Jinx Extra

On board S. S.NORMANDIE — from England to the United States, en route to the Annual Convention of Die International Brotherhood of Magicians, at Battle Creek, Michigan, U.S.A. June 14,15,16, 1939

Standing, left to right:

Dr. H. Park-Shackleton Mrs. Edgar Reid Deveen

Arthur Dowler Cedric

Walter Wardman Miss EsmS Levante Mrs. Stanley Ballard Mrs. H. Park-Shackleton Mrs. L. Levante Edgar Reid Mrs. T. Darlington Tom Darlington Mrs. Edmund Younger

Seated, left to right:

Malcolm Stuart Edmund Younger Mrs. T. Moss Levante John Ramsey Stanley Ballard

I feel rather incompetent to this task of talking about our English cousins who did journey over here with their trunks of tricks and illusions. We may assume that the trip was sort of a vacation cruise, but the fact remains that they came in a large party together, and spent practically every minute of their time on our soil with magicians as their hosts and magic as their food and drink.

When the Hormandie wedged itself in between the llew York pilings, Charles Larson, Herman Hansen, and the writer had to be pushed out of the way for the gangplank we were that eager to greet the contingent. Charley, of course, knew most of the people because of his nine (or is it nineteen?) trips abroad, and Herman is not far behind with his range of acquaintances. I knew John Ramsey, though, so was partially in as fine a fettle. Others were known only through correspondence.

Out of that huge floating bulk came brother wand weilders with wives and daughters. Charley did the honors, and Cedric dumped into my hands the mss. of raterlal contained on following pages. Edmund Younger pulled out a deck or two, let me take the Two of Hearts from one, and from the other I got the card reproduced with his contribution on page 415. Someone nudged me in the back and there was Arthur Dowler on the floor making a beer cap turn over, -ill this ■vlthin 5 minutes after docking I

We heard about the big full evening show on board the ship coming over, truly a dress rehearsal of that to be presented In Chicago under the sponsorship of Harlan Tarbell, and again in New York under the sponsorship of Max Holden. The I.B.M. convsntiorjites would see the travelers, and all in all, they would certainly be able to disolay Individual prowess before a large number of American magic lovers.

When we told Cedric of our plan to put a monocled cat on the cover he looked puzzled. "It's really not right, you know," he floored

Page 408

us for the moment, '"You Americans think Englishmen all wear monocles. It's quite wrong. You see a monocle on but one or two in a thousand. You should come over." It wasn't until after the train left that evening, when Deveen had made passes with our cigarette and Levante had asked us for the last time If we had seen his £1000 Trunk Mystery, that we thought of saying that we consider our Jinx cats two in a thousand but it was too late. So welcome, we all hope you have the best kind of a time, and au revoir magi from the east. ^^

tip tap top tom dahlinotox

This amusing little puzzle is done with a coin the size of an English shilling or an American quarter. You need also a pack of cigarettes of the type with a slide drawer. These are very common in England and are obtainable in several different brands in the States.

The coin is placed at the bottom of the cigarette packet just inserted so that it protrudes slightly from the bottom coin being between outside of the packet and the back of the drawer that contains the cigarettes. The problem is to get the coin to the top of the package without touching the coin or turning over the packet.

To operate, hold the packet In left hand with first finger and thumb. First finger of risht hand taps the top of the packet sharply several times. During this the coin is rising through the packet and eventually arrives at the top and pops into view, it is most amazing to see the coin vanish upwards from the bottom and soon pop out of the top edge.

appwusi CBDRIC

Mr. Magician: X earnestly beg of you to give this effect just one trial; I am firmly convinced that you will then continue to finish your act with this one effect; it Is fast and snappy. The full action takes just two minutes and the climax Is one that enables the performer to make his exit to much applause. That is the reason why this card effect has such a name; I have been using it now for three seasons as a finish to my act, whether on stage, platform or cabaret. APPLAUSE la not difficult; it does not begin with that time-worn phrase "take a card". There are no motions or passes; Indeed the performer does not even touch the pack until the smash climax.

