Main Page

Buffalo, N.Y. had honor of first showing of

"Religious Racketeers" the medium expose movie by Beatrice Houdlni. Hie Lily Dale crowd dusted off the photostat of the Houdlni code message received by Arthur Ford (paster First Spiritualist Church, ManhattanJ back In January 1929, and went to town. On Jan. 10th,' the H.Y. Evening Graphic denounced the communique as a hoax, diagramming an apartment where FOrd waa purported to have admitted It a fake. Host in-trigueing detail was that Mrs. H. and Ford Immediately protested and claimed message genuine. Pay off came when feature writer Rea Jaure admitted possession of the code, its translation and the message 24 hours before the final seance was heldl According to reporter, they had been given to her by Mrs. H. herself, the day before, at her home where 3he rehearsed for the reporter the details of seance and personally explained the method of translating the code.

The story of seance and message In secret code was written day before, and its release for publication telephoned by Rea Jaure from the Hou-dini home, Immediately on the conclusion of the seance, where, evidently, everything went off like clockwork. Claim was substantiated by both Managing Editor and City Editor. So, if those statements are O.K., and there's no reason to doubt them, the whole thing was a hoaxial farce for publicity and a rumored lecture tour, and not genuine as spiritualists now claim. However, It leaves Mrs. H. between fires. If she admits it was genuine, there's no ground for the fake angle. If she says no good and a fake, it makes her a party. Anyhow, I suppose it will all help keep the name up front and help the box office. West coast report is that Paramount has shelved plans for Life of Houdlni because this quickie will play up Houdlni name to get by. Too bad, for the life of Houdlni is a damned sight more Interesting than a few floating trumpet exposures.

Dr. Jacob Daley, who gave plenty when he furnished us with his own cup and ball routine (in this issue) which excites the H.Y. boys, has a pet definition for a magician — "is the worst type of egocentric exhibitionist, who despises those who can do things better than he, tolerates those who can do things equally as well, and simply adores those who are Inferior."

Kuda Bux has been in h.Y. a month and Isn't far behind the pace setter. On July 7th he got a nationally broadcasted program with the X-Ray Eye act, using bread dough as a bracer on the optics. Awfully swell listening, even if some smart reporters afterwards held a single sheet of paper before an object and asked him what it was. Bux was off duty then. On Aug 5 he crashed Ripley's program with his firewalking, staged in Radio City's back yard. Again good listening. Bux is a natural for lecture work with a few examples of India's strangeness. Otherwise he'll wind up in back street nightclubs. He claims it genuine (the X-ray eye) so is asking for trouble from the skeptics.

For the historians: Howard Thurston, was playing Indianapolis in 1917. Theo (Okito) Bamberg was a speciality on show. It was freezing weather and Bamberg found Thurston on stage before first curtain wearing gloves. Reminded to take them off, Thurston said, "Nothing doing, Theo, I keep them on." Bamberg thought he was joking.

but Thurston did whole first act, INCLUDING HIS CARD MANIPULATIONS, with his gloves on. Oklto wrote In his diary that this was the first time he had seen a magician do show with gloves on. (Sphinx May 1919) The basic presentation for what later became the Cardini specialty was advertised first in 1918 by Stanyon for $5, one year later than the Thurston event which happened In 1917.

Atlas influence: Wonder how many magicians live In Magic City, Texas; Mystic, Conn.s Presto, Pa.;

la: N.Y. and Brooklyn phone books list a Mr. and Mrs. Sleight; Mr. Palm; Margaret Tricker; Mr. Ball; Mr. and Miss Pass; Mrs. Force; Mr. Card; Joe Hank; Mr. Stand; Miss Hare; Mr. Hattrlck; and an Otto Deck. Wonder if any of them ever took a card?

