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One thing that is very apparent these days is that Jean Hugard is thinning down the margin and may become the world of magic's most prolific writer. Burling Hull has advertised for years that his number of text books was the the the trreatest. There comes a time, etc., etc., etc. --- In "The Nation" for Jan 6, and by Franz Hoellerlng, 'tis written -- "The illusion his voice creates over the radio is destroyed by the demonstration of Its mechanics, and by the bad acting of Mr. Bergen." The man meant the exposure of Charley McCarthey's inner parts a3 per the movie "C----Mc------, Detective." It doesn't affect magic much, but seeing as Edgar is a member of the S.A.M. he may as well take criticism from a sheet devoted to magicians. There isn't a person in the business who can write the material Bergen does, but to the ones who knew him a few years ago, when Charlie had short pants, the Bergen finesse is slipping on lip technique in favor of dialogue, and he suffers when depicted on the screen. But he has his million in buckeroos (200,000 pounds to our British friends) and The Jinx has just nosed pass the 115,000 Issue mark since the beginning. We should criticise?

New York - Russell Swann followed Dwight Flske into the Waldorf Sert Room and is there now as this is read. Not as riske in material but entertaining no less. Val Valdane, a newcomer In name and face, Is doing an "on the house" act in the Village Barn. You're right, It's the bar trick. Robert Rhinehart, erstwhile Variety reporter, graces the Ziegfield Frolics (erstwhile Paradise Cafe) for two minutes during Intermission with quickies of maglo.

The Dragon - we should have mentioned it before, but things go so fast. Vernon Lux has published this mag of 16 pages for eight years ending December. For the International Society of Junior Magicians the paper, (address is Vernon Lux, Mt. Morris, 111.) devoted to "Tha Advancement of Maglo", has garnered a lot of good material for those who want variety. May it all continue for that motto. --- Robert

Tothill's contribution for this Issue shows what one can do with little pieces picked up from here and there. Suddenly you have a house of tricksJ --- Abril Lamarque took that Stewart James"trick "Sefalaljia" from Jin* No. 69 and made of it a "travelling salesman and farmer's daughter" eplo. The cabinet Is a farmhouse. Two floors show when the door is opened. The salesman, (a doll) goes to bed downstairs. The daughter, (another doll) sleeps upstairs. Write your own ticket.

It annoys us no little to read constantly (English Journals reach us regularly via some route or other) that the British magi poke fun at the war. Blackouts to them make material for gags, and, despite the lack of petrol, they keep up their magic meetings at hours to get them home before "lights out." We get upset because over here it would be lese majeate to "crack" a joke at England's situation. Over there they take it in stride. Cedric Richardson is doing card tricks (I hope) in French quarters. It was only a few months ago when he came down the gangplank and we shook hands. It was only a few months ago when he turned down my home made chile con carne as a muddy American dish. I wish I could print all of the news in the English journals that reach me. You'd appreciate the way professional entertainers are laughing themselves along.

In Canada there's n weeklv nag like our Collier's and England's Everybodles.Its name is MacLeans and for the Jan 1st issue the front cover depicted a magician pulling 1940 cards from a top hat. The magician was Johnny Oiordmaine in technicolor glory. He promptly bought a thousand copies and 3till is autographing them for his four thousand friends. --- Bill Sachs, who edits the Magic column in the Billboard mentioned Ruth Hathaway (now Mrs. J. Jarvis Owensby) last week, talked of her bust up with her former husband, recalled that they once were one of the best known magic teams a few years back, lined her accident and subsequent recovery, and wound up with "---gradually Improving, altho she is very lonesome." Where'3 Jarvis?

Rupert (Danton) Howard suddenly appeared In N.Y.O. this past week minus Dante, who, according to reports has bought a ranch on the west coast. We couldn't get any news of the big show before thi3 page had to go to the printer. You can rest assured, though, that a thorn In Dan-ton's side is the fact that Cecil Lyle bought the late Horace (loldin's entire production and will be exhibiting it before Danton can get to England with the return of the Dante evening of mystery. --- Memories: When Herman Weber had a production box decorated appropriately and called The Swastika Dove Box; when the Sphinx had full page ads for Thorn McAn shoes, Insurance, and even a Travel Bureau} when Betty Jane Kolar was the pride and joy of the Chief of Police as the youngest and most prolific gal magus.

Musing through the scrapbook we found notes of a sweet little idea that Stewart James had years ago. It was merely a small black-headed pin and a case that formerly contained pen points. The spectator puts the pin in the case and hands it to the performer closed. Without looking at it, the latter holds It to his forehead and divines which way the pin is pointing. By touch you know which is the top of the case for there's a ridge around the cover. Raise the case to head so the cover touches forehead. Do it quickly and tilt the case as it reaches head. If the point of pin is at the top of case you will distinctly hear the pin roll back and forth repeatedly. When head of pin Is at top thl3 movement is practically non existent. Don't shake It, Just raise it quickly and be sure to tilt it. You can also use the oldie about the philosopher who said it's very hard to tell about a pin as it 13 headed in one direction and pointed in the other.

And here's another one to worry your friends and enemies with. Abril Lamarque is conversing with you and lights a cigarette. Then he keeps shaking the match but it doesn't go out, and after this keeps up for a half minute he puts it into his Docket, not dropping a stitch of the talk while it all happens. The gag is one of those small three inch tubular flashlights from the five and ten cent store. When it is turned on In the hand and kept in motion as if trying to shake it out the illusion is perfect. The value of the stunt i3 in doing it unconcernedly.

