JournaloftheMindV1Issue3

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In This Issue:

Maurice Fogel

Contents:

2 This Month’s Spotlight 3 Maurice Fogel 1911-1981 4 The Eternal Triangle 8 Fogel’s Presentation of

the Eternal Triangle 11 Coin Coincidence 12 The Woman’s Lib Quiz 16 Jheffsmind

19 Remote with a View

Jheff’s Journal of the Mind,

Volume 1, Issue 3. Printed in the U.S.A.

Journal of the Mind is published

six times a year for member of the Marketplace Membership Club

Layout and editing by Matthew Schouten.

Copyright © 2007 All rights reserved by the authors. No part of this publica-tion may be reproduced or transmitted in any form or by any means, elec-tronic or mechanical, including photo-copying and recording, or by any infor-mation storage or retrieval system, except as may be expressly permitted in writing by the copyright owner.

Email: [email protected]

THIS MONTH’S SPOTLIGHT:

MAY/JUNE 2007 VOLUME1, ISSUE3

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MAURICE FOGEL: IN SEARCH OF THE SENSATIONAL is available from: THIS MONTH’S SPOTLIGHT:

MAURICE FOGEL

We have a very unusual issue. Normally, the e-zine spotlights a modern innovator of mentalism and features some of the effects that that performer created. With this issue, we spotlight a past master who was known for his amazing feats of mentalism, as well as magic. Unfortunately, that means that the in-terview will be absent this issue (though I would’ve dearly loved to be able to inin-terview him)

This issue we spotlight Maurice Fogel. This month, Christopher Woodward and Richard Mark release their new book, Maurice Fogel: In Search of the Sensational, which contains over fifty effects and rou-tines, with nothing held back, including the Corinda interview from 13 Steps to Mentalism (and which appears with permission from Corinda)! So, this issue is a continuation of the celebration of this past master of mentalism and magic. Specifically, this issue spotlights Maurice Fogel’s routines and ideas on one of mentalism’s popular gimmicks, the clear force bag.

The first time I encountered Fogel's name was when I purchased an fect called, "Second Spot." It was one of the first true mentalism ef-fects, as opposed to mental magic, that I actually used in my acts. This was a set of specially made psychometry bags. Lee Earle later made this routine easier with his "No-Brainer Bags" by adding a subtle, yet simple principle. Currently, though, when I perform this, I use Richard Osterlind's S.O.S. Bag, which is an altogether different handling for the same effect.

Getting back to Maurice Fogel, when I first got Second Spot, I knew nothing of the man. There weren't any books on him (that I could get hold of, that is) and occasionally I'd read a brief article or an anec-dote about him. It was obvious to me that this man was one of the greats, but that's about all I knew. I do remember getting another wonderful effect by him and that was the Invisible Card Routine. I still have it and really like the thinking behind that routine, though I don't remember ever performing it.

Hopefully, the material in this issue will inspire you to learn more about Maurice Fogel. In my case, I haven’t read the new book yet, but I certainly am eager to do so. (Oh, and it’s a Member Special this month!)

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Osterlind’s Transparent Forces and Sankey’s Clear Close-up Switch Bag: special member prices at www.marketplaceofthemind.com

It has been 25 years since The Amazing Fogel passed away. He was a brilliant showman, magician, daredevil, mentalist, and illusionist. Nominated as the best lecturer at the Magic Castle, he performed in Vaudeville, cabaret and cruise ships and he had his own full-length show, which toured the British Isles. His telepathic radio broadcasts in England created great controversy and sensational publicity followed him wherever he traveled. His bullet catching and Russian Roulette set high marks for mystery and ex-citement. A book describing his life and secrets In Search of the Sensational – The Secrets of Maurice Fogel will be released in 2007 by the Hermetic Press coauthored by Chris Woodward and Richard Mark and edited by Max Maven with publisher Stephen Minch

I first met The Amazing Maurice Fogel in my hometown of Miami in 1976. He was touring with the Richiardi Show and had been invited to the local magic club. I worked up enough nerve to begin a con-versation with this legend of mentalism and friendship between Maurice and his family grew over the years. He introduced me to his daughter and son-in-law Nadine and Christopher Woodward my coau-thor. I knew of him before that, as did everyone interested in mentalism, by virtue of his interview with Tony Corinda in “Thirteen Steps to Mentalism”.