It isn't an effect with which to fool brother magicians. It will fool a lay audience, and, after all, they are the ones who pay dividends to the professional and semi-professional magician. Time and again, at the finish, I have heard gasps of astonishment from "the spectators. I have secured return bookings on the merits of this one trick, and that, my friends, is possibly the sweetest applause a magus can get.

Effect: A lady or gentleman assists the performer by shuffling a pack of cards; whilst this is taking place the magician requests anyone in the audience to call out the name of a card - just any one card. This point is stressed and the spectator may change his mind if he so wishes. The card finally having been decided upon, everyone 13 asked to keep it in mind.

Turning to the assistant with the shuffled pack the performer says he Is going to count "one, two, three" and on the word "three" he wishes the assistant to toss the whole pack in the air.

"One" (orchestra, piano or what-have-you) commences a roll of drums which gets louder as performer counts "Two" "Three" and the pack is seen scattering In the air. The performer's hand dives in amongst them. The tossed up deck has now fallen to floor and performer ie seen holding one card at his fingertips... THE VERY CARD SELECTED BY NAMEI

The "How"; A set of card indexes is used, these Indexes enabling the performer to gain immediate possession of any desired card. They repose in the accustomed places, the left and right trouser pockets. The straight deck is given out for shuffling and a card named. I know now into which pocket I must reach. If the left pocket I stand on the left of the assistant who is shuffling; if'the right pocket I stand on his right. There is ample time to stall when getting card from index after it has been named, by asking gentleman "just give the deck one more mixing to be certain no card can be in a known position." I then withdraw hand with the card palmed and let hang naturally at side.At this time no one knows what Is going to be done and you need have no fear.

I Indicate with the other hand that gentleman is to toss deck into air on the word "three? I point just a few few in front of me. He then throws the deck and you shoot out hand so as to hit and slice the deck when In mid-air thus scattering them In all directions. You are seen holding the card at finger-tips. Pocket and exit. I generally go over this with the drummer or pianist and he then starts on the first word

Page to roll the drums, louder on the "two" and on the last a very loud roll with a crash on the cymbal. It is thi3 music that gives a great build up to the effect for a snap finish.

It is advisable to carry an extra deck. On one occasion the assistant threw the deck out of my reach and of course I did not expose the palmed card; fortunately I had aspare deck which was then shuffled, this time being careful that the assistant knew exactly where to throw it.

kin& oi c?i/ubd trlc

Card tricks in print often bore one to tears.

One wades through the renowned Encyclopedia, then through the great Hilliard legacy. Crimps and squeezes, shuffles and passes, glides and peeks, and a thousand and one other sleights and sub'tleties Jostle one to and fro In already over oard-conscious minds. So we tend to overlook the magazine card trick and examine more olosely that interesting looking item with a sticking plaster, a sheet of glass, a horseshoe magnet, and a length of wire.

This card trick (111) is one of the minority that ARE really good for the platfonn; because it is suitable for all kinds of club work; because It Is adaptable to the particular circumstance and have a direct appeal, and finally, because I actually use it myself with great success. In passing it along I hope, dear reader, that you'll not only add the Item to the thronging conglomeration already squabbling In your head, but will try it practically before an audience.

Having "puffed" let us get down to brass tacks. A card is chosen by a spectator, noted and shuffled back into the paok. The performer shuffles hesitantly as if not quite sure of his ground, remarking that only recently did he learn the trick and though he has practised a lot, he hopes he can find the card correctly.

So saying he holds a card up with its back outward, remarking, "This is your card, the Ace of Spades." Upon being told he is wrong, he turns It around, looks disgustedly at the Ace, and places it face outward in a stand. This stand consists simply of a strip of wood with a groove along the top.

"Let us try again," the performer decides, and shuffles the pack with backs outwards. A-galn a card Is removed, back to audience, and caaled out as the chosen card. It Is wrong a-galn, shown, and placed face out beside the

0 0

Post a comment