Art Artifice

Magic does not exist in a vacuum. The inventions of the illusion designers and the manner in which their creations are presented reflect the sensibilities of the era. To truly understand the work of people such as Devant, Selbit, Morritt, and Maskelyne, their illusions must be placed in historical context. In doing so we learn what worked in the past and why it worked, and more importantly, we gain insight into what will work today.

Jim Steinmeyer is a true student of magic. He is interested in the technical and the historical aspects of illusions. His new book Art & Artifice contains five fascinating essays which examine some remarkable illusions, and the remarkable men who created them.

The title Art and Artifice suggests that the essays will be studies in contrast, the contrast between the esthetic effect, and the craft which helps produce that effect. The first essay recounts the tragic life of Steele MacKaye, a theatrical producer and entrepreneur, who believed he had his finger on the pulse of the Nation, when unfortunately he had his finger somewhere else. MacKaye (whose name rhymes with "sky") began his career as an actor, having trained with the Parisian instructor Francois Delsarte. The Delsarte system prescribed a set series of gestures to express emotions, and MacKaye's life could be described as a series of grand gestures. MacKaye loved spectacle, and his productions boasted remarkable theatrical effects. It was his belief that bigger was better which led to his downfall. MacKaye convinced the planners of the 1893 World's Fair to allow him to build an enormous theater, dubbed the Spectatorium, in which MacKaye would stage a musical production recreating Columbus' discovery of America. As Mr. Steinmeyer writes, "The Spectatorium would accommodate an audience of 12,000, with a proscenium fully 70 feet tall and 150 feet wide." The music was to be provided by an orchestra and three choruses, and the stage was constructed with 25 sliding platforms which could be pulled from sight, revealing an area filled with water on which three-quarter scale versions of the Nina, Pinta, and Santa Maria would sail into view. Unfortunately, the Spectatorium was never completed, and its failure marked the end of MacKaye's career.

Interwoven with the story of MacKaye's downfall is the story of John Nevil Maskelyne and David Devant, and it is the juxtaposition of two different approaches to theatrical illusion which makes this first essay so compelling. MacKaye (and to some extent Maskelyne as well) felt that the artifice alone was sufficient; spectacle would satisfy theatergoers. Devant believed that artifice must serve art. The magical plays he wrote for St. George's Hall "were more restrained, more self conscious." The illusions served the function of the play, the craft involved was invisible, and all that remained was the emotional effect produced. It is a nice ironic touch that the essay concludes with a description of Devant performing The Mystic Kettle: a lone man on an empty stage pouring various drinks from an innocent looking kettle.

In "The Moth and the Spotlight" you will learn how Mr. Steinmeyer (with help from John Gaughan and some very hardworking assistants) recreated David Devant's The Mascot Moth. In this extraordinary illusion a woman vanishes in full view of the audience. The recreated illusion was used in the Broadway show Merlin, starring Doug Henning. The essay "Above and Beneath the Saw" recounts the history of the Sawing Through a Woman illusion. P.T. Selbit's creation was an immediate sensation and began the tradition of victimizing women on stage. The question Steinmeyer asks is: Why was Sawing Through a Woman suddenly the right illusion for the right time?

The final two essays of Art & Artifice are my favorites, and together they comprise a marvelous detective story. "Morritt's Donkey (In Theory and In Practice)" details Mr. Steinmeyer's search to discover the method for Charles Morritt's The Disappearing Donkey. I was struck by how much Mr. Steinmeyer's investigation resembled a Sherlock Holmes mystery, with Alan Wakeling playing the part of Mycroft Holmes and providing a valuable clue into the workings of the illusion. The mystery was eventually solved, and the recreation of Morritt's The Disappearing Donkey was performed at the Conference on Magic History in 1995.

The essays in Art & Artifice reflect both Mr. Steinmeyer's profound scholarship and his immense love for the subject. If you are a historian, an illusionist, or just someone who wants a better understanding of how magic works, you'll want this book in your library. I enjoyed Art & Artifice very much and I highly recommend it. It is my pick of the month.

Stodare The Enigma Variations

By Edwin A. Dawes

Guest Review by Brian McCullagh

Written by Dr. Edwin A. Dawes, the recent recipient of the Magic Circle's prestigious award, the Maskelyne, for contributions to British magic, this is the story of Joseph Stoddart (Colonel Stodare), a young magician of Victorian England who found fleeting fame before a premature death and who will be remembered as the one "who introduced to the wider world one of the most acclaimed and astonishing illusions of all time - The Sphinx."