Chris and I have been planning this book for at least 15 years and working on it for over eight. We both understood much of what he accomplished and together we collected all of his published material and poured over his scrapbooks and props. We analyzed his methods and psychology and his ongoing search for sensational material. The Search for the Sensational -- The Secrets of Maurice Fogel is not only a collaboration of those noted above but also literally scores of his friends and fellow performers.

The book contains all of his powerful routines and his full act of mentalism in great detail. His performance and presentation are available as well. Here we present some lighter comedy oriented performance material that Fogel used on Cruise ships and in sum-mer resorts. I have personally used the contest effect again and again and I can vouch that it always creates a delightful outcome.

I have also limited this contribution for Jheff’s Journal of the Mind to the published effects that Fogel developed for the clear force bag. Originally described in the New Phoenix, this device, although now commonplace was and still is deceptive with the right presen-tation. Fogel’s genius was, in part, taking small and insignificant methods and creating something exciting and dramatic. You can

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JOURNAL OF THE MIND VOLUME 1, ISSUE 3

MAURICE FOGEL 1911-1981

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The Maurice Fogel CARD COLLECTION is available from:

learn to do this by a careful read of this and the forthcoming book. You will learn to be creative by fol-lowing his lead. Here in these published presentations you will find a plethora of entertaining items. Maurice always considered himself first and foremost an Entertainer. The key to entertaining with men-talism is, as with most performance arts, showmanship and Fogel was the ultimate showman.

THE ETERNAL TRIANGLE

THIS FOGEL DEVICE has been a closely guarded secret for many years, and we are pleased to be able to publish it for magicians and mentalists. There is no doubt about it this new type of ‘Force Bag’ will enable you to produce many miracle effects. Plastic material is used a good deal today. To the au-dience the bag is no more than an every day object, and the clean way in which it is handled, leaves no room for suspi-cion.

The Force Bag is actually two bags, one inside the other, joined at the bottom and sides, so that there are three com-partments. ( It is possible today to find clear bags at the mar-ket and remove the zip lock from one. Simply use double scotch tape to keep it inside the other zip lock bag.). The ma-terial is that transparent plastic obtainable in sheets. Various

thicknesses are available and a good strong quality should be chosen, to enable it to stand up to plenty of handling, yet being pliable enough to be folded. Figures A and B make the construction clear. The two sided force bag was marketed by U.F. Gen Grant in 1960 and yet Max Maven has found an earlier description by Homer Hulse in The New Phoenix 1954. When Fogel released his, it may have been first with the three compartment version, which has certain advantages.

The size of the bag you make will depend upon what type of routine you are to perform and the articles to be forced, but a bag about ten inches deep and eight inches wide will be suitable for forcing small objects.

For example let us see how colored balls can be forced. You will need the bag and several colored balls.

The reader will readily understand that the ‘Force Bag’ can be used in many different ways. Almost any object that will fit into the bag can be used, and end-less routines can be devised.

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Compartment 1 Compartment 2 Compartment 3

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MAURICE FOGEL: IN SEARCH OF THE SENSATIONAL is available from: www.marketplaceofthemind.com

Let’s imagine that you wish to force: one Blue Ball and one Green Ball. Set the bag this way:

Into one of the outside compartments place a quantity of Blue Balls-into the centre compartment place a quantity of Green Balls-the exact number does not matter, as you will realize later.

Now, into the other outside compart-ment, drop all the remaining balls, including a few blues and greens. Shake the bag and thoroughly mix the balls up.

The prepared bag is now placed on the table, and is ready for use. Here's how to use it:

Pick up the bag, and handle it without fear. Remember, it's just a bag containing a few colored balls, handle it as such. Hold the bag in your left hand and as you talk, allow the left index finger to enter the compartment which contains the mixed balls slip the other fingers in and open the bag at the mouth. With the right hand, reach inside the bag and bring out a few of the balls, showing the different colors. Hold the hand containing the balls, a few inches above the bag and allow the balls to trickle back into the bag (same compartment from which they came).

Now after having made your prediction or whatever you intend to use, walk forward, and as you do so, open the bag at the compartment which contains the Blue Balls. Have a spectator place his hand inside the bag, and remove any ball he wishes. This is a brilliant force; nothing could be fairer, try it in front of a mirror and convince yourself. Audience see the spectator's hand in the bag they still see all the various colored balls, neither the audience or the person whose hand is in-side that bag, will have any idea that

the spectator's choice is limited to a single color, namely Blue.

As you walk from one spectator to the second, you casually drop the bag to the side of the body. Again the index finger slips into the centre compartment, and opens the bag. Second spectator reaches into this compartment - again the audience sees the hand in the bag - again you ask him to draw out any ball. You’ve forced the Green Ball in the most convincing manner.

