Picking up the selected card, hold it in front of your volunteer, asking him to get a clear mental picture of the card, after which he can place the card in his pocket.
Then ask him if he will lend you a small piece of paper, a visiting card, cigarette packet or anything which has been in his possession— anything that he does not mind being written on.
Having obtained the paper or what have you, give a brief summary of what has taken place. Then explain that you require a panel of judges, one to escort you out of the room and the others to watch the demonstration from the stage or platform, to make certain that no communication can possibly be made when your partner returns.
Also invite your judges to interrogate the person who escorted your partner out of the room as to whether or not anything had happened that would indicate what had taken place whilst they were out of the room.
In due course you leave the room, escorted by one of the judges, and in your absence your partner is recalled.
continued, on pane 55
Magic Q& ¿Round
A busy magical month. Portsmouth on the 14th for the Portsmouth and District Magical Society's Annual Dinner, Hoffmann Memorial Lecture on the 24th, at the Magic Circle, and another lecture at Bristol on the 29th.
The Portsmouth and District Magical Society's Dinner was quite an occasion for us, for seldom have we in the space of ten minutes shaken hands with a pupil of Charles Bertram, a Daughter of Buatkr de Kolta, a Stage Manager for Carl Hertz, and a Cousin of the late Louis N'kola. Almost unbelievable, and during the dinner, with the orchestra playing some of the waltzes of Joyce, we were swept away with nostalgic thoughts. A nice magical bill followed the. dinner. The acts were Raoul, with one of the nicest timed versions of the giant four aces (in this case four jacks) we have seen, Francis Haxton with some faultless card work, Ossie Rae, and ourselves. The after party broke up in the early hours with no magic but a lot of reminiscing.
To be televised or not to be televised. It seems strange that in the early days of television, and by that I mean the 'thirties, magicians thought that here was their golden opportunity to be the idols of the air. In a recent copy of the Genii, Bill Larsen, who is more far sighted than most, offers the opinion that magicians' chances on television will come when coloured TV takes the place of the more usual black and white projection. For ourselves, we can't see it. Effective visual tricks are pretty few. Once a trick is done it cannot be repeated for some time, and in this case, paradoxically, it is the better trick that must go into storage. The Linking Rings, Cups and Balls, and their like, stand out in the memory and in a repeat performance the viewers' eyes are on the trick examining it for a possible solution. Two-dimensional conjurers cannot project personality as in the case of their three-dimensional brothers. Little actions or movements that afford adequate misdirection in a normal performance fail to achieve all their object on the TV screen.
It would seem that close-up work is most effective, providing that ;t is good work, but it needs some effort on the part of the B.B.C. At the moment, in most cases, the performer is compelled to adapt his effects to the need of the producer, for magic is one of the Cinderellas of entertainment. Camera work seems to be most unimaginative, and little seems to have been learned from successful film technique.
How we progress. The other evening four of us were gathered round the fire and the talk was about coin magic.. One of our number showed a n'ce Horowitz effect and another showed a similar trick almost as good. It came from Modem Magic ! This started a dive for the book in question and then a looking at the card effects. Just have a look at some of them yourselves, in case your memory has faded.
Talking of Modem Magic brings to mind that a new copy of Later Magic is promised for this year. It is an American edition published by Duttons.
Hearty congratulations to the Sphinx on the occasion of its Golden Anniversary. Though the March number commemorating the occasion is not such a fine souvenir as that which celebrated, the Ruby anniversary, it contains some excellent magic (notably by Okito, Bob Harbin and Tan Hock Chuan) plus some very line articles by Walter Gibson,, jimmy Findlay, Milbourne Christopher and David Bamberg.
Costs of printing and also of paper are still rising and when we look at such a magazine as the Sphinx we realise what an expensive job it must be to produce. In the March issue there are nearly seventy illustration blocks used, some of them being full page in size. Cardboard is ¿¡oing up and the magician can expect further rises in the prices of playing cards. An official of a playing card company to whom we spoke rhe other day told us that not only had the material they were using reached a new level, but there was also the matter of increasing scarcity. We advise you to buy those cards now.
Talking of cards reminds us that so far we haven't seen any effects touching on " Canasta ". And that also reminds us that De La Rue's are selling " Canasta " sets which contain the finest English back pattern for " reader " marking that we have seen.
Quickest cement for a permanent rope join . . . . Balsa wood cement.