In the book, Dr. Dawes succinctly explains his motivations: "Stodare probably presents more confusion, problems, and mysteries for the historian of magic than any other performer. His real name, nationality, parentage, place and date of birth, early career, age at death, and his apparent performance of magic after his demise are all mysteries offering a challenge which I found irresistible." The fact that many of those discrepancies and errors were perpetrated by respected magic historians such as Henry Ridgely Evans and Sidney W. Clarke puts this work of Dr. Dawes into its true perspective.

The opening chapter is an enthralling description of the Dickensian London that was the milieu in which Colonel Stodare worked, ensuring the reader approaches the book with feet "firmly on the ground," appreciating the social and economic conditions in which entertainers of the day had to work. Selected line drawings from Gustave Dore's London: A Pilgrimage (1872) vividly illustrate the text, and the images are seared on the mind, providing a backdrop for everything that follows.

The detective work starts with an examination of all the problems associated with the Stodare family name and parentage, including a look at the claim that Stodare was one of John Henry Anderson's illegitimate sons. The Colonel's brother, Alfred (often confused with Joseph), plays a vital role in the story; his career and later bitter dispute with Joseph are minutely studied. A major part of the book, of course, is an examination of Colonel Stodare's short career, from 1860 to 1866, with the six-month season at Egyptian Hall being highlighted.

Just about every reader of this review would be familiar with the frontispiece of Professor Hoffmann's Modern Magic - a drawing of the illusion, "The Sphinx." Dr. Dawes examination of Stodare's introduction for "The Sphinx" vividly brought home the impact the illusion had on the general public at the time. Indeed it would be difficult to even imagine any new magic trick having such an influence. Perhaps the effect could be likened to that when Robert Harbin's "Zig-Zag" was first performed. Certainly a point for discussion. Dr. Dawes points out that the presentation was an integral part of the illusion's success. The head, being that of a sphinx, ensured the illusion was topical and, of course, ideally suited to Egyptian Hall. Also discussed is the role played by the press in building up public expectation. Many contemporary press reports are quoted.

Another aspect of the "Stodare Enigma" is the involvement of Elizabeth, wife of the Colonel, who not only acted as his assistant but attempted to carry on his show after his death. We also meet Artemus Ward who appeared in opposition to Elizabeth and would even have challenged Joseph Stodare if he had been alive. In his now familiar style, Dr. Dawes examines, in depth, Ward's London season.

A chapter is devoted to the four Stodare publications - a bibliographic nightmare, but Dr. Dawes is more than equal to the task. His scientific background is again in evidence as he systematically goes about solving the many problems, pointing out errors in bibliographies and making the necessary corrections. Not only are bibliographic aspects discussed, but also issues such as the actual authorship of some of the books. He concludes that Stodare was probably not the author of A New Handy Book Of Magic and that the book was "an extension of the imaginative advertising that was employed in The Times and other quality journals."

Finally, Stodare's actual magic is examined, together with his style. As we would expect from this author, he concludes with over five pages of bibliography and references, emphasizing again the breadth and depth of his research.

Several appendices include a translation of the 1886 Belgian pamphlet explaining the workings of "The Sphinx" and the "Indian Basket," as well as facsimiles of Colonel Stodare's Hand-Book Of Magic (1862) and A New Handy-Book Of Magic (1865). The latter's preface provides fascinating reading as Stodare's magic is compared to that of "the old school." How about this? "Of pseudo conjurers and 'wizards' there are plenty, who have not in them one spark of the real art. They play with pretty toys; they perform with ingenious machines; they talk very tall talk; yet they have but one good illusion -they imagine the public believes in them... Why, anybody could set up half-a-dozen such 'professors' out of a London toy shop." The Preface continues in that vein for two pages. We think some of magic's present problems are new!

This is a book that, once started, I could not put down. I especially appreciated it from two points of view. Firstly, it is a record of extraordinary research, the likes of which will be difficult for anyone to equal. Secondly, there is so much there for the performing magician if he/she cares to make the effort to see it.

Any fan of Dr. Dawes will not need encouragement from me to purchase this book. My advice to those who wish to be real magicians, and who don't normally purchase "history books," is to purchase this one. The gold is there if you are prepared to mine it. This hardbound book of 278 pages is limited to an edition of 500 copies. I do not think they will be available for long.

