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We aren't running opposition to other publication» with the greeting card displays in this issue. They aren't advertisements. We requested ideas and print them as received. Here is the thought. You, you or you might like to have a magical type of yuletide announcement for certain friends — and certain club agents or committeemen on your list.

The ones reproduced herein can be personalized for yourself at little cost. Follow thru;

Cot out the one you like best. Paste it, nicely centered, on a sheet of white paper exactly 6i x 8 inches in size. Next cut out a piece of paper of a size to cover the signed name on the card you have chosen. Paste it over that name. With black ink write your name in that place.

Take the finished product to any Photo-Offset printing concern in your locality, or mail it to Gray Photo Offset Corp., 216 East 46th St., N.Y.C. The design, with your name, will be reproduced on 100 8&xl0 201b. stock sheets for $2. Additional hundreds are only 25 cents each. You can get 1000 of them for $4.25 if you wish and use any surplus to stuff up the chimney. It might be a cheap way to prevent Santa Clans getting in with a bill for those presents ^ou_jll have to buy for young Dante and little

Whether you pick Voz Lyons' "JOnas Wish of a Rabbit", Clayt Rawson's "Santa, Supreme Sorcer-or", or Joe Fries' "Woodcut of a Wonderworker", it ail means a happy and sincere thought. We wish we oonld draw. Our thoughts, Just for our readers, woctlfi be very, very kind, provided the cats and their kittens didn't mess up the ink.

ante, despite his showmanship on-stage plus ^J his 6uper press representation off-stage, Isn't wearing well personally with U.S. magi as far as he has gone. The "nayes" far outweigh the "ayes" AFTER the show is over and the locals stage long planned events in honor of "the one man who, with a colored background and national publicity tie-ups, cannot help but give magic a boost in the public mind. It has long since been proven that an "outsider" can intrigue audiences more than can an entertainer from home. Hoboken chorus girls have '♦thumbed" fheireway to Europe to return as glamour stars. Successes invariably have talent, but it seems as if it takes a "label" to make the powers that be sit up and perk their ears and wipe the film from their eyes. Londoners have said the same of Americans in their midst.

There's little doubt but that we are a nation of magi who will turn somersaults to welcome anyone who can do tricks passably, especially the persons classed as professionals. With Dante's return from foreign lands after 14 years of exile while the Thurston menage paraded as THE magic show, we boys have been and are agog at the thought of the art's return to full evening performance favor.

To date, after three stops following an unprecedented N.Y.C. response (not from the profit standpoint but from the amount of publicity garnered — of plenty value in the hinterlands it should seem), the show definitely is not making money as compared to Dante's former foreign reports.

And so we have friends of magic who are willing to applaud lustily,even at the drop of a gimmick, the wing-wise glahce when a thread breaks or an assistant isn't on time, and the dull click of a gun hammer upon a dud shell or empty chamber. likewise we have would-be friends of any magician for himself alone, perhaps, in the cas* of professionals, as a sop to our amateur vanity.

Few of us overdo the friendship part. A meeting and even half-way cordial handshake with possibly an autograph in our pet book is enough to make us a life long booster. But maybe Dante has come back to a new generation of magic lovers, plenty of whom had never heard of him, with the attitude, because once he had a dinky club act, then half interest in a backlot Chicago magic shop, later elevated himself to a hop-skip-jump opera house and tent show with Thurston's name above his as sponsor, then took himself to other lands where he built a bankroll and reputation to return home a notable occasion, that he can afford to "brush-off" his eager-to-be satellites.

Wie're not deducting one lota of credit from Dante's success or his showmanship. We're not peeved personally. Dante has been pleasant and convivial to and with us on several occasions. We just don't like the barrage of letters tell-about, not his "sleights", but his "slights". It all appears inconsiderate from one who is planning to retiré among us.

Have you sent a postcard to Leo Rullman yet? From 203 W. 81st St., N.Y.C., he mails you his #43 Catalogne of rare books on conjuring. Almost before we were born Leo started building his business on a strictly reliable basis. ---

Life mag (Nov.l8,p31) had a great big picture of a hand with a piece of lead under the thumb nail. (It's a wonder some dealer didn't furnish a regular nail gimmick.) The dodge is used by ballot counters during elections, not, as some think, for making an X in a particular spot to benefit a candidate, but for making a smear or two at random so that the ballot will be thrown out. --- Incidentally, that Liberty mag writeup of Dante by George Jean Nathan, a critic, contained several eknoses which were eliminated from the copy by editor Fulton Our-sler who generously gave credit for the cuts to the S.A.K.