Walk back to your table, and in so doing insert the fingers into the mixed compartment. As you recapitulate what has been done, reach into the compartment and bring out a handful of the mixed colors. Openly state that two people have had a perfectly free choice of any one of the ‘hundreds’ of balls. No one yet knows what color they have selected, etc., etc. Build up the patter and later bring the effect to its conclusion.

The above is the basic handling of the bag, and we think that once you have tried this, you will be more

(Continued on page 7)

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_____________________

“Pick up the bag, and

handle it without

fear. Remember, it's

just a bag containing

a few colored balls,

handle it as such.”

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Christopher Woodward and Richard Mark's

THE FOGEL CARD COLLECTION

with FOGEL LIMITED EDITION PLAYING CARDS

$30

It has been 25 years since The Amazing Fogel (1911-1981) passed away. He was a brilliant showman, magician, daredevil, mentalist, and illusionist. Nominated as the best lecturer at the Magic Castle. He performed in

vaudeville, cabaret, cruise ships, and had his own full-length show, which toured the British Isles. His telepathic radio broadcasts in England created great controversy and sensational publicity followed him where ever he trav-eled. His bullet catching and Russian roulette presentation set high marks for mystery and excitement. A book describing his life and secrets - In Search of the Sensational: The Secrets of Maurice Fogel - will be released shortly by the Hermetic Press. Co-authored by Chris Woodward and Richard Mark.

Here his friends and admirers have provided their own card effects of the sort that Fogel would have enjoyed. Some of these were published in a Fogel Trib-ute in the Linking Ring Parade July 2006 and are included here with

permis-sion of the creators. Included in this collection is FOGEL'S favorite close up card routine that he in-cluded in his lecture notes.

ROUTINES BY:

Burton Sperber, Jon Racherbaumer, Sandy Andron, Patrick Page, Marc Salem Richard Mark, Max Maven, Chris Woodward, Maurice Fogel

Available through:

www.marketplaceofthemind.com

or contact Richard Mark directly at

[email protected]

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(Continued from page 5)

than pleased with the idea, let alone the fine Fogel presentation which is to follow. A little thought and you will see that various objects can be used.

This bag can be used for al-most anything which requires a force of a small object; there are hundreds of such tricks published in a thousand and one books and magazines. Remember this fine aid when you are next browsing through your old books. New routines will spring to life, forcing billets etc., has been a snag for years ... it’s no longer a snag for you!

Here’s a list of other items which readily come to mind:

CHILDREN'S ENTERTAINERS:

You can use it to force coloured count-ers (Tiddley-Winks), or how about using those fancy buttons which you can ‘sew magically’ to a doll's dress, etc. Forcing a name is an easy matter by having a num-ber of small cards with names written on. You have everything in the bag at the start have a child ‘dive’ in twice to show all different when you want to ‘force’ proceed as already given above.

CLUB ENTERTAINERS:

A good idea is ‘The Great Raffle Swindle’ always a popular pastime in the Working Mens’ Club, and one from which you can get lots of local reaction by asking a few questions first. There’s lots of laughs to be had here, and with a little thought to a patter story and the minimum of skill, you can get a solid five minutes of fun from this bag.

BOOK TEST:

Numbered counters will give you the perfect book test. Look at the effect, two or three spectators are invited on stage . . a book is selected from several . . a great idea here is to have about a dozen copies of (say) Reader's Digest all the same issue, but with a different colored cover over each. Have one se-lected. Make the most of this, bring in the bag with num-bered counters and go ahead as already de-scribed.

LOTTO:

Another great possibility on similar lines to the Raffle Swindle already mentioned . . . if your child is like mine, you’ll no doubt have hundreds of these kicking around the house without another penny to lay out.

GREAT JEWEL ROBBERY:

There’s lots of good-looking cheap jeweler around the shops, rings, ear-rings, etc. You could have say a PAGE 7

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MAURICE FOGEL: IN SEARCH OF THE SENSATIONAL is available from:

dozen or two rings displayed on a velvet pad, dropped into the bag and proceed from this point with a routine, could be a prediction with description of the missing ring, etc., this is topical stuff for ladies, and has great possibilities of build up.

Next time you are working at a special event, give a little thought to what the particular party is inter-ested in. It’s al-most certain that you'll be able to employ this bag and make a real hit with an item based upon their chief interest.

