In Frank Capra's classic movie, Clarence the Angel tells George Bailey, "No man is poor who has friends." Well, that makes me one of the richest people in the world. To all my friends who have been such a strong support system through two very interesting (in the Chinese curse sense) years, my sincere thanks and appreciation. And to all of the readers of MAGIC, may you have a save and happy holiday season.
(And, speaking of It's a Wonderful Life, Downtown Theatre Classics will be presenting a musical version of this great Christmas story at the Aronoff Center for the Performing Arts in Cincinnati, Ohio. The show runs from November 26 through December 12, and was written by my sister and brother-in-law, Susan and Phillip Kern. Yours truly spent the month of October orchestrating, synthesizing, and recording over ninety minutes of orchestral and big band accompaniment tracks, so if you can make it to the show, the orchestra you will hear is me. Finishing this project under such a tight deadline was an exhausting process, and for that reason the column this month is probably more disjointed than usual.)
I find myself in an interesting ethical dilemma this month. On the one hand, my commitment to you is to review products honestly and without bias. On the other hand, there are several products this month that are so good that I would just as soon keep all information about them to myself. Ah, well.
I don't recall ever featuring an individual trick as the leadoff item for this column. Roger Monaco's "Killer Red Caps" deserves that honor, because it is one of the cleverest close-up routines I've seen in years. This trick is already in the repertoires of some of the top professionals in the country, and I suspect that the "Killer Red Caps" will be the hot topic of conversation in magic clubs and on the Internet.
So, what's the effect? The magician brings out five small red, plastic caps. These caps resemble the caps you'd find on the top of a spray can of WD-40 oil. The magician also brings out a grape Lifesaver. While the magician's back is turned, a spectator places the grape Lifesaver under any of the five caps and then mixes the caps around on the tabletop. The magician turns around and immediately tells the spectator which cap the Lifesaver is under. This can be repeated. The magician then brings out a cherry Lifesaver, and again turns his back. The spectator places the cherry Lifesaver under one cap and the grape Lifesaver under another, and again mixes the caps. The magician turns around and correctly identifies the position of each Lifesaver. For the finale, the magician brings out a quarter. The magician turns his back and the spectator is instructed to place one of the three objects (grape Lifesaver, cherry Lifesaver, or quarter) under any of the caps and then mix the caps around. He is then to pick up the remaining two objects, one in each hand. The magician turns around, correctly identifies which object is under the cap (and where it is) and correctly identifies the locations of the two objects the spectator holds.
The "Killer Red Caps" is a routine that demands repetition, and with each repetition it becomes more and more baffling. Intelligent spectators (and those that aren't so bright) go nuts over this because they can handle the props and there is nothing to discover. When Bob Kohler demonstrated this for me, I was completely fooled.
Now, I've got good news and bad news. The good news is that absolutely everything can be examined: the caps, the Lifesavers, the quarter - everything. The bad news is that this is not a self-working trick; it is going to take some time and effort to learn to do it correctly every time. The skill that needs to be developed is not one of dexterity, it is more an acquisition of acuity and sensitivity. You're going to have to live with this trick for a while, and you're going to have to try it in a variety of performance conditions to gain the confidence to make it work consistently. I'm delighted that this is the case, because a lot of people are going to buy this trick, play with it, get discouraged, throw it in the magic drawer, and move on to something else. Great. (Be sure to read this paragraph again, because I don't want you to come crying to me when you can't get this thing to work the very first time you try it.)
You are provided with the necessary red caps and an instructional manuscript. Bob Kohler has developed several methods to help you learn how to identify the position of the hidden objects, which should help decrease your learning curve. Also included in the manuscript are several routines, including the one described above (created by Kohler and Seth Kramer) and an excellent cold reading application by Roger Monaco.
The "Killer Red Caps" is a great trick. The props fit in your pocket, allowing you to drive people crazy wherever you are. I highly recommend it, and I'm already sorry that I've told you about it.
Although Barrie Richardson lives in the United States and has been contributing material to magic publications for many years, he is probably better known to British magicians than to those here in the States. This is due to the fact that much of his material appeared in British magazines. (A notable exception was his "One-Man Parade" in the February 1997 issue of Linking Ring.) Two things are sure to increase his notoriety: his new column in Genii magazine, and Theater of the Mind, a large, hardbound collection of his published and previously unpublished material.
