An independent monthly bulletin for all who want good magic

Vol. 1 Ma. 12 Sxpiemfat, 1947 frtice One ShMitu}

tfetm Ulatiodi's


The Anti-Gravity glasses always seems to have been effective, but I have never understood why the magician should have to bandage a book or a piece of wood with a handkerchief for its accomplishment.

The method to be described can be adapted in many ways, but here is a typical effect:

Supposing that the magician has just finished a performance of " Welcome " (see " Pentagram " No. •>). The newspaper is folded until its measurements are one-eighth of its normal page size. It is momentarily placed down whilst a glass is picked up from the table. Into the former is pushed a nine-inch white silk. The newspaper is now picked up and the glass placed against the side (see photograph i) where it adheres. The handkerchief is removed from the glass whilst it is in this condition and placed over the mouth of the glass {and, of course, partly over the paper). The glass is then taken away from the paper, the latter now being placed over the mouth of the glass, and, of course, the handkerchief. The hand is now removed and the glass and handkerchief are seen suspended from the paper (similar to photograph 2, but here the silk is inside the glass). The paper is now turned so that the bottom of the tumbler points towards the audience. The free hand now takes a corner of the silk, gently pulls it upward (see photograph 3) still leaving the glass in situ. The paper is then turned so that the glass is once more in a vertical position. It is lowered on to the free hand and the paper taken away. The silk is now placed inside the glass, the paper held over the mouth of flie glass, and once more the glass adheres (as in photograph 2). The free hand now takes hold of the piccc of ¿ilk p.»-truding from the glass and pulls it away from and out of the glass. Once more the paper and glass are lowered on to the free hand and the paper removed. That is one series of moves. All this being visual, it will be found to be effective with nearly any type of audience.

I will run through the method first before worrying about any other methods of presentation. Many, many, years ago a firm of celluloid manufacturers put on the market an unbreakable glass for picnics. It was some time before conjurers realised that such an article could be put to conjuring uses. When they did, they nearly all thought in one way . . . that of crushing the glass for a vanish. It is one of these glasses that is essential for the effect, and it is only by the way in which this glass is continued on page 84

ADHESIVE GLASS — continued from page 83

strengthened at the mouth that the effect is easily possible. If you look at one you will find that the periphory is rolled (see enlarged view in drawing). Now take a piece of piano wire (I cannot give gauge, but the piece I used came from the G below middle C) measuring in length approximately three times the diameter of the glass, and slide it into this small tunnel which encircles the mouth of the glass. (Don't straighten the wire before trying this, for the natural tendency to curl makes this particular job easy.) When the wire is inside you will find that at a distance of a few feet it is quite invisible. You now have a " glass ", the rim of which can be attracted by a magnet. To complete the preparation for the newspaper and glass routine described, you will want a small fake. A piece of cardboard slightly wider than the diameter of the glass and shaped as in illustration is first required. On this place two " Eclipse " magnets at such a distance apart that when the rim of the glass is placed on the poles the maximum pull is exerted. When positioned, fasten down with wide adhesive tape, seeing that the poles ends are clear. The fake thus prepared, it is placed in the right hand pocket (or some equally accessible place). With the glass on table, a small white silk in the breast pocket and a newspaper at hand, the operator is ready for the . . .