FOGEL’S PRESENTATION

OF ‘THE ETERNAL TRIANGLE’

In addition to the bag, you will require:

Two lengths of rope with rings sewn on at the appropriate places.

Two padlocks (each a different colour, say one black and the other grey).

Six keys to fit each lock, plus twelve keys to fit neither (but as near a similar pattern, as possible.) A small glass bowl and a piece of Red and Blue Ribbon.

PREPARATION: In the bag place five keys (to fit the ‘black’ lock) in the corner of the first

compart-ment. Five keys (to fit the "grey" lock) in the second (centre)compartcompart-ment. The bag is now folded in quarters, the other (empty) compartment being uppermost. Put the twelve ordinary keys into the glass bowl. Tie the red ribbon to the key which fits the ‘black’ lock, and the blue ribbon to the key which fits the ‘grey’ lock. Put these two keys (with their ‘distinguishing’ ribbon tied to each) in the bowl, with the other keys. Have the two ropes and the two pad-locks handy on a table.

PRESENTATION AND PATTER: Invite a young lady to come forward and seat her centre stage.

Two chairs one on either side, slightly forward to which you invite two men to be seated. (Display Locks) “You will see these locks are each a different colour” (One lock is given to each man.) Now pick up the two ropes… go to each man and make a loop around each man's neck and secure a lock on to it, per the rings Now pick up the bowl of keys, explaining that) “There are fourteen keys, and only two of them fit the lock, the one with the red ribbon, (take out and display) opens the lock on this man's neck, and -the one with the blue ribbon (take out and display) opens the lock on this man’s neck.” “Gentlemen, will you test them please-. (they unlock and re-lock their padlocks. “Satisfied? now place those keys in your pocket. Now, Ladies and Gentle-men, I claim that none of those twelve keys fit ei-ther lock. Sir, will you take out any six that you wish, and test them (to the oei-ther man) will you take the rest of the keys and test them likewise. (While they are doing this, pick up one end of the rope, showing the ring on the end of it. Ask lady to hold up her left hand, and you place the ring on her little finger. Go

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MAURICE FOGEL

In Search of the

Sensational

by Chris Woodward & Richard Mark

When magicians caught a bullet in their teeth...

He caught six!

When magicians did spook shows...

His ghosts were nude!

When magicians did rope tricks...

He put a noose around his neck and jumped!

When magicians predicted a chosen number...

He predicted which of six rifles should be

aimed at his forehead!

He was Maurice Fogel, the twentieth century’s most audacious mentalist and one of its greatest showmen. His feats of mind reading captured headlines around the world—when he wasn’t predicting them. He dared death, he read minds and he became a legend in his own time.

Maurice Fogel: In Search of the Sensational is the story of an amazing life and the mental secrets of an amazing man— The Amazing Fogel

Written and collected by Chris Woodward, an award-winning magician and Fogel’s son-in-law, in col-laboration with mentalist and Fogel confidant Richard Mark, here at last is the definitive work on Mau-rice Fogel, the man and his secrets. Contains more than 50 effects and routines with nothing held back! Also, with permission of Corinda, includes the classic interview from 13 Steps to Mentalism. 440 pages in elegant hardcover with book ribbon.

$65

(Suggested Retail Price)

Available at Jheff’s Marketplace of the Mind

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to the other man, pass round the BACK of the lady, pick up his rope, and place the rope (per the ring) on lady's same little finger. Ask her to clench her fist, and make herself comfortable.

While this is happening, the men will have tested all the keys. You pick up the bag by the corner, where the keys are situated (thus natural-ly concealing them in your hand) the other hand opens the bag at the empty compartment, and you go to each man and ask them to drop their keys into the bag.

When the first man, on your right, has dropped his keys in the bag, it is perfectly safe to take your hand away from the corner and shake the bag as though mixing them. Here you will appreciate the beauty of this bag, because it looks perfectly in-nocent at the closest quarters they can see the keys clearly in the bag. The second man drops his keys in, on top of the other man's keys. Close the bag still holding it at the top, and mix the keys. Turn to the man on your right saying ) “Now will you remove the key from your pocket, take off the ribbon so that it loses its identity.” (Then, request the man on your left to do the same. At this juncture you have opened the top of the bag at the

First compartment (the one where you already have the keys for the ‘Black’ lock) he drops his keys in. Shake the bag, to make it obvious that the keys are being mixed.