Something wrong dept: that line In TRUE for Sept. In the 8 page story of magic's fatal stunt which reads, "I am a mental1st and know little of chicanery." ™ There»s a rumor that a real magic-musical production may hit Broadway this fall starring that magic-moody maestro Richard

Himber. --- Dal tHarlequin) Vernon (still at the

Rainbow Room Grill with his manipulative melange) had his two sons at ringside one night. Jean Vernon, as assistant, made her appearance. The boys, silent till then, started telling nearbys, "That's my motherl" -— Requests kept coming In for the Jinx Programs In convenlaht form. Max Holden lent an appreciative ear and has published the five to date in uniform printed and illustrated style for quick reference and neat binding. Too many have tricks but no act. These will really help. — John Northern Hilliard's "Greater Magic" tome will be out this winter. It's been a long wait, but 960 pages, 600 original illustrations, and 400,000 words should put the work high on your "must" list. Carl Jones of Minneapolis Is taking plenty pains in the printing and binding.

And speaking of books - Joseph Dunninger is readying one for the trade of monumental proportions. John Mulholland is hard at work too, which excuse is given for some of the Sphinx shortcomings. Grant has a vest pocket book on the press called "Tips on Thumbs" by Stuart Robson which will fill a need for machinations with the valuable gimmick. Everybody's writing a book. I could write one too about the magus who talked for 24 minutes straight and then said, "I'm doing all of the talking, it seems, iou say something. What do you think of my act?"

Richard Dubois read what we said about his radio magic program (No.46) and remarked to listeners In the magic shop, "We'll see." — On July 21, Abril Lamarque, art director for Dell Publications threw a nice cocktail party in the EmpireState Bacardi Room for Harold Lloyd, In N.Y. for the opening of his latest picture. About 15 magi were present and presented their best for the movie artist whose love for magic is deep. One h.Y. nite-club (and working, too) magus missed a sweet bit of publicity with pictures by being "busy." We hope the hotel press agent doesn't hear of the passed up opportunity. Everybody had a swell time sinyway — including Harold Lloyd.

THE JINX is a monthly symposium ! of mystery published by Theo.Annemann, Naverly,N.Y. .U.s.A. 25 cents the copy,'1 L5 issues for $1. COPYRIGHT 1938. ^»-i ^__

DiCiPtO byron churchii/i/

Jake Stafford of Boston was, I believe, the originator of this effect, but I have changed the method entirely to make a nice divination stunt for sandwiching between other tricks.

The deck is spread face down from left to right. The spectator pulls out any card and turns it face up on top card of deck. Now another card 13 selected in the same manner, but not looked at, it being dropped face down on top of the face up card. The spectator then squares deck and one complete cut made to buy the face to face pair. The performer holds deck behind his back for a moment so, he says, that the face up card may talk to the one face down and meet him. Holding deck to ear for a second, the face up card then apparently whispers the name of the other card to performer, for he immediately names it correctly and lets spectator find it so.

Almost every card worker uses an advantage or key card of some sort to allow of out of the ordinary effects impossible otherwise, so I have no qualir.3 about using a short card for this. It is brought to top of the deck after mixing and deck spread on table. You,of course, know its Identity. Any card is withdrawn and placed face up on top I short) card. Any other card is drawn and placed face down on face up card without noting. The deck is squared and cut. Behind your back you merely riffle end of deck to the short card break and exchange the top card of lower portion with the bottom card of upper portion. Now you hold deck to ear and name the short card. It is above and facing the original face up card when the spectator examines all.

(Mote by Annemann: I think a repeat on this would be In order and effective as there is nothing to catch. Instead of the usual short card, have two key cards In your decK by using the corner short principle which has been sadly neglected by magi, and which doe3 not require any tapping or squaring the deck on table.

Just slightly trim off the upper left and lower right corners of one key card, and the upper right and lower left corners of the other. By riffling at the left upper corner you always get the one, and by doing the same at the right upper corner you can get the other. For this effect get them both on top, knowing their order. Follow the same working for the first one. Then spread deck after naming and have spectator remove face down card above the face up one. Cut deck at this spot bringing face up card again to top, and repeat exactly as before, this time getting the second short card and naming it.

QUEER QUEST stewart james

Editor's notes »Then I received this effect from Mr. James, whose lliraskill contribution still gets comment (Jinx No. 24), I read It over carefully and then tried it out three times for the N.Y. boys at Holden's and Grant's. The effect hit them well or it wouldn't be here.—'

on an audience for it should be presented as a mindreading test more than a card feat. Any deck is handed a spectator to shuffle, turn his back, remove any card from the rest and put it In his pocket. The performer takes deck, handing it immediately to a second person who shuffles. This person is to then cut off a bunch of cards,look at the face card of packet and hold the whole bunch against his body for the time being. The performer takes remainder of deck and hands it to a third person for mixing. Taking them back he fans them facing spectator who is told to merely think of anyone he sees in the packet. The deck is assembled and the cards located. That's the easiest way to end that paragraph and follow through with the actual working.

