kinds of rice on the market, one having the oval or nearly egg shaped grains, and the other having grains which are quite elongated, some no thicker than the lead of a pencil The latter, which I find is the washed or polished variety, is to be avoided, as it will not 'pack' properly. It is slippery to the touch and can easily be told from the courser type.

Just- as we go to press comes the sad very sad, news of the passing on Wednesday, March 24th of Everybody's Friend in Magic, John Gambling. Expected though it might have been, having regard to his ripe old age, it still came as great shock, and the news will cause a hurt in the heart of everyone who knew him. Magic's Grand Old Man.

On the many occasions on which I visited him at Cambridge, two things greatly impressed me. His simple devotion to his wife and his sincere devotion to magic. There are many many episodes I could write up about dear old John but time and space will just not allow of it. One's mind goes back over the years, his years in magic, and I am proud to be able to treasure one or two things which he passed to me many many years ago. One particularly is a copy of one of his early brochures, actually dated, by John, for the year 1891, and from it I can picture him sallying forth, very proudly, as was his manner, as the great Signor Gambliano. John was very proud of that name, and going through his immense number of testimonials he had every right to be.

We knew him, of course, as a magician, but the highlight of his Entertainment career was his wonderful ven-triloquial act, wherein he presented no less than six novel figures at one and the same time.

Another va!jued possession is a bound magazine and on the front cover John wrote:—"With all good wishes to George Blake. John Gambling. Happy Memories". Happy memories indeed, John. You have joined your good lady, as I know was your wish for a long time. But—we shall miss you.


The outbreak of war in 1939, interrupted his career, and being a powerful swimmer, and a member of the Royal Life Saving Society Life Guards, he joined the Royal Navy, and served as a Physical and Recreational Training Instructor, taking his ventriioquial figure "Hugo Lightly" with him. During his war service, every spare moment was spent in the organisation of shows for his shipmates, and he appeared in many programmes as a guest artiste, and was in the 'United Services Revue'.

He broadcast and recorded for the "Services Music Hall" Show, and appeared at the Pavilion and the Regent Theatres when on leave. Meeting the members of the Wessex Magical Association, a friendship was formed and as a result he was made an Honorary Member of the W.M.A.

Returning "to civilian life in 1946, Anthony worked a short summer season in Wales, and after returned to rhe south, to start the business which bears his name. He has built up a connection and reputation in ¡the South of England as one of the foremost entertainment organisers in the profession.

The first opening in Southampton of "Uncle Tony's Children's Theatre" was in

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