Meanwhile you get your fore-finger to the centre compartment (in which you already have the keys to the ‘Grey’ lock). Ask him to place his key into that compartment. Keep shaking the bag (not too much) “Now Ladies and Gentlemen, you see the situation, here is a classic

example of the ‘eternal tri-angle’ . . a lady and two gentlemen. She has them both on a bit of string, around her little finger. I have always maintained that the woman holds the key to such a situation, and Madam, I want you to help me prove this tonight.” (Approach the Lady, opening the bag at the first compartment, and say to her.)

“I want you to wish with all your might that you will select the right key to fit the lock of the Gentle-man on your right.” (She places her hand in the bag (it must be the first compartment) and removes a key. You step back, and without going anywhere near the key, you ask her to hand it to the Gentleman on her right, requesting him to fit it into his lock which it opens, and you say.) “Marvellous. 50%of the experiment is successful, so far.” (While saying this, your forefinger has gone into the second compart-ment, bring-ing that into action say to the Lady ) “Wish for the key that fits the other lock.” (She reaches in, and again you request her to hand over the key Herself to the Gentleman on her left. He unlocks him-self. At this point you can empty all the keys into the glass bowl, gather the ropes and con-gratulate the Lady on her success!)

This is a brilliantly routined piece of magical entertainment, which has stood the test of hundreds of professional performances. It should stand you in good stead. Have lots of fun and mystery with it!

(Continued from page 8)

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MAURICE FOGEL: IN SEARCH OF THE SENSATIONAL is available from: www.marketplaceofthemind.com

WARNING:

Plastic material has a tendency to ‘stick ’ therefore we advise you to dust the com-partments occasion-ally with French Chalk or any type of talcum powder, and make sure that before a performance that the compartments cannot stick to each other. (Certain older plastics were more likely to stick. This is proba-bly unnecessary with modern plastic bag material).

COIN COINCIDENCE

This effect is ideally suited for adults as well as children.

REQUIREMENTS: A small bowl or saucer containing a number of coins ‑ three of each

denomi-nation. A transparent plastic bag with partition. A copy of the "Financial Times."

EFFECT: A volunteer drops all the coins singly into a plastic bag. The bag is shaken to mix up the

coins. The volunteer takes out one coin. The "Financial Times" is opened out to reveal a prediction which is 100% correct.

SET‑UP: The only preparations necessary are, first, to open out the 4‑page outer sheet of a Financial

Times and on one of the inner sides to write in large print 10p. (or 10cents) Fold the paper into four and stand it on one side of the partition inside the bag. Then, at the bottom of the bag, between the paper's

folds, seven 10p.coins are placed. These coins, being between the folds, are not seen even when presented completely surrounded. Because it is a clear transparent plastic bag the whole thing appears completely inno-cent.

The volunteer is requested to drop the coins singly into the bag. To ‘help’ him you naturally open the mouth of the bag, making sure that it is the empty partition into which the coins are dropped. When all the coins have been dropped in, take out the Financial Times and place it under your arm. The 10p.coins will be left at the bottom of the partition because of their sheer weight.

You shake bag to mix the coins. Request your helper to reach in, pick up one coin, and to bring it out clasped tightly in his hand. Again, to ‘help’ him, open the mouth of the bag but this time making sure that only the 10p. partition is available. He is thus forced to bring out one of the 10p. coins.

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Osterlind’s Transparent Forces and Sankey’s Clear Close-up Switch Bag: You announce that before the show you had written a prediction. Open out the newspaper and seen very boldly written is 10p. Ask your helper to reveal what coin he had picked out.

SUGGESTED PATTER POINTS:

“This is a copy of the Financial Times. It is kept in a plastic bag because it is a paper which tries to ad-vise people how to save money for a rainy day . . . " Some nice patter to close: When he reveals 10p, say, "Thank you very much for coming forward. With my compliments please keep the 10p. Invest it wisely ‑ and I hope it will be the beginning of a vast fortune."

“It was my good fortune to have appeared for more than twenty consecutive years for Sir Billy at his Holiday Camps. This meant I had to find and invent more material all the time. And if I could make use of an old prop for a new plot that was great. Such was the case for:

THE ‘WOMAN’S LIB’ QUIZ

The differences to ‘Coin Coincidence’ are that this is a Quiz competition and instead of a newspaper and coins, you use ‘Question and Answer’ lists and numbered discs from 1 to 36.