The Complete Guide to Restaurant and Walk-around Magic By Kirk Charles

Kirk Charles is a full-time professional in the Seattle area. In 1987 he wrote a text on the business of performing close-up magic in restaurants. In 1989 he produced a companion volume, discussing other walk-around venues, including corporate functions, weddings, and parties. Mr. Charles has consolidated and updated these two works in The Complete Guide to Restaurant and Walk-around Magic. It is a valuable and useful resource.

The book is divided into four parts. The first part, "Preparing," analyzes the material that you'll use in a walk-around venue. Are the routines direct and to the point? Are the props durable, inexpensive, and easy to carry? Do the routines re-set quickly, and are they angle proof? These and other considerations are discussed, and Mr. Charles gives his suggestions. Part two is concerned with promoting restaurant and walk-around magic. Here you'll find tips on choosing the prospective market, photos, business cards, and composing an appropriate brochure.

Part three contains the information that will probably be of most interest to those trying to break into the strolling magic business: How to sell your services. Included is advice on setting your fee, auditioning, composing a contract, marketing, interviews, and booking yourself on the phone. Part four discusses the nuts-and-bolts of working restaurants and other strolling venues. Mr. Charles offers excellent advice on interacting with the wait staff, approaching the table, accepting tips, soliciting outside work, dealing with problem audiences, and learning to be a professional.

The book has four useful appendices. The first contains 25 short scenarios. The test is this: Should one of these situations occur, what would you do? Experienced performers will already have methods for dealing with these situations (and most of the methods will have been learned under fire). The newcomer will benefit from analyzing the hypothetical situation and formulating some sort of plan of action. Appendix Two contains sample contracts for restaurant work, special event work, a generic form contract, a sample booking sheet, and a model release form. Appendix Three contains a sample press release.

In preparation for this book, Mr. Charles sent out a questionnaire to a dozen well-known restaurant and bar workers. Those who responded were Eugene Burger, Doc Eason, Paul Green, Tony Griffith, Richard Webster, Simon Lovell, Jim Sisti, and Al the Only. Their replies to the questionnaire comprise Appendix Four. This is useful information, and the newcomer can discover a variety of approaches to choosing repertoire, seeking work, dealing with the restaurant staff, and handling troublesome spectators. The book concludes with a handy (but not particularly comprehensive) bibliography.

If you feel you're ready to jump into the trenches and perform magic in real-life situations, The Complete Guide to Restaurant and Walk-around Magic will provide you with the information you need to know. The rest is simply perseverance and hard work. Recommended.

Top Secrets By Terri Rogers

Britain's Terri Rogers has created some very clever material, including the excellent book test The Key. Top Secrets contains 15 of Ms. Rogers' routines, a few of which have been previously offered as individual dealer items. If you enjoy offbeat plots and tricks with a topological bent (pun intended), you'll find something of interest here.

The book begins with a routine based on the ancient "Boomerang" optical illusion. Ms. Rogers has adapted the optical illusion to name-plates, and has constructed a presentation based on a conflict over who gets top billing, Laurel or Hardy. The Boromian Link is based on Paul Harris' Immaculate Connection. Three playing cards (which have had the centers removed, leaving only cardboard frames) are linked together in various configurations. The routine concludes with an interesting kicker based on the original Boromian Rings principle.

There are several topological tricks including: Buckled Bunkum, in which a belt buckle turns over while still attached to the belt (there is a wonderful scam at the end of this routine); StarGate, a previously marketed routine in which two cards which are glued back to back pass through one another; The Flexicard, which chronicles the adventures of a small rabbit; Blink, another routine based on the Boromian Rings principle; and The Magic Oblong, in which three plastic rings stacked on a spindle turn into a large oblong plastic frame.

There are also some good mental items, including Chess Mate (with addendum from Max Maven), and Word of Mind, a previously marketed effect which makes use of the principle of the progressive anagram.

Because of the reliance on topological principles, many of these routines lack what I would call a strong magical "punch" at the end. They tend to be extremely interesting puzzles. If you are a good storyteller, they would certainly provide a memorable interlude between more mysterious material. The routines in Top Secrets remind me of the creations of Robert Neale. If you enjoy his work, you'll certainly have fun with Terri Rogers' Top Secrets.

Psychological Subtleties By Banachek

Banachek is the artist formerly known as Steve Shaw. Steve Shaw is the creator of Pyschokinetic Time and Psychokinetic Touches, two routines which are in the repertoires of mentalists around the world. Steve also developed the method for the Bullet Catch performed by Penn and Teller (one of the most baffling routines I've ever seen). Psychological Subtleties is a reference book of useful information for anyone doing mentalism or mental magic.

