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Nazi tactics are out of order in many ways, out it cannot be denied that they do right well by their magicians. The National Chamber of Theatres has decreed against exposing, and definitely forbids magi from explaining their artifices publicly. Sometime ago they were stopped from stage exposing, and now they are stopped from any printed exposures. Would that we had a law like that over here. The Nazi e-dlct sort of makes up for the other decree which forbids magi using any "eatables" in their acts, such as milk, eggs, etc., because a waste of food is not permissible under the government's four year plan of economic self-sufficiency. Over here the societies say, "If you expose, we'll expell youl" So the members do it just the same, and get away with it, which proves lmpotency somewhere. Over there, if the food or expose edict is ignored, the transgressor simply doesn't work any more. That's putting teeth where they belong — and using them.

Anthropology Dept; Can you use a bat in your home? The Jinx now offers an exclusive service headed by Nell Burgess, of points North, South, East and West. Live bats can be supplied for the nominal sum of $2 each, with a guarantee of healthiness and cleanliness. It's an opportunity for one to keep his wife from cleaning out the magic den or closet. Insure privacy for your mysteries 1

Olen Pope Is now doing the bar trick, Chinese Sticks, and bird-cage vanish at New York's Hollywood Restaurant, the change of programs being necessary because of his hold-over. But Isn't that outside lobby picture an exact copy (except for the name) of a sketch drawn and used by Keith Clark over 12 years ago? --- Jacob Stelael, attorney for Simon & Schuster and Royal Heath, recently instituted action against a John Brown, who wrote a booklet on Easy Number Tricks, and infringed In part on Heath's Mathemagic book. 'Twas settled out of court, with damages, and Royal now gets oredit for his items. --- A downtown New York magic shop has for an outside ballyhoo, a fellow walking up and down with a tray hung in front of him made to represent a magic table top. On the table is a wand, handkerchief, etc., while the board hanging from his back carries the "come and get it" advertisement. --- One children's magus has developed a technique of his own. His shows are generally around 5 P.M., too early to get anything to eat, and by the time he gets home it's too late. When asked what he needs for the performance, he says, "Oh, just an egg, A GLASS

OF MILK, AND SOME CRACKERS!" --- Howard Brooks, at London's Mayfair Restaurant, has changed his tag line from "The Magical Chatterbox" to "The Magical Chatterer." He must have read the 1937

Letters at hand say that the Proskauer statement in Jinx No. 32 does not coincide with the clipping reproduced in No. 34. We quite agree I

Re the Cups and Balls series we are starting in this number, we can only say that such a procedure has been recommended by many who have seen and read the complete mes. The Stanyon instructions are considered, by those who should know, as the most lucid and thorough of them all, and, being out of print for a number of years, we hope we're being of service with information of value.

In the mail: "Some time ago, as you may remember, I wrote you on Rhine's tests at Cuke

University on Extra-Sensory Perception, wondering If it couldn't be faked nicely. In one of the Jinx recently you solved the problem when you mentioned calling Ireland's attention to your effect "Extra-Sensory Perception" in issue No. 10. Thanks a' lot for calling my negligent attention to this fine effect."

Mention of Ireland brings up the dainty poem sent by Frances Vandevler (the company part of Ireland Magic Co.);

"Two black kittens sit at the top Of Annemann's magazine;

Their paws are velvet, soft, and smooth, And their eyes of tenderest green.

The mail pops into the Annemann box,

Theodore reads, and stomps with rage;

Feline eyes glow fire; out shoot sharp claws; Oh! Those are CATS at the top of the page."

Isn't that cute? However, the Jinx Isn't a magazine; it's a "service sheet" — I don't stomp; I "glower" (stomping takes energy) — and lastly, I think Laurie should put Frances to work writing patter for some of his swell tricks. She's being wasted as a mere "Co."

Dante (Harry Jansen) wrote a letter from London to Tom Worthington, of Baltimore, that he might consider coming over here with his show. Shades of David Bamberg1 Do we again have to go through the agony of watching a great performance, only to see It quickly fold and hie itself away because of conditions over here? He wound up by saying, "Should the vote of the various fraternities become heavy enough, and the call sufficiently urgent, then It is possible that I would undertake the task, but I should dislike to be a self styled king and have to fight to prove my rights to it. WHICH I COULD EASILY DO." (Caps are mine. Ed.)