The S.A.M. Annual Heckscher Theatre show Is shaping up and the tickets are going fast as usual. Sam Margulies is the imnressario and Feb. 24th Is the day to double X mark in your date book. --- A1 Baker's new Book should be in all hands around convention time this year. Carl "Greater Magic" Jones will publish this work and the contents will run well over 100 of the Baker ma Tic that several generations have found too 3ubtle to be "caught."

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GEM OP GRATOULET (continued from page 497)

ball and the elastic band Is slipped over the bundle which then is placed in the operator's right trousers pocket. One white silk is folded into a small ball and inserted into one end of the matchbox as for the usual DeKolta production. On the operator's table are placed the remaining silks, the wineglass Into which 13 dropped the other elastic band, the other strip of Cremation paper, and lastly the matchbox with the silk tucked in one end, this end being, of course, away from the audience. The table should be at the operator's left.

PRESENTATION: The operator picks ups the three silks and ties them together. He rolls them into a ball with palms towards the audience, attention being called verbally or by innuendo to the fact that nothing but the silks go into the ball. As with the duplicates balled In the pocket, the black is started on first so that the operator is left with a small ball of red silk.

The elastic band Is taken now from the wineglass, snapped around the ball and this latter dropped into the glass.

The piece of Cremation paper Is picked up, shewn at the fingertips and folded in half. The hinge part of the strip is held at the left fingertips and the right thumb and forefinger run along the doubled strip lengthwise which has the effect of stiffening the paper. The right hand then picks up the matchbox and it is placed in the left hand immediately over the end of the paper whilst the right fingers remove a match from the box. The box is closed pushing the white silk into the left hand. The match is struck against side of box with right hand, this latter hand taking hold of the matchbox itself, once the operator is sure that the match Is buring O.K.

The flame is now applied to the ends of the paper which is held in a horizontal position to prevent it burning too rapidly. Once the paper is alight the match is flicked out and dropped on the floor. The right hand then puts the box of matches in the right hand trousers pocket AND REMAINS THERE FOR THE TIME BEING.

The operator now gauges the burning paper. When nearly burnt he allows it to fall from his left hand. If he has gauged it correctly it should fall to within about a foot of the floor. The finger and thumb of the left hand which holds the white silk (from matchbox) snap together at this point and apparently at this command the ashes rise.

As they come within about a foot of the operator's hand (left), a grab is made by it, the white silk being allowed to unfold and held by the fingertips. AT THE POINT WHERE THE LEFT HAND SWOOPS ON THE ASHES THE RIGHT HAND IS REMOVED FROM THE RIGHT HAND TROUSERS POCKET WITH THE BUNDLE OF SILKS FTNGERPALMED.

The audience Is given the full effect of the appearance of the white silk which the right hand now takes at about six Inches from the tip with the thumb and forefinger. The left hand goes to the wine glass, removes the bundle of silk with the fingertips, the operator saying at the same time, "You possibly saw the white silk leave the black and red if you were watching as you should." During this the left hand has taken the silk ball right out of the glass and the left and right hands are about six in ches below the shoulders and about a foot apart.

The operator then says, "If you didn't see the silk lenve etc..." and as he does so he apparently places the bundle into right hand and takes the white allk in left. What actually happens is that the left hand approaches the white silk with bundle, and Immediately the bundle is behind the white silk this latter is grasped with first and second fingers (bundle should preferably be held at this stage between left hand first finger and thumb). The right hand moves away with the duplicate bundle exposed. IF THE TIMING is RIGHT THIS MOVE IS ABSOLUTELY INDETECTABLE.

As the operator says, " paper arrive" the rie;ht hand tosnes the bundle about a foot into the air and catches it. The left hand places the white silk over the right arm, and as this is done, the original bundle Is wedged in the bend of the arm. This is easily done as the move is covered by the operator drawing the silk over the bend so that half hangs on each side of the arm. Both hands are now free, with the exception of the exchanged bundle, and it remains only for the operator to remove the band and flni3h climactically.

This presentation is Ideal for all conditions AS ANGLES PLAY NO PART. Even the switch is covered at the side by the hands. In thi3 respect it must be emphasised that no pause is permi3sable when this move is made, although strange as it may seem, if the articles were actually passed from hand to hand there iVOHLD be a pause.

(Editor's note: The Cremation paper mentioned herein and used so effectively is sold by most magical dealers. A fine grade of French tissue in yard long sheets and cut Into strips about li in. wide will do the trick. Just follow the presentation instructions of Mr. Warlock and experiment for correct timing.)

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SECRETS FOR SALE (continued from page 500)

correct one. After showing you replace on top and as the spectator says, No" you deal the top (correct) card off face down with the one hand holding the deck. This action can be timed nicely so the putting pack on deck is never evident. You open the piece of paper and have read what you wrote. The spectator acknowledges the correctness of the prediction. Then he, himself, turns the card on table over and finds It has become his own. Here you mention that you knew beforehand the identity of the card he would select as proven by the record on the paper. And thus you have repeatedly located cards (41 and, to your wav of thinking (?), have explained satisfactorily (??) just what everybody wanted to know.

To give credits where due, the 1st location is one of those ancient principles used In many forms. The 2nd idea first saw light in Jean Hugard's "More Card Manipulations No. 2." The 3rd stanza was an idea of Vosburgh Lyons in Jinx No. 54. The 4th is one of the old "force" ideas too moss covered to make out the name. (Mr. Tothill is too modest. His presentation, Mentioning colors and marcing, are perfect throvvoffs. Ed.) All in all, you now have an impromptu routine with a reason.

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