SET‑UP AND PRESENTATION: You will require three ‘Question and Answer’ lists (a sample set is

shown below. Also a set of numbered discs, numbers 1 to 36 (Bingo discs will be ideal). Finally, the double‑sided plastic bag completes your props. Place your three ‘Question and Answer’ lists in one side of the plastic bag and between them are hidden the discs with the following numbers on them: 3, 5, 6, 9, 11, 12, 13, 16, 18, 20, 24, 26, 28, 30, and 34. As you will notice, these numbers represent the eas-ily answered questions. The remaining 21 discs are in a small bowl.

Get 3 ladies and 3 gentlemen to take part in an important quiz and also a lady and gentleman to act as Judges. Explain that 1974 was an important year: Women’s Lib year. You contend that, apart from be-ing prettier than men, women also surpass us in intelligence. To prove your claim you are holdbe-ing this special quiz with wonderful prizes to be won: A guaranteed cigarette lighter. (A Box of matches ) A genu-ine diamond pin. (A dime and Pin) And a beautiful 24 carat necklace. (A necklace of 24 carrots) A copper engraving of The Queen (or if in the USA, The President) (A coin of the realm) A portable wardrobe (A nail) A Tea Set ( six tea bags) A 200 piece Breakfast Set ( a packet of cornflakes) etc etc. Hand the bowl to a male competitor saying it contains discs numbered from 1 to 36. He pours all the discs together into the plastic bag. Now take out the lists, allowing the concealed discs to fall into the bag undetected. Hand one to each judge. Keep the third for you to read out questions.

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FOR MAY/JUNE 2007

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(LOG IN TO THE MEMBERS PAGE FOR DETAILS!)

PAGE 13

Christopher Woodward and Richard Mark's

MAURICE FOGEL:

IN SEARCH OF THE SENSATIONAL

Tthe story of an amazing life and the mental secrets of an amazing man.

Now 20% off the $65.00 list price

TRANSPARENT FORCES

by Richard Osterlind

A system for manipulating the thoughts of your audiences that's limited only by your imagination!

Now 20% off the $59.95 list price

Jay Sankey’s

CLEAR CLOSE-UP SWITCH BAG

A Clear Switch Bag Made

With The Close-Up Magician In Mind!

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Shake bag to ‘mix’ discs. The men each choose one disc; of course they are offered ones from the side containing the difficult ones. The ladies get the easy numbers. Ask the numbered question. As each competitor is unable to give an answer he is dismissed.

Result: the ladies win unanimously. The bag with the prizes is brought from under the table. The ladies are given the prizes: Guaranteed ciga-rette lighter is a box of matches; genuine dia-mond pin is a dime and safety pin; and the 22 carat necklace is some carrots threaded on a string. Properly presented, this can get lots of good laughs. Great comedy item!!!

1. In 1880 what was ivory valued at per pound in weight? $1. to $1. 25

2. On what date was the first law of town‑sites passed in Alaska? March 3rd 1872 3. Who was the first President of the USA George Washington

4. In 1888 the Alaska Commercial Company packed a number of cases of 48‑one‑pound each. What was the number of cases. 101 , 000

5. What was the name of the President who freed the slaves? Abraham Lincoln 6. How many cents make $1. 100 cents

7. The first newspaper in Alaska was the "Alaska Times" What was the date when it was established (May Ist 1868) and the editor's name? Thomas. G. Murphy

8. What was the name of the first newspaper to be published in N. W. Alaska and the editor's name? The "Eskimo Bulletin' & Wm. T. Lopp

9. Red and white are two of the colours of the American flag. Name the other colour? Blue

10. The first newspaper in the Yukon Valley was The Yukon Press at Fort Adams. Give the names of the two men responsible and date of first publication?

Gordon C Bettles. George T. Howard, January Ist 1894 11.Name the capital city of the USA? Washington

12. What is the name of the present President? Jimmy Carter 13 Where is the "White House" situated? Washington

14. What was the population of Alaska in 1930? 59,793

15.What was the name of the Governor of Alaska appointed on July 4th 1884 and where did he come from? John H. Kinkead, Nevada

16. Who wrote Beethoven’s 5th symphony? Beethoven

17. What was the name of the Governor of Alaska appointed May 8th 1885 and where did he come from? Alfred P. Swineford, Michigan

18. Give the name of the mouse character created by Walt Disney? Mickey Mouse 19. What was the name of the Governor of Alaska appointed April 12th 1889 and

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where did he come from? Lyman E. Knapp , Vermont 20. What year does the 1812 Overture commemorate 1812

21. What was the name of the Governor of Alaska appointed June 28th 1893 and where did he come from? James Sheakley, Alaska

22. What was the name of the Governor of Alaska appointed June 23 1897 and where did he come from? John G. Brady, Alaska

23. What was the name of the Governor of Alaska appointed March 2 1906 and where did he come from? Wilford B Hoggatt, Alaska.