If you'd like to skip the rest of this review and run straight to the magic shop, I'll tell you that Theater of the Mind is a terrific book, full of marvelous performance pieces suitable for a variety of performance venues. Some of the plots may be standard, but the methods and the presentations are wonderful. It is rare for me to read a magic book and find any tricks that I want to add to my repertoire. In Theater of the Mind I found dozens. Not only that, but I really wish I had these routines to myself.
The book begins with Barrie's presentation for a trick that (up till now) was relatively unknown: Pat Page's "Production of a Glass of Water." This may be the perfect opening trick for a stand-up show, for it not only starts the show with a surprise, but in the process the audience is given some response training. Following this trick is "One in a Half Million," a prediction effect that uses a very old gimmick in an extremely devious way. Concluding the first chapter is Barrie's handling for the classic "Bill in Lemon" effect. For you problem solvers out there, figure this out: in Barrie's method the bill is both signed and a corner with the serial number is torn off. After the bill is retrieved from the lemon, both the serial number and the signature are verified. Oh, and did I mention that the lemon is in the possession of an audience member before the bill is borrowed?
I could go on and on about the rest of Barrie's routines, but part of the fun of a book like Theater of the Mind is the joy of discovery. However, I will mention that in "The Trick That Fooled Einstein," Barrie has taken an old mathematical puzzle and has turned it into an unfathomable mystery suitable for stand-up and stage performance. (He also offers a close-up version called "Little Jackpot Coins.") Other highlights include "Do You Want to Continue?" (an unexplainable coincidence effect), "A String and Two Borrowed Rings," and a full chapter on the Any Card at Any Number effect.
A book of this quality and usefulness is rare. Theater of the Mind is one of the best books of the year and I highly recommend it. (And now forget that I ever mentioned it.)
Without a doubt, the one development of the 20th Century that will have the greatest impact on the 21st Century is the rise of the Internet. We are now an interconnected global community, and anyone who owns a computer has an equal voice (a situation that is both good and bad). As an informational resource, the Internet is unsurpassed. Type three random words into a search engine and you'll probably find a dozen or more related web pages. (In preparation for my Farewell Lecture Tour last fall, Lisa and I were trying to track down the little rubber hands that I use for the "Unbelievably Useful Comedy Prop." They were plentiful when I came up with the idea in the 1980's, but in 1998 they seemed to be scarce. Lisa found them online, in the warehouse inventory of a wholesale company. As an aside to this, I must mention that you should never type the words "rubber+novelty" into a search engine. If you do, you're going to find lots of things that you don't want to put on the end of pencil. But I digress.)
One aspect of the Internet that arose early in its development is the news group - a place where people with like-minded interests can meet and discuss their favorite subjects. In June of 1997, Jason Alford created The Second Deal (www.theseconddeal.com), a web site devoted to card magic. It began as a free site, but in November of 1998 it became a subscription site. Card men from around the world have joined up, and the discussions generated are vital and vibrant. In March of this year the first TSD convention was held in New Orleans.
Jason Alford has compiled an anthology of card material from members of The Second Deal. The material covers a wide range of effects and skill levels, and the contributors read like Who's Who of contemporary card magic: Paul Cummins, Tom Stone, R. Paul Wilson, Peter Duffie, Ken Simmons, Daryl, Doug Conn, Steve Draun, Earl Nelson, David Solomon, Steve Beam, Gary Freed, Chad Long, Andrew Wimhurst, Don England, Kevin Kelly, Joshua Jay, and Marc DeSouza (who offers an excellent non-card item). This is an impressive list, indeed.
A book of this nature will appeal mostly to the card enthusiast, and such enthusiasts will find a lot of fodder for further experimentation and development. If you're a card guy (or gal) who's looking for new and interesting ideas, Cyber Sessions will certainly fit the bill. Recommended.
