In the U.S.A. today there exists a feud between an association (ASCAP) of music composers and publishers and another association (BMI) of broadcasting company sponsored independents in the song writing field. At this writing the latter group has the edge on the “air” while the former has the edge on music of popular fancy. Herbert Hood, for long an associate of N.Y. music publishers, (and longer silent associate of our best masters of subtlety) is on the side of ASCAP. Without taking a part we like this argument mentioning magic. Mr. Hood says that the best composers are with ASCAP and listening to music by outsiders (BMI) is like watching an imitator of Cardini and other approved and accepted artists. You may have to watch the imitation, and, to a certain extent, he says, you will be entertained. However, he finishes, you will know that there is someone else who can do the same thing but give it that unknown something which keeps him always the superior. We aren’t for ASCAP in many ways, but we approve heartily regarding magic because it is so true.
Dante continues on his way through our eastern states, garnering press space on and off stage often because of his ability, innumerable times because of his press agent’s omnipotence in vulnerable territory, and sometime’s at the expense of his public relation’s counsel.
This press notice might well have been lost in the shuffle, despite the fact that it bears heavily upon a magus’ public life rather than private. The little push that toppled it off the fence into here was the statements of a N.Y.’er who, after Jinx #65 made its appearance, said that for $100 we ran in that issue a full page replica of the Variety ad announcing Dante’s forthcoming return to America. For that much money we would have given him the entire six pages – were our policy geared to such a tremolo.
Ken Crossen, who let magic play a goodly part in his “Green Lama” yarns, found a baby boy at home on Dec. 26. Mrs. Crossen named the find Stephen Foster in honor of Ken’s renowned ancestor. Papa’s tall tales were published under the “nom de lama” of Richard Foster. — As to literature we are swamped for reading time. Jean Hugard and Fred Braue have done a “must” book of 448 pages. It is called Expert Card Technique and Carl Jones has published it with an eye towards the banishment of manuscripts and booklets about magic. 318 illustrations make an awful lot of tricks clear. If Jean, with his knowledge, plus Carl, with his paper and typography, keep this up, well —. Bernard Zufall’s N° 6 Memory Trix covers Facts and Figures. Complete and bound this modern treatment of memory will be an asset to those who desire a start-to-finish act of remembrance superlative. We may be out of order to suggest, but it can be a hope, that the last of the set be devoted to a routined performance from curtain to curtain with all essential patter themes outlined. Too many – much too many – in fact practically all magic books lay down trick after trick, and give no thought to the amateur who needs a suggested balanced program. Such buyers read and assimilate the material, certainly, but their time and performing occasions do not give them the opportunity of learning by trial and error, that greatest stepping stone to success of the professional. AUTHORS OF MAGICAL METHODS ARE DUTY BOUND TO OFFER A SUGGESTED PROGRAM FROM THE MATERIAL CONTAINED WITHIN THOSE COVERS. A writer of a magical work can’t make much profit. The field is too small. I doubt if 15 copies would be sold were sales limited to full time professionals, and that figure is not kidding. AN AUTHOR CAN NOT JUSTIFIABLY SELL IDEAS AND TRICKS UNLESS HE ACTUALLY HAS PERFORMED THEM, and then he should, in all fairness to customers, explain the presentation conditions. This procedure can be a “type precedent” for future magic works until such a time when all material sold will necessarily include information now sadly lacking. We still dislike public magic shops and easily obtainable secrets of an art which should be learned by apprenticeship or gruelling self attainment. Only then can one value his knowledge and power for entertainment. Only then can a magician escape from the classification of mountebank.
The eulogy about De Voll’s one man levitation, two issues ago, caused rumbles. Freer’s apparatus got plenty mention here. On trusted authority we have it that the former’s outfit is usable anytime, anywhere, with no set up. The performer walks, dances, sits or stands at ease. Yet he can levitate an 150 lb. person. The same authority says that, while De Voll may have heard of the effect, he didn’t have details by sight or writing. At any rate, regardless of the priority outcome, make way for the circus sideshow-carnival expose of 1941 ! With a “natural” such as this, for the tent platforms, the Headless Lady will be parked in a short basket next to the decayed corpse of the Sawed-In-Two woman. Banners will be repainted except for the line “See How It’s Done For 5 cents.” The “magicians” will eat fish and chips for a season and then drip back to orange juice and crumpets awaiting a new conception from someone who MUST wave his wonder before an avid and, for the moment, adulating coterie, when he could well enough keep it for his private dates and build a reputation. Dunninger is right.