24. How many cents in a dime? Ten

25. What was the name of the Governor of Alaska appointed May 20 1909 and where did he come from? Walter E. Clark, Connecticut

26. Name the district in California, famous for the movie industry? Hollywood

27. What was the value in dollars, of copper exported from Alaska during 1929? $ 58, 697, 975

28. What is the name of a fish caught in Alaska? It has six letters beginning with S and ending with an N? Salmon

29 What was the value, in dollars, of lumber timber, exported from Alaska during 1929? $ 140, 131

30.What is the in dollars, of salmon produced in Alaska from 1867 to 1930? $ 729,156, 810

31. What was the value, in dollars, of halibut produced in Alaska from 1867 to 1930? $ 29, 973, 630

32. Is Coffee (a) a sandwich (b) a drink or (c) a utensil? A drink

33. What was the value, in dollars, of cod produced in Alaska from 1876 to 1930? $ 11, 778, 282

34. What was the value, in dollars, of herring produced in Alaska from 1876 to 1930: $ 21, 599, 805

35. Name given to ground beef flattened into a round shape, fried or grilled and placed between a round bun? Hamburger

36. What was the value, in dollars, of tin produced in Alaska from 1867 to 1903? $ 1,083,159

(Author’s Note. These questions were written in 1974 when Maurice was cruising up and down to Alaska on P. & O. hence the slant towards that location. It is up to you to devise some really difficult questions and Women’s Lib still being topical you can be GUARANTEED to get many laughs out of this particular item.)

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JHEFFSMIND

Tips on the Clear Forcing Bag

It is important that you raise the bag up to the level of the participant’s eyes, if not a bit higher. This forces the participant to reach in and randomly pull an item out without giving her a chance to look in-side the bag to try to deliberately choose one.

It’s also a good idea to ask the participant to turn their head away. The performer can also do the same thing, if the routine calls for performer to allegedly have no knowledge of what is being selected until the selection is revealed.

I’ve seen many discussions on whether brand-name printing should be used on the bags. In the states, Zip-Loc is a popular name. Some performers would like totally clear plastic bags and prefer not to have the logo. I certainly don’t see the reason why one should avoid it. By having that brand name on the bag, it makes the prop look quite ordinary. And, in mentalism, using ordinary props is very important.

Okay, now on to the main topic . . .

Studying the Past Masters

With both mentalism and magic, it is essential that you learn about the history of the craft, the pioneers of the art, and the ideas that they created. All too often I’m asked by magicians who want to get into mentalism about where to begin.

That’s easy. You begin with the masters. You begin with the classics. You begin with finding out the history. Remember the line, “History repeats itself”? It’s kind of like that now. Those

clever creators not familiar with the history of mentalism (and magic) principles will inevitably re-create the classics.

Most of my readers know that I’m appalled at the number of performers coming up with all these “new” effects that they are proud of when, in truth, they aren’t. They boast on the internet about how they

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“All too often I’m asked

by magicians who want

to get into mentalism

about where to begin.”

(17)

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veloped the idea and about how others, even some pros, really like it. But the main principles were not developed by these folks. And the routines are often slight and obvious variations of classic ideas or routines.

But just because these performers came up with it themselves, they selfishly want to take ownership. They don’t want to take the time to do research and/or credit their inspirations. When confronted by accusations of possible thievery, they claim ignorance. Ignorance of the law has never been excusable, so trying to use that is sheer, simple stupidity. I could certainly cite specific examples and creators, but I’d rather not do that here. Search the internet forums or look at past newsletters I’ve written. Trust me, you’ll find examples.

So, why do these “creators” do that, then? Lazyness? Perhaps. Malice? Doubtful. Pride? That’s my guess. They rush a product out to market because they want credit. They want the world to see their creation. They want their peers to say how clever they are. And continuing with the tie-in of old ad-ages, here’s another: “Pride goeth before the fall.”

Granted, there are a lot of exceptions. Just about every great performer has come up with a routine that’s been done before. Even after research is done, the creators may not have discovered the origins

until someone informs them. This is rarely done deliberately by these performers, but it happens. I know that it’s happened to me. Most are humble enough to apologize or give credit and take appropriate action. It’s because they respect the ideas of those that went before and were pioneers in the art.