Presentation. Possession of the fake must, of course, be obtained before folding the paper (incidentally if the operator is simply using the newspaper for this particular effect only, there is no reason why the fake cannot be an integral part of the paper by sewing it in a fake pocket). If the " Torn and Restored Newspaper" effect has preceded it and the performer is of the nonchalent talkative variety, the question of getting from the pocket is easy. For the silent performer a direct load from a clip would be better. With the fake in the right hand palm, the operator commences to fold the paper, and it should so be folded that not more than one thickness of paper shall be between the magnet poles and the rim of the glass (illustration shows the relative position of the magnets ; the lie is important in the final phase). With the fake inside the paper is momentarily placed down, the silk is removed from the pocket and placed inside the glass. The latter is now picked up by the right hand and placed on the palm of the left. The right hand now picks up the newspaper at the non-magnet end, and bringing the opposite end against the glass, positions it so that the necessary pull is felt. The left hand is now taken away leaving the glass suspended as in illustration 1. The silk is now removed by the left hand and draped over the mouth of the glass, the latter being removed and the paper being placed over the silk and glass. The paper is then turned so that the glass assumes a horizontal position with the bottom of it facing the audience. The operator is at this point standing left side to the spectators. He passes the paper from his right hand to the left, and with the right hand takes the silk and gently pulls it upward, leaving the glass still in a horizontal position (photograph 3). (Just one point here: it is advisable to have one side on the silk unhemmed ; this side should be so arranged that it is the side which has to pass across the mouth of the tumbler. A test will show that the undulations caused by the hemming can sometimes loosen the glass, causing it to fall.) The paper is now turned, the glass being restored to a vertical position, the paper is changed to the right hand, the glass being lowered on to the left. A slight pressure on the glass, plus a see-saw motion with the paper, will free the magnets and leave the glass on the hand. To the audience you have simply placed the glass on the hand. The silk is now placed within the glass and one corner allowed to drape over the edge. The paper is now picked up, but the manner of holding it should be such that a convex surface is presented to the mouth of the glass (see illustration) and also that the protruding end of the silk does not lie between the rim of the glass and magnet poles. If the paper is now moved so that the glass assumes a horizontal position this convexity cannot be seen. It is in this position that the silk is pulled clear from the glass ; the space between the paper and the rim of the glass gives no obstruction whatsoever. There is just one other important point. It will be found that the two magnets are comparatively heavy. Therefore to stop the paper from becoming floppy and bending, the operator must so arrange his grip that this is avoided. Handling of the paper itself is the best experience. If the operator adopts the faked newspaper method he can, of course, stiffen the paper, making the job one hundred per cent, easier.

Here are two other suggestions : (1) The magnets can be in a twenty cigarette-packet. The operator removes a cigarette and closes the packet, lights the cigarette and puffs some smoke into the tumbler. The latter is now placed mouth towards the cigarette packet where it performs its anti-gravity effect. All the other effects can be tried using the packet as a magnet carrier. (2) The magnets could be built into a stack of playing cards. This stack could so be made that by pivoting at one corner, the stack in conjunction with the rest of the deck, could be fanned and the routine carried through.

Qauqlat'd u tt t m

and {as the spectators suppose) the ' knot ' just out of sight. Thus most of the silk is in full view with the ends hanging over the side of hat. Taking the red silk, simulate the moves in tying the knot, but this time make a real knot. Grasp the centre in a similar manner and place in the hat with the ends in view as before.

Taking the green silk, tie the dissolving knot as in the case of the blue silk and place in hat, to the right of the red one. Thus the three silks are in the full view^ of the spectators with the red one in the centre. Ask one of the audience to choose one. The red or centre one is invariably chosen. If so, pick up the hat showing clearly that you do not touch the silks in any way and allow him to remove it by pulling gently on the ends. Hold the hat high while this is done to avoid any view of the inside. Ask him to untie the knot slowly and then show that the remaining silks have untied themselves in sympathy. If any one of the other silks are chosen (say the green), simply pass to another spectator. Ask for a colour and then say to another " Will you please have the remaining one ? " Pattering about what has been done, turn to the spectator who has the red silk " choice," and ask him, " Now what was the colour of your silk ? " This question should be put in such a way as if you had forgotten and as if it didn't matter what colour he had chosen. When the answer is given, proceed as indicated before, the only difference in proceedure being that the other two spectators are allowed to remove their choice themselves. I have found that the participation of the three spectators sometimes adds to the effect, but either method will be found pleasing to the audience.

To those who have worked the " Sympathetic Silks " to ' death,' and are in need of something different, the following routine with three silks will provide a refreshing change.

The effect is as follows : The performer shows three silks about eighteen-inches square and of contrasting colours, and ties a single knot at the centre of each one. He drops them singly into an opera hat, leaving the ends in full view. He asks a spectator to choose a colour (that is one of the silks). He removes the spectator's choice and hands the knotted silk to him. Pattering about the sym-pathv existing between the silks, he then asks the spectator to untie the knot in the silk he is holding. This done the performer slowly removes each silk by the ends from the hat with forefinger and thumb, and shows that the knots in them have vanished in sympathy.

The requirements are three silks of different colours at least eighteen-inches square, and a hat, preferably an opera one.

Show the hat empty after springing it open, and show the silks back and front separately. We will assume the colours are Red, Blue and Green.

Take the blue silk, and twisting it in the usual manner to form a rope, tie a false knot in the centre. This knot is the one which dissolves with a slight pull on the ends. Show the silk by holding it at the top end with the left fingers and thumb. Cover the knot with the right hand as if to tighten it, at the same time doubling the silk in half and secretly unloosening the ' knot.' Still holding the silk with the right hand place the silk in the hat with the centre


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Fundamentals of Magick

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