Priceone Dollar And A Half

floor. There are four cards still, but the chosen card is missing." I saw Nate Leipsig do the trick a number of times. A card can be dropped flatwise and it always will float to the floor without turning over. Flatwise, not edgewise. Twice that I can remember he let those stuck together cards fall with the others and WAIiCED away from them as he STARTED TALKING ABOUT ANOTHER TRICK which he proceeded to do with the rest of the pack. In the meantime, a friend picked up the cards from the floor and returned them to him a few minutes later. It was so unconcernedly done, and with such utter disregard for the cards, that the watchers had to think hack to remember the exact moves — and all they could remember was that their card "went away" right before their eyes.

"DIVINATION OF THE NILE" should bring a wave of memories to many an old-timer. It sold for $3.00. The price was comensurate with its value, though, for it was a terrific improvement over the writing of figures on a piece of paper, as given by spectators, and a switch for another piece with figures that added to a wanted total. Henry Hardin conceived of mentally adding the digits as they were written in a column, stopping at a total which was nine or less than the desired result, and adding the necessary figure in the action of drawing a line beneath for someone in the audience to add. Like all of his tricks based on then new and unknown principles, Hardin went little farther. The total was shown to have been written and sealed in an envelope given to a spectator before the start. To-day we would use the total for all kinds of purposes, and probably not affect the watchers any more than did his definitely clean cut presentation.

It was Henry Hardin who first sold the idea of sewing a flashlight inside a lightproof bag that could be put over the head. A question, written on a blank visiting card and sealed was laid on the table and the lights turned out. When the lights came on again, the envelope was still there, intact, BUT OS IT WAS WRITTEN AN ANSWER TO THE QUERY SEALED INSIDE.' The coat pocketed apparatus allowed of looking through the envelope and the subsequent writing of an answer without a glimmer of light to those people a few feet away. But remember that effect. He didn't pretend ability to answer a question. It appeared on the envelope during the dark period.

That trick, "TRANCE VISION", sold for $2.00 and is worth it. "THE FINEST SEALED LETTER TEST" sold for $5,00. Before David Abbott wrote his "Behind The Scenes With the Mediums" Hardin was asking a goodly price for the secret of a carbon impression inside an envelope given a sitter as a rest when writing his question. "THE ORIENTAL BOWL" gimmick could be sold to-day by dealers alert enough to read back a few years. It is a sweet opening for any night club magitian. A large, plain glass bowl is shown, and into it emptied a small packet of flower seed. A pass is made and the bowl instantly becomes filled with flowers. The folded paper flowers were in a rubber banded holder clipped between the 2nd and 3rd fingers. This load was behind the hand. A move of the 1st finger released everything as the apparently empty hand stirred the seeds. The howl immediately became full — who will do it?

"THE FOUR WEDDING RINGS" never was advertised, to our knowledge, and is a good example of Hardin work. Four gold wedding rings are placed on the four fingers of the left hand and shown, with fingers curled into the palm, as a girl might reveal her engagement.

The fingers are extended and the performer drapes his handkerchief over them. A spectator feels the left palm to satisfy that it is empty. The fingers are now visibly curled into the palm - the right hand pulls the handkerchief from the hand, and the rings have vanished from the fingers. They are found clutched in the ^^v. closed hand.

According to Mr. Reimer, the moves for this trick, as done by Hardin, were perfect in conception and execution. Eight wedding rings were secured, four of which were cut and soldered as shown. The four soldered rings were concealed in the right hand while the handkerchief and four loose rings were shown. These were picked up IN ONE MOVE with the right hand, THE RINGS HANGING ON THE FIRST JOINT OF THE RING FIMG3R. The audience assumes you have them in the right palm. The left hand approaches the right which apparently pushes the rings one by one onto the left fingers. Actually, however, the fake soldered rings are placed over the left fingers which curl then into the palm. The left thumb is held against the under half of the first ring, and the hand with rings can be shown freely. The loose rings are in the right hand with tne ring ringer holding them curled against the palm.

The right thumb and forefinger take the handkerchief from the breast pocxet. Held oy one corner it is hung over tne left hand, the fingers of which are extended. It is now that a spectator is asked to make certain that the left palm, or hand, is empty. And here follows tne important move. It is all a bit of timing.