Have you heard about the fellow who, reportedly, has invented a better one-man lévitation than that ascribed to Winston Freer? Pictures, no less, next week. --- Max Holden hit an entire N.Y. columnist's daily stint lately, it having to do with Màx's various emporiums and a discourse on magic and amateurs in general. No exposes unless "sold a thousand cigaret van-ishers and reproducers" line applies to one who makes his living using such apparati. George Britt, the writer, was a reporter assigned to Houdini, when, around 1925, that highwayman of mediums exposed P.L.O.A.Keeler in Lily Dale, N.Y. Remember that later day expose of Keeler, now active in Washington, D.C., away back on page 376 of The Jinx? --- Burling Hull keeps turning from side to side all night now because that "Encore Rope Trick" being marketed Waâ his principle advertised during the early 1920's.

Was that painting on Liberty's Dee 7 cover taken from Roberta Ejyron's entrance appearance In that superlative act? She and her sister Marion have recently completed a Philadelphia Food Show engagement where, for a coffee concern, they did"50 shows in ten days. The point of this sauib, though, is that the check managed to get into the fbtrr figure class, so help us. Maybe we should put away our gadgets and concentrate upon having a couple of daughters like that. Gabbatha.' yX^«. /yV ■ <(-«■" <----r.

WALTER GIBSON'S

"key ^ocatlov"

Xocations are drugs on magical markets, especially when they pertain to cards instead of beautiful blondes of the type picturized by California press agents.

Bat let's suppose a blonde is your "medium". Pat her in another room. Give a spectator the deck for plenty shuffling. He thinks of one card. Take back the deck, ask him for the card's name. From among them you pick out that card and put it before him. The deck is laid down and your retire from active service.

"Pot your card anywhere in the deck," you eay, "give them all a shuffle, and then send them into Miss Psychic." Naturally, to experienced readers of The Jinx, the result must be in favor of the performer. The "medium" either sends, brings with her, telegraphs or air mails the chosen card or its identity.

Secrets You and your partner, blonde or no, are conversant with a stacked deck code, whether it be Si Stebbin's idea or the "Eight Kings etc," arrangement. The deck, by the way, harbors a short card.

Take back the mixed deck and riffle cut the short card to top. Hi en shuffle overhand to bring it to the bottom. Next look through the cards for the one named. However, you really look for the card next to the named card USING THE SYSTEM OF STACKING. For instance, with the Si Stebbin's way, and a 4 of hearts named, you might look for the 7 of Clubs. With the "Eight Kings" ditty system the key card would be the Ace of Clubs.

The key card is shifted to the deck's top. Next yon "find" the named card and give it out. The deck Is put onto the table, short card at bottom, key card on top. The spectator inserts his card anywhere, cuts, shuffles. Take the deck from an "overhand" shuffler after the first mixing. You should know, after a few tricks, who shuffles dovetail. This type of shuffle never will separate the "short" and key card. And that is the cine which tells your medium the name of the chosen pasteboard.

HERB. RUNGIE'S

"pick up"

Have a "short" card in your deck. The spectator shuffles. Taking the deck back you cut at the 'locator' card bringing it to about the deck's center. Spread them across a table and have one removed. Pick up the spread.

A riffle tells yon if the "short" card still Is there. If not, you have a miracle at hand. Otherwise riffle for the return of the chosen card and have it deposited at the break caused by the short card. Thus It goes on top of that pasteboard and the deck is squared.

Now riffle to the short card and cut the deck. The selected card becomes the bottom card and you note it as you square or tap deck on table. Next spread again the cards across the table and begin picking them up at random, one at a time. Say, "I'll try to sense your selection," bat spell silently to yourself, one card for each letter,Cfor instance), T—H—E—T—W—C^-—, and then form of these cards a fan, asking, benignly, "Do you see your card among these?"

The answer mast needs be "Wo" so you toss down that packet. Now yoa continue to pick more and THEN the selected card is taken up. NOW you start spelling in continuance, O-F-S-P-A-D-E-S, %nd then stop. Fan this packet out and ask if the card is seen. The answer must be "Yes". You can say, "Well, your card certainly wasn't on too or bottom of the pack."

Dror> this last fan on ton of the spread out deck, souare the cards, and then carelessly nick up the first fanned bunch and drop them on top of all.

Give the deck a false cut, if you wish, and hand it to the spectator. Tell him to spell out his card. A pasteboard at a time falls with each letter. When he reaches the last one you stop him.

"What was it?" yoa ask again. He names it. Then you have him turn over the next and last one of the card's name which he has spelled. It just has to be right. And so is expounded another variation of a very ancient effect.

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