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I have always been of the o-plnlon that no Committee can justly define what is classified as harmless exposure. What would appear to you to be harmful would no doubt mean nothing to me. The duties of the Committee on "Standards & Ethics" as X understand it is that all matter presented to us is reviewed and then our findings are submitted to the Executive Committee with our recommendations.

For the past few months I have not been a regular attendant to the S.A.M. meetings, only arriving at a late hour after all business transactions, therefore, do not know if this matter had been presented or what action was taken.

Taking exception to a few of your notations in reference to Kaufman, I might state that I feel you have got him all wrong. I have known Gerald quite some time and always found him very keen against exposing. He has always been very careful to avoid any comeback in passing judgement on the various matters submitted to this Committee. Of course this is my personal observation. I still believe If this got by O.K. it is not because it was Kaufman.

With kindest re esgds A

I /March

Jlarch 18, 1938

I have your letter of March 11th» requesting certain information pertaining to the Parent Assembly Ethics & Standards Committee and their action in connection with the manuscript of Qerald Kaufman's book, "How's Tricks".

Last September, at a meeting of the Ethics Committee,(all members present but Irving) Qerald Kaufman submitted to us for consideration a certain manuscript and at the same time he stressed the point that It was not necessary to go through this procedure as the book was to retail for One Dollar and further referred to a Parent Assembly ruling of January 1933 covering this particular point.

The Committee found some ten or twelve tricks that in their opinion should not be included for various reasons and Mr. Kaufman made notations accordingly and agreed to substitute other effects in place of the items objected to by the Committee. No further opportunity to examine the revised manuscript was ever offered to the Committee on Ethics and Standards.

In the third paragraph of your letter you mention lack of harmony, etc. Permit me to tell you that harmony has always prevailed in our committee meetings and that no one individual has ever tried to dominate us in our various deliberations.

Cordially in M.TJ.M.

March 18, 1938

Dear Ted:

On March 11th you wrote me, asking for a statement by me as a member of the Ethics Committee of the Parent Assembly in relation to certain controversial matters Involving a book written by Qerald Kauftaan entitled "How's Tricks?. Attached to your letter and particularly referred to therein are (1) "Jinx Edltrivia", March 1938 and (2) a letter received by you from Mr. Kauf-

In fairness to the balance of the members of the Ethics Committee and to myself, I feel that your enquiry is deserving of a reply. I therefore will answer your letter categorically

1. Your question: "Whether or not the committee as a whole had the opportunity to pass upon the script." To this my answer must be one of inquiry and reply. If you mean the original script, my answer is "yes". If you mean the final script that was eventually converted into the book, the answer is "No". (At this point it may be well to note that Mr. Jean Irving was not present at the particular committee meeting during which the manuscript was submitted.)

2. Your question: "Whether or not the committee's wishes were respected". Again my answer must be one of inquiry and reply. If you mean "Whether Mr. Kaufman agreed to delete from the manuscript submitted to us certain items we deemed objectionable" my answer is that he agreed to do so. If you mean "whether Mr. Kaufman agreed to submit substituted Items for our approval" my answer Is that he did not agree to do so. If you mean "whether the final book contains material which did not appear in the original manuscript" (and particularly In view of the fact that you have attached a copy of the March Edltrivia in which you Indicated that certain items of magic are contained in "How's Tricks") my answer is "Yes". The book contains a number of items which did not appear in the original manuscript and which items you refer to in Edltrivia.

3. Your indication that harmony does not exist in our committee Is baseless and cannot be substantiated. Harmony has been our most outstanding quality. Each of our meetings is carried on in the best of decorum and in the most friendly manner. Enough of that, It is sheer nonsense.

4. In answer to your statement that the committee's wishes are either not asked for or disregarded, might I state that not one of our members has any particular influence or control. Every matter which comes before us is thoroughly thrashed out by the members and is decided upon after proper vote.

5. As for Mr. Kaufman's letter, a copy of which you sent me, the contents are his personal expression. I do not make any observations In relation thereto. Suffice it that I have expressed myself on the subject as presented by you.

With kindest personal regards iours in

March 18, 1938

A manuscript was submitted to the committee on ethlca, by Gerald L. Kaufman. At the request of the committee, some ten or twelve items were deemed to be objectionable. The author agreed to delete these tricks and replace them with others. Apparently the author Inserted some new tricks which were never submitted to me.

The rumors you write of are absolutely untrue. The committe has, whenever I have been present, worked in harmony and understanding, any any reports or opinions expressed to the contrary are maliciously false.

Sincerely yours

Page 296

ghost writbr r,m. jamison

Owing to the popularity of slate work with every audience, I've tried nearly all known ideas and methods. Many look good on paper but prove risky or ineffective in practise. Changing the 1 to a 4 is probably the best non-flap method but it is becoming well known. I worked out the following several years ago and consider it about perfect. The slates can be shown high up in front rather than to one side and two messages can be obtained successively. The numbers and messages are written with #98 Sanford white ink using a small camels hair brush. The contrast and reading is better than with chalk. The messages may be washed off for changing, you are set to produce either one of two messages as you desire, or one after the other. After either message, the slates are still rightly numbered.