Just as the left fingers start curling into the palm, the right swings up, takes hold of the handkerchief, grabbing the fake through the cloth, in the move to pull it away. At the same instant the right ring finger opens out into the left palm and the rings therefrom are taken.

To the audience the effect is very direct. To them, the rings, examined before and after, have instantaneously passed from the fingers into the palm. The trick does not appear to be a fake and people do not consider it a mystery. The performer haB shown the hand to be quicker than the eye, and in a most convincing way.

Page 599

ithout Mr. Rudolph Reimer's aid I never

WOUf vj aV6 dared wite about Henry Hardin. Rudy cut his magical eye-teeth on Professor Parson's ideas and was the foil for Hardin sub-leties over a long period of time. I regret not having a dozen more pages, though, because the Henry Hardin effects as advertised could well be made into a book by itself. There are 43 of them listed in his "Memorandum", and there are at least 20 more known ideas not listed. This issue publishes a picture of the man who contributed plenty to our art, and, to our knowledge, it's the first time.

Carl Jones: You helped magicians a lot with the Hilliard book. You produced it because you knew John well, and knew how much he wanted it to be printed. Several years ago we talked about a set of three books. You wanted them to be written by three of the present day creators. As you discovered, present day creators are not willing to have their secrets and presentation ideas published. And when so. they are too busy trying to make a living to sit down and work on a book. There's a three book set of priceless heritage that you might publish right now. Just give us the lives and tricks of Hardin, Jordan and DeLand. Let the set show to this generation what those men conceived and WHY they considered magic a worthwhile study. I can list over 500 tricks by those three. It would be a production comparable to "Greater Magic" and a "must" item for every magician. I'm sorry that John couldn't have done the job and spaced the tricks with his magically erudite flavorings. But you can back such an undertaking and be proud of the fact that men who worked for magic as an art v/ill be getting recognition deserved. Don't forget, Mr. Jones, please, that those 500 tricks are still, for the most part, way ahead of the present day output.

Bill Larsen could have filled his two columns (a month) to better advantage than waste space about our "missing the boat." The June issue cover looks a lot like Bobby Weill, and for a moment we wondered if the genial Genii had reversed himself as per Proskauer. Bill, who evidently took over the reviewing of tricks and books on his editrivia (he considers it an editorial) page because the "fanned out" hands were too tough on his advertisers, spent subscriber's money to talk about our Editrivia instead of mentioning how bad the tricks could have been.

A quickie answer, and a waste of time, for we want to give you the Rosini-Rosini scoop. Freer - we're still right, if you want a law case. It can't be done as originally described and pictured. You'll need two hoops, one faked, and either a full cloak or a chair. I went wrong on the general idea, but only because the described details were as wet as some magical catalogue ads. The Jinx has thrived on details. Fitzkee - The Jinx scooped everybody on that show closing in Denver, and we could have told Plenty more were we not conversant with Phonal troubles of show people. finished our ar-ticl° with the hope that the show might find a new "angel" and continue eastward because magic needs abig road show now, possibly to start a new cycle of such. Proskauer - the invisible i£ blotter may have been known to Julian for ,,rant pen vearsV but it wasn't pushed until after 3 "cat c^d" subscription idea upped our circulation by332 out of the first 1300 mailed.

Page 600

Oar idea still hasn't been figured by recipients, whereas, should you send a dime to the patent office, asking for copies representing the Kagink Process (Stunts.' Inc.) as per the numbers on their copy, you'll get a patent paper detailing, "Auxiliary PresBer For Flat Knitting Machines." And the ink gag isn't the only thing mentioned in the new StuntsJ Inc. copy. Gwynne - We didn't mention his name. Even in your territory not more than ten people connected with magic read it. Magicians don't pay attention to the theatrical trade papers. They read only Genii and The Jinx. I used the critic' s opinion with blanked out name to show that times have changed. Why bring out the man's identity and ridicule him? I could have done that, to scoop you, had I wanted to.

If The Jinx Editrivia is considered worthless this week, it's only because I typed a lot of letters to form words to make sentences and complete one paragraph. I never have, and I hope I never will say anything I don't believe. But when YOU, Mr. Reader, buy this sheet, it's for the tricks and magical advice within its pages. My comments on magic and magicians is the safety valve. I've never tossed away as much space as I have this week. I haven't as many pages as my contemporaries so each has to count. This page has been for news and data - I apologize (sometimes too quickly) when I'm wrong - but in the future I can't worry about replies to those who fret over this page and don't try the tricks.