Banachek starts off with a discussion of psychological forces and methods for saving yourself if the force fails. He offers methods for using a nailwriter in a psychological test, and then considers the placement of a psychological test within a mentalism show. Banachek then presents ideas for the subtle forcing of letters, numbers, cards, money, drawings, times on watches, and dream images. He also discusses psychological methods for use in metal bending routines, Q&A routines, the Ash Trick, and telephone tests. The book concludes with an essay on the ethical question of how a mentalist explains his abilities.

There is wealth of information here, and my brief review does not do this book justice. If you perform any mentalism at all, you need to read and study Banachek's Psychological Subtleties. Highly recommended.

Martin Gardner's Table Magic

Dover Publications has reprinted five of Martin's early works (Match-ic, 12 Tricks with a Borrowed Deck, After the Dessert, Cut the Cards, and Over the Coffee Cups) in one volume titled Martin Gardner's Table Magic. Of the five books mentioned in parenthesis in the previous sentence, only Cut the Cards appeared in the large Martin Gardner Presents compilation published by Kaufman and Greenberg. Consequently, the majority of this material will be completely unknown to most magicians, and at a price tag of $5.95 this is the bargain of the month.

For this new book, Martin has reorganized the material into four categories: Cards, Matches, Coins and Bills, and Common Objects. He has also added a few notes and a couple of new puzzles. The card routines are typical Gardner - maximum impact from subtle handlings which do not require difficult sleight-of-hand. Be sure to take a look at the Improved Topsy-Turvy Deck, Double Climax Speller, Never-Miss Stop Trick, and Improved Lie Speller. (And if you need more prompting, read Stephen Minch's essay "In Praise of Gifts Forgotten" in Martin Gardner Presents.) The non-card material consists of tricks, stunts, jokes, and puzzles. This is the type of "Table Crap" that Jay Marshall made famous, and is so effective in impromptu situations.

If you've read Martin's column in MAGIC you need no further urging from me; you're probably already a fan of his work. For everybody else, stop by your local bookstore (or magic shop) and pick up a copy of Martin Gardner's Table Magic. I think you'll be glad you did.

Tricks & Twists

By Andre Kole and Jerry MacGregor

Andre Kole has now joined the list of magicians who have produced general public books geared toward youngsters. The tricks included are ones which have been explained in many other beginner's magic books. If you're looking for a present for a young person, Tricks & Twists would certainly fit the bill, but I think that Karl Fulves' books published by Dover give you more bang for the buck. (In fact, Kole and MacGregor credit Fulves as one of their inspirations, so why just go right to the source?)

Hockmann, the Great Exposes Himself! By Milt Larsen

From 1968 to 1988 Milt Larsen wrote about Professor Harry Hockmann in the Magic Castle Friday lunch menus. While such a publication scheme does provide more permanence than writing Hockmann's exploits in the snow in Vermont during the spring thaw, it deprives those of us who have never had lunch at the Castle from every learning about the extraordinarily checkered career of the world's oldest living vaudevillian. Fortunately, the complete Hockmann history has been brought between covers in Hockmann, the Great Exposes Himself!, a book which is sure to find a place in your library, probably between your copy of Uncle John's Ultimate Bathroom Reader and your last two issues of Reader's Digest.

Hockmann rubbed shoulders with the near-great, the not-so-nearly-great, and the not-by-any-stretch-of-the-imagination great. He also rubbed shoulders with a lot of people who tried to have him arrested for doing so. We are lucky that Milt Larsen recorded Hockmann's reminiscences, for how else would we learn of a midwest magician named "The Great Zammo, the Wizard of Oz" who, under pressure from the Frank L. Baum estate was forced to change his name to "The Great Whappo, the Wizard of Oz." Or "The Great Sucko.. .the Human Vacuum Cleaner" who, after accidentally inhaling a truckload of corks was never successfully buried at sea. Or "Deflyto, The Great" who built a costume incorporating tiny metal wings, and who boasted that he could fly from the top of the Empire State Building to Staten Island in less time than it would take the building's elevator to travel from the top to street level. (Unfortunately, Deflyto never got any further than 34th Street, but he did beat the elevator down.)