To arrange slate set up, place numbers 1 and 3 on one slate, and on the 1 side, one of the messages. With this message face up, and the numbered end of slate AWAY from you, place it to your right. The other slate is numbered 2 and 4 with message on the 4 side. With the 2 side up, and numbered end TOWARDS you, place at your left. Now number your flap 1 and 4, but on OPPOSITE ENDS. Take flap with the 1 side up, and towards you, and place on slate to your right. Now put the left slate on the right slate. In presenting, pick up the squared slates and hold with hands at sides, 2 side facing audience with the number at top. Slide the back (nearest you) slate off to the right, holding flap on its front with right forefinger, and the audience sees sides numbered 1 and 2. Put them back together as before, turning them over end for end. Separate them exactly as before, the flap now having dropped to back (near; slate, and the audience sees sides numbered 3 and 4. Nothing could appear more fair. Now put back on table, remembering which message you want first, so that you can have either the 2 or 3 side uppermost. To reveal same, pick up the slates together, slide off the top slate and show message on inside. Let the under slate (with flap) be seen carelessly as devoid of writing, and drop on table flap side down, as you rub off with wet cloth the message (but not number). Now pick up slate from table without flap and drop on slate in hand. Give to someone to hold and the second message appears. All is now perfectly fair as the numbering is correct.

(Note by Annemann: I've been trying this out of late and find a cute kink in writing a message that is not complete, one important detail being left out. This is first revealed, and the discrepancy noted. The first message shown is not cleaned off, but slate from table picked up and dropped on it and both handed someone. The other point now appears on other slate, and effect brought to a surprise finish, leaving the slates perfectly numbered and with writing on both.

(continued from page 298) for the selection. The audience as a whole becomes acutely aware of the impossibility of it all, and a location of the card makes a strong impression. Furthermore, the feat may be introduced at any point in the program, and thus kept ready as a filler-in when needed.

The secret embodies a principle which is hard to believe or enthuse over at first reading. It doesn't seem quite possible that people handling the cards will not notice it. However, we can assure the reader that this was thought of and considered before publication, and after ye editor was completely fooled twioe, he made up a deck and played with it for a month only to find that it always worked.

The deck consists of but 48 cards. There are only 12 different cards in the deck. These are repeated four times. Once the deck is made up, there is never any stacking or preparation. Just let the 48 cards shuffle up as they may.

The 12 different cards consist of 3 cards of each suit. There are no 9 spots in the pack. The other 12 consist of cards selected by the Eight King stacking system, as later it will be seen how this makes the culmination of the effect quicker and easier. Here are the 12 cards used, repeated four times to make a deck of 48 cards.

8H-KH-3H-10D-2D-7D—5C-QC-4C-AS-6S-JS. It will be seen that the first 6 are reds and the second 6 are blacks. Have the deck ready. Give to a spectator and ask him to shuffle well. Then tell him to select a card as detailed herein before. IT IS AN ESTABLISHED FACT THAT A SPECTATOR CAN FAN CARDS AND LOOK AT FACES; AND HE WILL NOT SEE A DUPLICATE AS HIS MIND IS CONCENTRATING UPON NOTING BuT ONE CARD. After the selection take deck back. As you take it from him say, M You've your mind set on a red card?" making a statement here but with an inflection on the end. There will be some sort of reaction returned. It will be a nod or a shake, a yes or no, but whatever it is, say, "Whatever it is, Just keep the color in your mind very strongly, and visualise the shape of the suit."

At the outset you have learned the color, and need ask nothing more. If it is red, you think of the first half of the Eight King lines. If black, the last half. Because of this system you need not bother with suits. They take care of themselves.

There are two ways of presenting the next part. You either can do it in front of everyone or walk around, setting things while your back is turned a bit to audience. We shall assume the card to be red. Fan through deck and, finding an 8 put it on top of deck. Locate a King next and put it second from top. Next is a 3 and this is put 13th from top. next is a 10 and this is reversed about 26 from top. Then comes a 2 which is placed on the bottom. Lastly is found a 7 and this goes on bottom too, making the 2 spot second card from bottom. You are set for finish.

Hold deck face down and say you have finally decided upon a thought which you are sure coincides with his. Ask for the name of his card, at the same time putting deck behind back and holding with both hands. Pull the top and bot* torn cards a bit off end of pack to make getting at second cards from top and bottom easier. The moment spectator names his card you locate it in your mind immediately because of the system. If the card is the K or 2, produce it from behind back. If the 7, do the same. If the 8, bring deck around and openly turn over top card. If the 3, bring deck around and let spectator spell out the chosen pasteboard. If the 10, bring deck to front, fan or spread face down and the card shows up reversed.

If, at the start, spectator had a black card, the same procedure applies, but you only think of the last half of the system and everything takes care of itself.

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