"Dear Donald Hendricks; Please ignore that Weill comparison. The resemblance is there, but you couldn't be as wily." --- "Dear Bobby Weill;

Please ignore that Hendricks comparison. The resemblance is there, but you couldn't look so innocent of wile."

Carl Rosini has found it difficult to live since vaudeville became a word to be seen only in scrapbooks. Not being able to adapt himself to later day conditions he has wandered through the maze of his own mirror-like mind for a past decade. As an illusionist and variety magician he was as good as any, but the change of tempo hit him amidship. Age could be the cause for his inability to rise to the modern magical demands, but only a bittered and resentful soul will excuse his demand of $35,000 damages from Paul Rosini. His attempt to injunction Paul from working at N.Y.'s Rainbow Room is one of those back-stabs, for we remember when Paul (it was just after Zancig died. Paul was hie last assistant) re-opened the Asbury Park, N.J. concession and had Carl with him for the season. The name Rosini doesn't belong to either, but Carl never got excited about it when he was doing all right. He was a big box magician with ping, his dog, and Paul was a hanky-panky parlor man. Came the era when stage shows, es-specially magic, went to hell. Down went Carl. Intimate and manipulative magic came into favor. Up went Paul. Y/e can sort of excuse Carl|s failing sight to see changes, together with his hardening conscience, but his claim that Paul, using the name of Rosini, hurt his (Carl's) reputation is ridiculous. Carl never had a reputation in night clubs. Try to find a high-class nite spot (according to the trade journals) that knows Rosini as anyone other than Paul. These two knew each other, and worked together, for many years. Why must Carl stoop so low as to walk under a dropped summons because Paul has, after many years, built himself with an eye on the times, v/hile Carl has let the moss grow over that image he has been beligerently observing in his looking-glass?

the number and color on the card, leaving it with the spectators as a check.

The performer picks up a fair size ball of wool with a pair of knitting needles through it, saying, "My grandmother used to be quite renowned in our village because of her ability to tell fortunes. I never could get her to read the cards for me because she said I was too young to understand. That she did possess some weird powers was believable, though, for night after night, at bed time, and while she was knitting, she'd call me to her, ask if I had studied my school lessons, and then do the very thing I'm going to try for you now. Several years ago we cleaned out a lot of accumulated boxes at home and I found this wool and set of needles. Memory of those mysterious nights came back, and in the same box I found some of the tags she had used. I also discovered the secret of that childhood miracle."

The performer has replaced the ball of wool on his table, and from his pocket has taken a blank card and a lead pencil. He selects two persons as subjects. One is asked to name a number from 1 to 1,000,000. The other is asked to name any color. The performer writes both the number and color on the card, leaving it with the spectators as a check.

Returning to the table he picks up the ball of wool, withdraws the needles, and hands it to a third spectator together with a glass bowl or dish. The spectator puts the ball into the bov/1 and unreels the wool. In the center of the ball is discovered a cardboard key tag. On one side is written the chosen number, and on the other side is found the selected color.' As the performer says, "Every night I'd wind up a brand new skein of wool into a ball. The next night my grandmother would use what was left of it to mystify me completely. Not until years later did I realise that she had effectively gotten me to wind her wool without complaint."

Of course, the reader has beaten me to the denouement, at least part of it. The coin slide comes back into a somewhat new use, but instead of a coin, Dennison or stationary store circular key tags about quarter or shilling size (with metal edge) are used. The knitting needle part is an effective cover for the chicanery.

Page 601

The ball of wool is first wound, arouna the tube in the regular way, leaving a good inch of the tube sticking out. The needles are now oushed through the ball just against the flat "side of the tube and about a half inch apart. Such a prepared ball may be picked up and shown for a minute, the fingers on one hand hiding the tube which would hardly be seen anyway, for the yarn is dark red or blue, the needles white, and the tube black. The cardboard disc is also white.

The wool is returned to the table and the card and pencil taken from pocket. As they are taken out with the left hand, tie disc is finger palmed out also. The card may carelessly be shown both sides with the disc concealed, but it isn't necessary. When a number is named you hold the card in front of yourself and put it down. The disc is held against the card and the number is written on that, too. You stall a bit for action by asking the number to be repeated. Then the disc is turned over while asking a color of the second person. This, too, is written on both the disc and card.

