Uncontrollable Caito Or

This test, as well as the next, are so closely allied to "The Umbrella Test" that the same observations made with reference to that apply to these. These are controlled by the same mechanical principles as was that test.

The positions of the parties in malting these two tests are shown in illustrations Nos. 6 and 7. The positions in hold ing the cane or cue are suown in No. 6. And in holding the chair in Ho. 7. In these positions the experimenter (or experimenters, for several make take oart in the tests) is required to maintain himself firmly on his feet, keep his position, and hold the object steady when the performer's hand or hands are placed upon it, as shown in the illustrations, just as he was expected to do with the umbrella.

It will be observed that the performer has the sane advantage in these tests of position and leverage as before. The experimenters are under the same disadvantages as to the extreme tension of their bodies, muscles and limbs. They labor under the delusion that they must brace themselves tremendously against some overpowering "Unknown Force" that is going to operate against them. They exhaust themselves contending against their own subjective exertions. The performer need only divine the direction of their spent energy as they brace against him and fall to, and give way to it, or follow it ut>. The subject creates immense momentum which causes the feats, and the performer gives way to it, allowing that force free and full Dlay.

Look at illustration No. 6. The experimenter grasps the cue like a vise at A and B. The performer places her hand at C. She holds her hand firmly there waiting for the "force" to come. In the tension of waiting and expectancy she wives more or less of a pressure at C. And but a little is ever needed.'

The subject, nerves and senses alert, imagines he feels the oncoming of the "force". He braces against the slightest indication of an imaginary power. The performer discerns this bracing and gives way to the action of the force as she feels it. This giving way throws him for.vard, and off his balance. He attempts to regain it, and, in doing so, pushes against the performer's hand, which she must, at all times, endeavor to keep in contact with the object. This exertion on his part, instead of regaining his balance, throws him back the other way, in a rebound, as it were, from the performer's touch. The performer keeps up with him, and the effort to keen the contact exerts enough force to keep him from regaining his balance. He imagines that some power has him in its invincible clutches. Disconcerted, he strains his muscles, body and limbs to more tension than ever, but only serves to aid the performer by consuming his own strength. The subject simply makes

Page himself do just what he has been expecting the "force" to do. (Liiss Hurst had a number of nice writeups regarding the above experiment with the world-renowned Japanese wrestler, Matsada. According to eye-witnesses he used all of his strength only to finally land on his back in the wings. Ed.)


The chair test, illustration No. 7, is accomplished on the "same principles, only the positions in holding the chair are a bit different. The subject is told to hold the chair against his body firmly, grasoing it at A qn^ B. He is to maintain his position and keep himself steadily on his feet when the performer places her hands upon the chair at C and D. The modus operandi of overcoming the subject and keeping the process going, is exactly the same as detailed in the last two experiments.

In making these tests, the performer exerts what little pressure is needed in first getting the subject off his balance so gradually and slowly that it becomes imperceptible. To prove this, Kiss Hurst used to place her hands over those of the experimenters, and they always reported that they felt no appreciable pressure. Doctors who felt her arms said that muscles did not seem contracted during the tests. In her biography, The Georgia Wonder included an important paragraph, to wit: "Then also I got- to be an excellent judge of human nature. I could discern the temperaments, idiosyncrasies, delusions and superstitions of a man almost as soon as he came on the stage. I could tell skeptics from the rank believers at a glance. I learned how to adapt ¡¡nyself to them. Practice produces experience and experience perfects practice, and I had an abundance of both."

And that's as clear an explanation of Lulu Hurst's "Unknown Power" as these pages can afford. To our knowledge it is the first attempt to correlate, for magicians, the possible effects and WHY they work. Only through such understanding can the profession develop new and other entertainment forms from the principles herein laid down.

It will be necessary for the performer to evolve an introductory talk for the demonstration and this should necessarily be serious in its request for audience assistance and a sincere attention to the strange powers of the lady. If there is any appreciable demand for- it we'11 be glad to lay out such a beginning from the authentic material we have collected about this type of mystery.

It is very much more effective when a small lady shows so much mysterious force, but it is very mysterious also, when a magus demonstrates several of the stunts during his performance, especially the one-foot balance test (1), the downward thrust effect (2), and the umbrella test (5). Some magi might even go to the length of explaining (?) that they suffered a severe electrical shock when very small. It would make logical this odd emanation of power from their bodies, even if it didn't make quite evident the reason for their becoming magicians.

There are several natural tricks of magic that would lend themselves to this kind of act, and it wouldn't be at all difficult to build a routine which should be a distinct novelty in modern nite clubs. The "Magnetic Girl" billing hasn't been used since 1900. At any rate, good luck, and, don't lose your balance.

Figure 7

Servais LeRoy, a name to conjure with. I can only too well remember when I used to absorb every word and every name in the magic books and papers, wondering if I'd ever see any of them perform their illusions, not daring to expect ever knowing them personally. Well do I recall the magic pages of the Billboard (they had 3 full pages per week then) with probably the most militant fight against exposing ever waged by any magus. It was Servais LeRoy. We saw him but a few weeks ago and doubt if he was any more dapper and full of life when the LeRoy, Talma and Bosco aggregation toured the world. And it seemed like the fulfillment of a dream to talk with a man so steeped in magical lore that he can rightfully claim the origination of more practical and widely used stage illusions than any other magus, living or dead.

Sam Margules, the SAM impressario for more than a decade, is introducing LeRoy from retirement at the N.Y. Heckscher Theatre on June 6th. Tickets scale to a $2.20 top and can be had at Holden's or Hornmann's Magic Shops. With an entire company of assistants the curtain win rise, that evening, on a full evening show of his very own creations and illusions. I wouldn't miss it for anything despite the attitude of a lot of modern so-called sophisticates. For one night I'm going to relive a lot of very valuable memories.

The war came close to us yesterday when a censored and military stamped letter came in from "somewhere in France." It's hard to realize that Cedric is picking up a gun more often than his favorite deck of cards. He has his magical magazines to read, and has done a few shows for the troops..He misses most, though, getting together for a gab-fest with other magi. We quote, "It sure is a long trail from Battle Creek, Chicago and New York, to serving in the B.E.F. How I'm looking forward TO THAT DAY when I'll write you saying, 'Ted - meet the Queen Mary at N.Y. next calling.'" Hurry back, Cedric. We'll have the deck stacked and the backs pointed all one-way.

It may be old to some but-it wasn't to Walt Gibson who penciled a postcard. A sheet of paper ie placed on a glass with a coin on top of it. The trick is to get the coin in the water without touching either coin or paper. The answer is simply to set fire to the paper. Or did you know? --- Davenport's latest Demon Telegraph uses three pages to show that popular bead trick the property of Carmo and "the copyists have not even found out the secret, though they claim the whole effect." Brunei White's writings about the American "steal" say "I cannot help chuckling still at how all of us got this completely the wrong way about. We all thought that the beads, doubly strung, ran off one of the strings, didn't we? Oh yes we did. Well, we were wrong. The beads do no such thing and never have to be restrung at any time." So maybq the local pirates slipped on their own beads, and the purchasers haven't received what they should have, with a royalty going to Carmo. --- The Green Lama (Double

Detective - 10£ - all stands - July issue) is once more victorious over crime because of his knowledge of magic and Tibetian hUsh-hush. m this issue 'tis revealed that the bloke knows we'uns and The Jinx. Curses! The secret of his great knowledge is out!

Hal Haber, the man clockwork decks has made famous, just presented us with one of those e-lectric„light puzzle games we diagrammed back page

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