CL Wmd about ¿Booth, and Stoutinc&
A.B.C. TRIPLE DIVINATION, by George Blake (a duplicated manuscript published by the Author of 9, St. Alban Rd., Leeds 9, at a price of 5/-). Readers of this bulletin will already be acquainted with the excellence of George Blake's magic and we consider ourselves fortunate to have published his lovely 'speller' effect in our very first issue. In this particular routine he has taken that great classic of mental magic, "The Problem of the Three Coins," and has eliminated the one point that has always proved a weakness, namely, the means of picking up cards, v 'itches or what have you in an endeavour to locate t'i(i three articles. Quite frankly, when our friend Ken. Brooke came along with his own version we thought
BOOKS and ROUTINES—continued from previous page that perfection had been reached, and in that routine, in which playing cards were used it had, for Ken. too has found a way oi eliminating the weak feature. That particular method, however, meant that playing cards had to be used, whilst in this method they are eliminated (we seem to be using that word quite a deal). The effect was always good in its basic form. George Blake has now turned it into a miracle. FLASH PAPER TIPS, by Stuart Robson and Ralph \V. Read (published by Louis Tannen, 120 West 42nd Street, New York," U.S.A., price one dollar). This well printed booklet of some fifty odd pages is a mine of information to the magician regarding that excellent accessory, flash paper.
Of particular interest are the general comments on the article in question. The reader is warned (and quite rightly) of the danger in being careless with something that is capable of great danger. There is
SWEET SIMPLICITY 3—continued from page 51 has only twelve cards left, he strips off the topmost red-backed card (the corner short) and drops the remaining eleven cards on top, but retains a break with his left-hand little finger. A final cut at this break is given, leaving the short still on top and the eleven red-backed cards at the rear of the pack. The right hand takes the pack, thumb on the faces of the cards and fingers agamst the backs. Again the hand is turned so that the colour of the backs is flashed to the audience. " I am going to remove one card at a time like this (the face card, face to the audience, is removed by the left hand and dropped into the nearest glass), and I want you, sir (this to first assistant) to stop me whenever you wish. The card at which you stop we shall consider to be your card—quite clear ? " The magician removes a card at a time and places each face outwards in front of the first card in the glass, until he is stopped, and this card is then placed face outward into the other glass. The procedure is similar with the second assistant, and the position is such that there are two blue-backed
IMPULSE WRITING—continued from page 53
After sitting at the table she builds up the atmosphere by asking the person to concentrate, and slowly, as the message of the value of the card comes through, she writes on the slip of paper the name of the selected card.
Method.—I need not explain that the success of this effect depends upon showmanship and complete fairness of the condit'ons.
The secret is quite simple, and depends upon the subtle method of silent coding.
This is done by having on your person thirteen pencils. I use four sets of three pencils, one large size, one half size, and one quarter size. The-:hree pencils of each set have different colours— jne set red, yellow, blue and green. These sets are deposited upon the person, three red in the left trousers pocket, three yellow in the right trouser; pocket, three blue in the right coat pocket and three green in the left coat pocket.
These twelve pencils represent ace to queen.
no exaggeration in this advice as anyone may (and wer have) been badly burned either through carelessness or misfortune.
Keeping in mind the advice given the reader is then taken through a number of chapters in which flash paper is utilised or used as an aside in effects with cigarettes, cigars, liâmes, matches, money, cards, silks, in fact the whole paraphernalia of the modern magician.
Of the items given we liked particularly, "Melted Money," "Goddess of Flame," the "Flash Card Stab," the "Fireproof Ghost," "Rainbow Billiard Ball Production" (this is terrific in effect if you can get coloured flash paper) and "Flower Flash." These are just a few fancies of our own. There is, however, no doubt about the magical effect of a flash during a magical act, and we feel certain that at the low price asked few readers will abstain from adding this booklet to their library.
cards in one glass wrhilst in the other glass there are a number of blue-backed cards backed with one reJ-backed card.
The magician says to his audience, " I think you will agree that the selection of the cards could not have been fairer, not taken from a facedown pack. (Here once more the remaining cards are turned face down in the right hand, and the top cards spread so that the whole packet would seem to be red-backed cards. The small packet of cards in the other glass is taken and turned round so that the red-backed card shows and is placed on top of the cards in the right hand.) Therefore don't you think it strange that despite the fact that the pack I hold consists of red-backed cards, the very two cards that your choices fell upon were two blue-backed cards that I placed in the pack at the beginning ! " (At this point the pack in the right band is placed down and the two blue-backed cards are removed and shown.)
Try this over carefully once or twice, and I feel sure you will like it.
As they are of different sizes they act as an index and the pencil representing the value is easily distinguished from the rest. The king pencil is a solitary black one, and this is placed in the breast pocket.
The suit of the chosen cards is coded by the number of judges asked on to the stage, one for c ubs, two for hearts, three for diamonds and four for spades.
All your partner has to do when she returns is to note the number of judges and the colour and size of the pencil placed on the table beside the piece of borrowed paper.
The rest is showmanship !
As I have mentioned, this method is suitable for adaptation to any circumstances. I have used sir^n cards in place of playing cards, but as I 1 ke to borrow everything so that the effect is performed under test conditions I prefer to use playing cards.