Everything is strictly fair up to the third person. In fanning through this packet, the performer silently counts the number of cards in it. We'll assume 22. He also notes the face card of the bunch and remembers these two points. He now hands this packet to the second spectator and tells him to put it either on top or bottom of the bunch he is holding and cut the deck once or twice.

At this time the performer states that he is desirous of having the three cards at one spot in the pack so that all three minds will come together at one point rather than three, thus making the location easier. The third person is given deck and asked to run through, remove his mentally chosen card and hand it to second person. The first person is asked to take his card from pocket and also give to second person. Then the second person, with the two cards, is asked to take the deck, locate his own card aind put these two cards of the others, one on each side of his in deck. Then he cuts deck several times and performer takes it.

I know this may sound screwey but it's hard as the devil to put in print. Take a deck in hand and go through with it just as described. It all works out simply and there are no moves,

The performer takes deck and fans through it face towards him. He first locates the key card he has remembered and cuts it to face or bottom« Then, counting from face towards back of deck, and Including bottom card, he counts to the 22nd card (the number of cards he counted in third man's group). The 22nd card, 23rd card, and the 24th card are thus the three selected cards,with the second man's card in the middle of the three. The three are cut to the top in that order.

Snap the top of deck and tell second man you have his card. He names it and you show it by making a double lift and turning the two cards face up on top of deck. Left hand now turns over so card faces floor. Right hand removes single card from under deck in this position and puts it back on deck after turning It to normal position. Then left hand turns back, but this move has resulted in the covering of the second of the two cards originally turned over on top of deck. That card is now face up second from top and is cut to middle and glimpsed in a left thumb riffle. Knowing'the two cards left, and knowing the one reversed, the performer asks a question regarding color or suit of first person to find out which is his. If not the reversed card, turn to third person and ask him to think hard and then name his card. Then the deck is fanned and the card found reversed. Cut deck so card immediately UNDER reversed card is at top. This is the remaining card. Hold deck behind back. Have the man name the card he originally took from deck himself and then produce. It's

THE CTANYON LESSON? f OU THE

(concluded from page 315)

Now make a tournique pasa from left, seem to rub ball into the right ear, then let one fall from mouth into right hand (drop on table). Left hand placed to nose and ball let fall into right hand. Right hand seems to place ball into left, really palming it, left hand apparently knocks it into top of head, and the one in the mouth is shown between the lips - removed by the right hand (which still hides one) and placed on the open palm of left hand. Right hand then picks up the two balls from table and places them with the other on the left hand.

Finish by proving the presence of three balls only as at commencement.

HINDOO BEANS. - Three haricot beans or small ivory balls are openly shown on the palm of the left hand (three only are used). The performer, explaining that the trick is made possible by moistening the beans, takes up apparently one only (really two) to moisten it at the mouth, secretly leaving one in the mouth. The moistened bean is then placed on the top of the left hand closed in the form of a fist. He now seems to take the visible bean with the right hand (really letting it sink down into the left) and to put it into the left ear. Two beans are then shown in the left hand, which satisfies the spectators up to this point.

The right hand now takes up two as before, presumably one only to moisten it at the mouth, again secretly leaving one therein, then placing the moistened one on the top of the fist, whence it is taken a moment later (allowed to sink into the hand as before) and put Into the right ear. Left hand opened, showing one bean, which is now openly placed in the mouth, when impression should be one in the mouth and one in each ear.

Finally,the hands pat the ears on either side, then all three beans are allowed to fall from mouth, or.e after the other, Into right hand.

This closes the series of articles which were commenced In the August 1937 (Ho. 35) issue of The Jinx. Every known move in Cup and Ball conjuring has been explained, including the Travelling Sugar, Paper Balls and Plates, Walnut Shells and Pea, Thimble Rigging, Chinese Marbles and Hindu Beans.

dr.jacob dai/ys cup and bau

0 0

Post a comment