I'm sorry to say that there is blatant exposure in this book. Mr. Larsen reveals the secrets of some of Hockmann's greatest effects: The Double Lift (implanted magnets and a shim card make for a clean double), The Floating and Vanishing Elephant, the Vanishing Flying Machine Illusion, and The Fakir's Favorite Hindu Rope Trick (the entire stage set is built upside down, the performer and the assisting kid wear magnetic shoes, and the audience is given special "reverse prism" glasses). While many of you may scoff, these are the secrets which made Hockmann what he is today: a really, really old drunk. As Mr. Larsen states on the back cover of this book, "These are the secrets that Hockmann planned to take to his grave. Unfortunately, he hasn't died yet."

What else can I say? This review was exactly as serious as this book is. Hockmann, the Great Exposes Himself! gave me some chuckles. It will probably do the same for you.

Update Department

I reviewed David Groves' Be a Street Magician! in the October, 1998 issue of MAGIC. What I received for review were three plastic comb bound books with average production values. Mr. Grove has now released the information in one very nicely produced 8.5 x 11 softcover book. The book is now a high-class affair, with glossy paper and lot of photographs. As I mentioned in my earlier review, if you ever intend to work the street, Be a Street Magician! is a book you must read. See David's ads in previous issues of MAGIC for more details.

Expert Coin Magic Made Easy, Three Volumes By David Roth

First, let me clear up some confusion caused by the labeling of these videos from A-1 MultiMedia. The boxes are marked Volumes 18, 19, and 20. This is because they are part of the "Made Easy" series. David Roth has released six earlier videos as part of this series, so if you're keeping track, these newly released videos are numbers seven, eight, and nine in the Roth Expert Coin Magic Made Easy series. Each video concerns itself with a single subject: Volume 18 is magic with Coins & Silks; Volume 19 is Dinner Table Coin Magic; and Volume 20 contains Coin Flourishes, Stunts, & Wagers.

Volume 18 contains 14 routines, including a multi-phased Coin & Silk routine (a coin is produced from a silk, vanishes, reappears, penetrates the silk, and then vanishes completely), two versions for Coin Through Finger Ring, Tenkai's Magical Filtration (similar to the classic Expansion of Texture), E. Brian MacCarthy's Coin Vanish, and Coins Through Silk (a routine popularized by Michael Ammar which uses three coins and a sheer silk).

Volume 19 focuses on Dinner Table Coin Magic. Here you will find two methods for Coins Through the Table, the classic Coin & Glass Through Table, the Weeping Coin, a little known trick of T. Nelson Downs' called the Napkin Ring Coin Vanish, and the Free & Unlimited Coinage of Silver (a trick which was the basis for Albert Goshman's masterful Salt and Pepper Shaker routine). Be aware that these tricks are designed to do while seated at the dinner table and consequently use a lot of lapping.

In Volume 20 David Roth demonstrates and explains some of the most useful coin flourishes, including The Coin Roll, the Flip-over Flourish, the Coin Roll-down, the Swivel Pivot, the Elbow Catch (including John Cornelius' great coin vanish), and two versions of the Coin Star. Also explained on this video are some simple bar bets using coins.

As in his previous videos, Mr. Roth does a fine job demonstrating and explaining these routines. And if you listen carefully you'll find some very worthwhile hints and tips scattered throughout the videos. However, I feel that the usefulness of these videos will entirely depend on whether or not you like to read. The material on these tapes does not come from Mr. Roth's repertoire; he researched the topics and discovered, analyzed, and practiced the various routines so he could demonstrate and explain them. If you think about it, this is something you could do if you simply put your mind to it. There is certainly some value in seeing Mr. Roth handle these tricks (and especially watching him perform and explain the flourishes), but if your library is of any decent size you probably have all these tricks in books somewhere. You just have to track them down.

The bottom line? David Roth's Expert Coin Magic Made Easy Volumes 18, 19, and 20 are of most value to non-readers. Others may want to visit their libraries first.

Side Effect By Guy Bavli

Israel's Guy Bavli offers this interesting spoon bending effect: The magician holds up two spoons, one in each hand. The spectator indicates a spoon and the other is discarded (magician's choice). The remaining spoon is held between the thumb and first finger. The spoon begins to soften and bends downward on both sides. The melting process stops and the bent spoon is handed to the spectator who can examine it thoroughly.