" THIS IS A GEORGE BLAKE ROUTINE "
The "A-B-C " Triple Divination
THE OLD EFFECT OF THE " PROBLEM OF THE THREE COINS " BROUGHT BANG UP-TO-DATE
Three Spectators freely take any three coins or articles, yet the performer can correctly divine all three choices! Anyone having Knowledge of the old methods will certainly " sit up and take notice " on witnessing this routine, where apparently NO CLUES REMAIN TO GUIDE THE PERFORMER:
" If Hilliard had known about this he would have included it in Greater Magic "—Ken de Courcy.
" The effjct in its basic form has always been good and I thought the limit had been reached when you come along with this angle. Using this routine you have a miracle "—Peter Warlock.
" Undoubtedly the best version I have ever seen "—Gus Southall.
" The 'ABC' Triple Divination has one fault. It's too cheap at 5/-. I will get far more credit for this effect than for some I have paid pounds for"—"YOGI" (Theo Speaker).
" Learning the Greater Magic Version ' fair wore me out but I learned your routine in no time "—Ron Spencer.
Puzzles Conjurers and Laymen Alike
5/ Good For Platform j m Dinner, C.ose-up Shows
George Blake 9 st. alban road, leeds 9
"WONDERFUL," sa/s ROBERT HARBIN!
He made this statement after purchasing BOOK EDITIONS NOS. 1, 2 and 3 of Hugard's Magic Monthly, and continued: " A delight to read, and grand books to add to one's library."
If England's foremost magician feels this way about this great series, maybe you'd better get acquainted with it by getting a copy
HUGARD BOOK EDITION No. 4 (Vol. VII.)
just published, with its 117 sleights, tricks, and routines with balls, cards, coins cigarettes, eggs, handkerchiefs, rope, thimbles and miscellaneous objects, including 17 fine mental feats. They are the brain children of Allerton, Christopher, Daley, Devant, Farelli, Gardner, Hugard, Kaplan, Rawson, Vernon, and other well-known professionals and amateurs.
Handsomely produced (uniform with BOOK EDITIONS NOS. 1, 2, 3), with Bancroft buckram cover, 128 big pages (8J by 11 inches) which are the equivalent of about 400 pages of ordinary size, 189 drawings by Francis Rigney, a " Fleming Service Publication " (produced without a penny of publisher's profit), American price s5.00, sent postpaid and duty free at the Fleming " Share the Loss " price of 30/-
BOOK EDITIONS NOS. 1, 2, and 3 are still available, though not in unlimited stock, and are still (as they were widely pronounced when first published) " the year's biggest book bargains ", each 30/-
NOTE: Please remit for these or other books on magic to
Mr. Robertson Keene, c/o " Riverside," Victoria Road,
Yarmouth, Isle of Wight, and receive the books promptly from the United States.
FLEMING BOOK COMPANY 728, MADISON AVENUE, YORK, PA., U.S.A.
THIS book does not teach the reader how to speak " without moving his lips", a subject that has been dealt with in all other books on the subject. It does, however, break new-ground that has never before been covered in a book on ventriloquism.
Here the reader will find the result of years of hard and practical experience as a professional performer ; when and how to use the comedy movements for the greatest effect, how to write your own dialogue, a mass of ideas for new acts with script outlines, invaluable information on the psychology of children, entertaining children, etc., etc
And to cap it there is the complete script for an outstanding new Maurice Hurling act—not duplicated and sold for 10/- but just one chapter in a great new book.
from the publishers THE MAGIC WAND PUBLISHING CO.
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is published on the 24th of each month and can be obtained direct from the publishers for 1/1 per ¡.ingle copy. Annual Subscription 12/-
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Manuscripts for publication and books for review should be sent to the: EDITORIAL ADDRESS:
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will be pleased to send you details of his very latest effects and all his old favourites in return for a stamped addressed envelope (foolscap or octavo size please). WRITE NOW, TO
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The Magic Wand, Quarterly. Fer copy 3/8 p.p.
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p.p. 6 month, 12/6, Year 24/-. lohn Ramsay's Cups 8C Baljs (Farelli) 25/6 Where Houdini Was Wrong (Sardina) 20/6 Convincing Coin Magic (Farelli) 17/10
(Koran & Lamonte) .. 10/3 Bohleno's Mysteries (Bohlen) . . 10/3
George Armstrong's Premonition 10/3
Chandu's Psychoanalysis 10/3
Entertaining With Hypnotism (Dexter) 10/3 Challenge Instant Hypnotism SC Mass
Strictly Magic (Eddie Joseph) . 5/3
Stooging Around (Stuthard) 5/3
26 Living Sc Dead Tests (Garrett) 5/3
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