Which brings us back to studying the masters. Magic and men-talism have been around a very long time. Many top pros, in-cluding Max Maven, have pointed out just how difficult it is to create something new. Just because you thought of it doesn’t mean someone just as clever as you didn’t think of it years be-fore. Obviously, you can’t know everything. But the more knowledge you have, though, means that you’ll be more aware of the art and its origins. And that’s ob-vious, of course.

The past and present masters have a wealth of ideas and experience we absolutely need to know. Anne-mann, of course, is the tops in mentalism. But there’s also Robert Nelson, Joseph Dunninger, Al Baker, Al Mann, Al Koran, David Hoy, and Kreskin. Present masters include Bob Cassidy, Barrie Richardson, Richard Osterlind, Docc Hilford, Larry Becker, Lee Earle, John Riggs, Jack Kent Tillar, and Alain Nu (among many others, of course).

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“Many top pros,

includ-ing Max Maven, have

pointed out just how

dif-ficult it is to create

something new.”

(18)

When studying these classics, you’ll learn great material that’s been overlooked by time. For example, if you know me, then you probably know that I enjoy good card tricks, usually the simple and clever ones. One of my favorite books is John Scarne’s Scarne on Card Tricks, which was released in the early 1950s. I’m always amused when I recommend that book to a magician or mentalist and they scoff because they think it’s old, is for beginners and amateurs, or is out-of date. So I proceed to do an effect from that book (I have quite a few favorites). After this person has been “taken,” they admit to getting my point.

The point is that just because the stuff is old doesn’t mean it’s not useable today. There’s some great stuff in older mentalism and magic magazines. These works are what is desperately needed to be sought out and studied by mentalists. Much of Annemann’s work is still potent today, even though some of it needs some sleight contemporizing. In fact, Stuart Cumberland still does Annemann’s Com-plete One Man Mental Act, earns thousands doing it, and has sold his version of this act to hundreds of mentalists, most of whom probably aren’t doing it.

And that brings me back to this very issue which spotlights Maurice Fogel, a true past master whose work needs to be studied by all. I know I’ll get feedback from folks who already knew about the clear force bag. I know many mentalists use this device, because it’s very popular now. But the material in this issue isn’t designed to introduce you to some new gimmick you’ve never heard of. This issue is for spotlighting how a master, Maruice Fogel, uses the clear force bag. And that is worth far more than buying the latest knockoff version of Jack Kent Tillar’s Blister effect.

(Wow, didn’t realize that I rambled off on so many

tan-gents, but that’s what this column is for.)

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“The point is that just

because the stuff is old

doesn’t mean it’s not

useable today.”

(19)

REMOTE WITH A VIEW

by Richard Mark

Maurice was and continues to be an inspiration to so many performers. Most recently Keith Barry, the young Irish performer concluded his NBC special with a version of Fogel’s Cheating the Gallows! Re-mote with a view was my own version of a clear force bag effect inspired by Fogel. In fact, I demon-strated it to him and he seemed very pleased with it. Many years later in 1996 I lectured to the Psychic Entertainers Association about Fogel and demonstrated this very effect. Here it is:

Reports of remote viewing experiments have been in the press. In fact the CIA had been studying psy-chics with claimed ability to view at a distance.

A clear plastic bag is shown to contain bits of card upon which are written countries, cities, and all sorts of travel locations. The bag is HANDED TO THE RANDOMLY SELECTED SPECTATOR who is told to reach in with eyes closed and to remove one of the cards but to keep it well hidden in their hand. The performer takes back the bag and with EMPTY HAND also removes one of the cards. For demon-stration purposes this is shown to be, for example, the Lincoln Memo-rial. The performer demonstrates that the spectator should imagine him or herself in that location and try to recall the smells and sounds and truly feel that they are at that spot.

The Spectator looks at his choice of location, thinks about it and the performer can reveal and draw the location or a visual aspect of it. This is obviously different and my capital letters emphasize the differ-ences. The bag can be placed in their hands.

The bag does have two compartments but one is permanently sealed off. It has a mix of locations turned every which way so it can be shown from that side. The open side has all the same location with cards turned inward. How then do you remove the example? The answer is a thumb tip with the Lincoln Me-morial within. As you enter with the hand and the tip you deposit the tip in the hand holding the bag. Just hold on to the piece of card and enter and withdraw holding what appears to be a random selection. You could, in fact, simply remove any of the force papers and miscall it as another but I do like to show it if possible. It is an added and subtle convincer.

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PLEASE VISIT:

www.mauricefogel.com

for more information about

the life and secrets of the Amazing Fogel!

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