The Indian Magician, India's only maglo magazine, is still popping in monthly with the weirdest of contents. The Juno number explained how one could apparently cut off the lower eye lid and replace it a moment laterI It sounds like a Joe Ovette creation after a tough night. —- Wallace Lee has published in Mas. form the first written instructions for the very, very funny double-talk business for which he seems better known than his magic. He calls the procedure "X - Jargon." —- Max Holden ransacked Chinese banking houses td get a supply of the Chinese coins for his customers who are using

"VOODOO" froai Jinx No. 32.---I just finished reading the galley proofs of Keith Clark's Cigarette Encyclopedia. It undoubtedly is the best ever produced, and has covered the subject in a most original and thorough manner.

Magic fans in the baseball world could form quite a large club of their own. There are at least thirty rabid amateur magi In the major leagues alone. I didn't realize what a good audience could be like until Granny Carrel, of U.Y. popped into the place on July 23 with Larry French, Tuck Stainback, and five others of the Chicago Cubs and newsmen, not to forget the case of beer McWurtry lugged along. They're sorry now, though, because Dr. Jacob Daley went to town with poker deals and ruined their faith In nightly penny ante sessions. However, next day French pitched the Giants down 10 to 5. The tricks must have been stimulating.



Cup and ball conjuring Is believed to represent the earliest known form In which the art of sleight of hand was exhibited. Whether this be so or not Is of little moment, the performance may certainly be considered the ground work of all legerdemain. This is proved by the fact that the best known performers (stage and drawing room) from the time of Kopp (German), Guyot, Ponsin, Bosco, Conus (French), etc., down to those of the present day, have Included it In their programs; it was a special feature with Mr. Charles Bertram, and is still a favourite with others of his type and ability,while many who do not include It in their professional repertoire can usually acquit themselves remarkably well when called upon to give a display. Why? Because, whether the aspirant to conjuring fame desire to Include it in his program, or not, he will do well to practise it assiduously for the purpose of keeping his fingers supple, just as a pianist for like reasons will devote a portion of each day to the practise of difficult exercises. In other words, the sleights and "feints" of Cup and Ball conjuring will be found to apply, almost without exception, to any small object used in the production of a sleight of hand effect; thus the time and trouble expended in acquiring the necessary skill will not be wasted whether or not the trick be exhibited, with others, for gain.

Closely allied to the Cup and Ball conjuring is the bastard fonn of the trick known as "Thimble-Rigging," employing three ordinary thimbles and an ordinary pea; and another known as the "Shell Game," both swindles of itinerant fakers. The latter, in which three half walnut shells are used In conjunction with a pea fashioned from india-rubber, together with the method employing three half potatoes, scooped out, In place of the shells, and the above mentioned thimble variation, will be explained for completeness in later lessons.

Talking about Thimble Rigging reminds me of a little experience. Travelling up Noith with some friends an occupant of the oar Invited me to have a game. I agreed. He thereupon produced three thimbles and a pea, and having shuffled the objects more or less, asked me to guess under which thimble was the pea. I found it the flr£t time. He then asked me to cover a piece of money with a like amount, and If 1 found the pea the next time the money would be mine. I waa successful and took the stakes. This happened a second time, somewhat to the dismay of our friend, who thereupon asked me to double the stakes. I did so, found the pea and took the money, whereupon, being unable to control himself any longer, he exclaimed, "What in the name of thunder is the matter - whyI I've got the pea in me 'and." I replied, "That's very likely, but on oocasions like these I always carry my own pea."

Extent of Time of Performance --- A rehearsal of all known "Passes" (the different tricks are known as "Passes") possible with the Cups and Balls, would occupy some considerable time, probably hours. It must also be admitted that the various passes bear a close resemblance one to another. In fact, the whole science of the art resolves itself Into two elements: - (1) The magical production of a ball beneath a cup; and (2) Its disappearance from such position. Therefore, to avoid monotony and, what is of even greater Importance, THE EXPOSURE OF THE METHODS EMPLOYED BY A TOO CONSTANT REPETITION OF THE SAME, the performer is recommended to make a judicious selection of passes from the many hereafter described, and which may be done entirely In acoordance with his own fancy, but which must not on any account occupy more than Ten Minutes -quite enough can be shown in five minutes by an expert performer.