The card is taken in right hand and given to someone, the disc remaining right finger palmed. The performer steps up to the table, lets his left fingers touch the top of the ball (which holds it steady) and the right fingers then pick up the ball from the back, which action allows the finger palmed disc to slide through the tube. With the ball picked up, the performer swings to the left to face audience. The right fingers curl around the protruding tube AND THE NEEDLES. With one move, the needles,AND the tube, are withdrawn from ball and put aside.

From here on, the mechanics of the effect are over. It depends entirely upon the individual performer's showmanship and sincerety to make the watchers believe in grandma's prowess.

Immediately following that last oddity (I like them together) the performer relates tnat, as time went on, and the seed of mystery grew within himself and he developed a strange idea to perfection, he always looked back to wish that he might have astonished grandmother immediately after she had bewildered him.

The performer shows a piece of white tissue to be clean and blank on both sides. It is held at the fingertips, the hands seen to be otherwise undoubtedly empty, and rolled into a ball which is dropped,with unmistakably no exchange, into the bowl or dish used previously to hold the ball of yarn.

A spectator is brought forward, and from a pack of well shuffled cards one is chosen in as fair a way as possible. Climax. The performer opens the rolled paper at his fingertips to reveal in large black letters the name of the selected pasteboard.

The two parts of this test are, of course, the choice (?) of a card ana the appearance of writing on the paper. Both are exceedingly subtle. Let's start with the paper. Harlan Tarbell once devised a torn and restored paper effect titled "Phanteario." We are using that principle without tearing the paper. Take two pieces of white tissue about 3 by 6 inches. Place them together.

At a spot inches from one end, and at the

Page 602

center of the width, put a daub of library paste the size of a tack head between the two papers. Press them together and let dry. Next crumple one of the papers from all corners ina tight and compact ball resting at its pasted point. Hold the finished product in the left hand with second finger in front and thumb behind directly on top of and pressing down on the crumpled ball. The other fingers are kept open and, in this way, the single sheet of paper can be shown freely on both sides and against a light.

In working, the open sheet was torn and balled up. The two pieces could then be tossed into the air to appear as but one bundle, and, finally, the whole sheet was opened. The left thumb covered the torn and balled pieces while the restored (?) paper was shown both sides as at first.

There is no tearing done here, however. Before crumpling up the first sheet behind, the name of a card is crayoned heavily upon it. It can be seen now, that, after showing the blank piece, the performer can very openly and cleanly wad it up and toss it, without exchange, into a glass or bowl. Then, when he opens out the other paper, the wordage makes its appearance.

The force is excellently provided by HKRB. RUNGIE, who has termed it "A'TWO-FACED' FORCE." It is a simplified version of that behind the back force commonly thought of as "The Magic Thrust" but allows of further definite angles. Suppose you want to force the Ace of Spades. Two are needed, one being 2nd from the bottom of the deck and the other on top. Dovetail mixing allows them to be left in place.

The deck is spread on table or chair for the selection of a card. Of course, if one of the Aces is taken, you just quit right there. Otherwise the deck is picked up and the spectator's chosen card placed on top FACE UP. The spectator stands at your side facing the audience. He puts his hands behind his back and is told that, after he has the cards in his hands he is to take off the face up card from the top and push it into the middle.

As you place the cards behind his back you merely turn them over. Thus he puts what he thinks to be the top face up card into the center, out it really is the bottom card of the pack going in correctly faced with the others. Then he vs told to cut the deck completely several times, still behind his back.

You reach behind for the cards, and turn them over before they get into view. The pack is spread face down, and the spectator's face up card. TELL THE AUDIENCE YOU WILL USE THE CARD EITHER ABOVE OR BELOW THE FACE UP CARD. Either is chosen and your card is forced, due to tne fact that both are the same.

The handling of the paper might be varied by use of A1 Baker's idea of flash paper being torn and the bits fired to leave the restored tissue. Use a sheet of each. Vfrite on the tissue and crumple behind. Show the flash paper and crumple. When ready for the finish, just touch the f-lash ball with a lighted cigarette. It flares away to leave the ball of written on tissue which anyone can open. I haven't tried this. Perhaps the tissue should be fireproofed.

And thus you have unfolded another mystery. If you proceed with any others at this time, you can leave your grandmother out of them.

0 0

Post a comment