Side Effect looks quite good, but I encountered several problems trying to learn it. First, your success in performing this will depend on you hand size. I have very small hands, and I was simply unable to hold the gaffs in such a way that everything was hidden from view of the audience. If your hands are normal sized or larger, you probably won't encounter this problem. Second, Guy's instructions are not particularly clear. Not only did I have trouble understanding how to steal off the gaff, but it seemed to me that when I handed the genuinely bent spoon out for examination, the spoon was bent in the wrong direction. I spent quite some time comparing the illustrations in the directions with the photos in Guy's ad, and I still couldn't figure out what I was doing wrong. Finally, Guy's suggestions for how to get into this trick are vague. You are going to have to go into your briefcase, or into your coat pocket, or (if you're seated) into your lap to allow your right to arrange the gaffs properly. This is not going to look as if you just pick a couple of spoons off a table and go into the trick.

Having said all the above, let me tell you that I worked out a handling which fit my hand size, allowed me to steal off the gaff in a natural way, and have the bend end up in the correct direction. However, that doesn't do you any good. But I think that if you are creative at all and are willing to spend a little time playing with the props, you'll be able to figure out something that works for you. If you don't mind doing this, Side Effect may be worthwhile to you. If not, I'm not sure you'll get $30 of value from this.

Pop Pop Poof! By David Garrard

Here's a very simple and visual kid's show trick from David Garrard. The magician shows a bag of lollipops. He removes a cherry lollipop and wraps it in a purple silk. This is handed to a spectator. The magician then removes a grape lollipop from the bag and wraps the lollipop in a red silk. This is handed to another spectator. A snap of the fingers and the lollipops transpose: the cherry lollipop is under the red silk and the grape lollipop is under the purple silk. The nice part here is that the spectators unwrap the silks to reveal the transposition. Because the lollipops are ungaffed, the spectators can keep them as souvenirs.

This trick is easy to do, and is very effective. You are provided with a bag of lollipops, two silks, and the necessary gaffs. If you're a kid's show magician, Pop Pop Poof! is worth checking out.


Art & Artifice by Jim Steinmeyer. 6 x 9, hardbound with gold stamped cover. 191 page. $35 plus $5 p&h ($10 overseas). From Hahne, 514 South Parish Place, Burbank, CA 91506

Stodare The Enigma Variations by Edwin A. Dawes. Cloth square back binding, 278 pages. $50.00 (postpaid in USA; surface mail paid elsewhere) from Richard Kaufman, 4200 Wisconsin Ave., NW, Suite 106-292, Washington, DC 20016

The Complete Guide to Restaurant and Walk-around Magic by Kirk Charles. 6 x9, hardcover with glossy dustjacket. 240 pages. $30 plus $3 p&h (overseas airmail add $10). From Hermetic Press, Inc., 1500 SW Trenton Street, Seattle, WA 98106-2468

Top Secrets by Terri Rogers. 6 x 9, hardcover. 128 pages. $40 plus $5 p&h. From Firebird Distributing, 1945 P Street, Eureka, CA 95501

Psychological Subtleties by Banachek. 6 x 9, hardcover. 115 pages. $40 plus $1 p&h in US. From Magic Inspirations, 3613 W. Clay Street, Houston, TX 77019

Martin Gardner's Table Magic by Martin Gardner. 6 x 9, softcover. 128 pages. $5.95. ISBN 0-486-40403-X. From Dover Publications, Inc.

Tricks & Twists by Andre Kole and Jerry MacGregor. 5 x 8, softcover. 164 pages. ISBN 1-56507-974-4. From Harvest House Publishers.

Hockmann, the Great Exposes Himself! by Milt Larson. 6 x 9, softcover. 126 pages. $14.50 plus $3 p&h. From Brookledge Corporation, Magic Castles, Inc., 7001 Franklin Avenue, Hollywood, CA 90028

Expert Coin Magic Made Easy by David Roth. Three Volumes. Each video $29.95. All three for $84.95. From A-1 MultiMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742

Side Effect by Guy Bavli. $30 plus $4 p&h. From Guy Bavli, P.O. Box 20641, Tel-Aviv, 61204, Israel

Pop Pop Poof! by David Garrard. $15 plus $4 p&h. From Samuel Patrick Smith, P.O. Box 787, Eustis, FL 32727

Fundamentals of Magick

Fundamentals of Magick

Magick is the art and practice of moving natural energies to effect needed or wanted change. Magick is natural, there is absolutely nothing supernatural about it. What is taught here are various techniques of magick for beginners. Magick is natural and simple and the techniques to develop abilities should be simple and natural as well. What is taught on this site is not only the basics of magick, but the basics of many things.

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