Properties Employed --- These are of the simplest possible description and which doubtless accounts, in a large measure, for the astonishment created by a skilful exnibition of the trick.

Three tin (or brass) cups, each in the form of a truncated cone about three Inches in height. These are used as covers for the balls, and are provided with a rim or shoulder round the lower and open end, that they may be conveniently raised at this point by the thumb and forefinger of either hand; the upper and closed end is inserted about one-eighth inch below the end proper and is further made concave so that a ball may rest thereon. Thus when one cup is placed over another, the upper one rests on the shoulder of the lower, a space being left between the two sufficient to contain one to three small cork balls about five-eighths inch diameter.

Four little cork balls about five-eighths inches in diameter, blackened in a candle flame.

Four large cloth balls, stuffed with hair, of a size to pinch into the upper and smaller end of the cups, but in a manner to be dislodged when the cup is brought down with slight force.

Three potatoes, oranges, or Spanish onions of a size to Just go into the cups, to be used In place of or supplementary to the cloth balls; and any other curious object (Bird, Guinea Pig, etc.), likely to create astonishment or surprise when unexpectedly produced.

An ordinary conjuring wand. The functions of the wand are to simulate a cabalistic power; to provide a source from which a ball may be produced or made to disappear; to act as cover for the "palm," i.e., to silently suggest the impossibility of concealing a ball in the hand which, whilst actually doing so, handles the wand In a delicate manner at the fingertips.

(To be continued)

(continued from page 238) you just had a couple of beers. Spell cigar, George. (He does so and gets beer card once more« This time turn face down on top of deck as usual and then discard. The beer card is turning up so often that no one knows whether you discard or not.) So I go out and get my own cigar. (Performer spells Cigar and discards). This burns you not the cigar.

About this time your wife says "nuts." (Spell and discard). She thinks we are a couple of nuts (with lifted eyebrows). So the both of us go out this time, and I say (suggestively), "Let's go down and see Sally---S-A-L-L-Y (Spell cards).

Sally is a boat (show and discard) and you're disappointed so you leave me and go home muttering disgustedly to yourself, "Sally, Sally, Sally." Your wife hears you and thinks you're talking about a girl. She makes your life miserable, more than ever if that's possible* She's jealous and tells you what she thinks of you again.

So you tell her you're going out to have another beer. You tell her, George, that you're asserting yourself. You say, "I'm going to have a b-e-e-rl" You hope the spell works this time. Spell beer, George, and as there is only one card you ought to be able to make it. (He spells) And what did you get? HELL11

It's in the cards, George. You see it is your own fault. It teaches you never to bring a visitor home without phoning your wife. (As you escort assistant) Have a cigar, George. (Give cigar) And here, have a beer too. (Produce and give beer).------Finis.

The foregoing patter and asides give a pretty clear picture of the working details. In each case a letter is spelled each time a card is transfered from top to bottom, the correct card showing up on the last letter of the word. The card is discarded each time, face down, with the exception of the beer card which is kept on top after showing, for the first two times, and discarded after showing for the third time. Each time the assistant spells, the cards are taken from him in readiness for performer's turn, and also that the cards may not be disarranged. It is suggested, as in the patter, that the performer have a cigar and a small glass of beer (with rubber cover) in his pocket to present to volunteer. Remember that the magician is kidding, and escorts assistant part way as he leaves, and in doing so presents him with cigar and beer as a tag gag.

Each time the beer card shows up for assistant, it is left on top and the performer goes on from there to spell the word correctly. On the third try it is shown, discarded, and performer then spells out the word correctly which leaves remaining cards ready for finish.

Credit must be given to Franz Christensen's "Spell Bound" on page 9 of the November 1936 Genii. However, his version was suitable for children, and the writer wanted something more suitable for a sophisticated audience so he added one more card and got rid of the repeat picture in the final kick. But without "Spell Bound," the writer would not have created "An Invitation To Lunch — with beer."

The arrangement from top down (back to face) of the cards when ready to start is, NUTS - SALLY-HAM - MUSTARD - BUTTER - HELL - EGGS - BEER -ICE CREAM - BREAD - CIGAR. The spell out order is made clear by the patter. A good size for almost any audience is six by nine inches on a heavy white pasteboard stock.


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