Of Legierdermaine and Diverse Juggling Knacks By John Braun
Magic magazine subscribers tend to sink into a comfortable complacency. The magazine arrives, it's familiar, we enjoy its contents, and we stick it up on the shelf with all the others. The fact that a magazine arrives month after month tends to diminish the importance of those who contribute regular columns. Let me give you two important contemporary examples. If Jim Steinmeyer's "Conjuring" columns and Bob Farmer's "Flim Flam" columns were compiled and released as hardbound books they would immediately become two of the most important books on their respective subjects ever published.
John Braun was a president of the International Brotherhood of Magicians, and for many years served as Editor of the Linking Ring magazine. He was a man of grace and warmth. I met him only once, many years ago, and he showed me great kindness and hospitality.
From May 1949 through December 1966, Mr. Braun wrote a column titled "Of Legierdermain and Diverse Juggling Knacks.". Subject matter included the history of magic, the state of present-day magic, and a wide range of other topics. Historical items were reprinted, including material about Robert-Houdin, Harry Kellar, T. Nelson Downs, Dr. James Elliott (he of the 120 times per minute Classic Pass), the Maskelynes, David Devant, and many others. There are detailed programs of famous magicians' acts and shows, excerpts from classic magic texts, and tricks from Kellar, Henry Hatton, and John Northern Hilliard. William L. Broecker has compiled Mr. Braun's columns into an impressive book that bears the same title as the columns. The book is handsome indeed, and the wealth of information included will provide hours of enjoyment for anyone interested in the history of magic. A very useful index is also provided.
Of Legierdermaine and Diverse Juggling Knacks is a valuable reference book and a wonderful tribute to a fine human being. I can't imagine any historian or collector who won't be delighted by it. Highly recommended. (Note that this is a limited edition of 650 copies, so if you're interested don't hesitate.)
I hate to end the millennium on a downer, but I've got some bad news for you. Gaetan Bloom is cleverer than you are. Gaetan Bloom is cleverer than I am. Gaetan Bloom is cleverer than we ever will be. Gaetan Bloom is the cleverest person on the planet, so let's just deal with it and get on with our lives.
The clever Mr. Bloom has not been very visible in the magic world for the past few years, but he has been very busy in the real world, performing at the Crazy Horse Saloon in Paris, and at venues throughout Europe. I had not seen Gaetan since 1990, when we both worked the NYCAN convention in Toronto. This spring he did a lecture tour of the United States, giving us all a chance to have our brains bashed in once again.
The three-video series Tales From The Planet Of Bloom showcases many of the effects Gaetan featured in his lecture. The effects utilize a variety of props - cards, cigarettes, Slinkies, grocery bags, paper plates - but all have one thing in common: they are all going to fool you harder than you have been fooled in a long time. I attended Gaetan's lecture here in Las Vegas, and watched him again when he performed at the Convention at the Capitol. On each occasion he turned a room full of knowledgeable magicians into a bunch of slobbering laymen, myself included. As he performed the final effect of his lecture (a prediction effect called "Quarte," which I'll discuss further in a moment) I thought to myself, "If the payoff of this trick isn't a gag, I'm in real trouble." The payoff wasn't a gag, and I was in trouble.
My favorite effects on these videos were: "Top Chrono," in which your wristwatch travels to the center of a knotted rope; "Bleached," an offbeat card location that has numerous applications; "The News," a card prediction that seems absolutely impossible; "Fifty-Fifty," an effect with a gambling theme; "Immortal," an evocative and memorable card trick; "Lasso," in which the magician lassoes a selected card in a hat (and the rope is ungaffed!!); and the aforementioned "Quarte." Here's the effect of "Quarte." The magician brings out a slate. The lower portion of the slate is covered with a piece of newspaper, concealing a prediction. The slate is placed into a small stand. The Ace through Nine of Spades are removed from a borrowed deck and thoroughly shuffled by a member of the audience. At any time during the shuffling process another spectator shouts, "Stop." The top card of the packet is shown. Suppose it is the Nine of Spades. The magician attaches the Nine to the top edge of the slate with a clothespin. Three more cards are selected in a similar manner. At the end of the selection process four cards are pinned to the top of the slate. Assume they are the Nine, the Three, the Two, and the Six. The magician rips away the newspaper strip revealing the prediction. Written on the slate is 9326. There is no force, no equivoque, no stooges, no pre-show work, and no sleight of hand.
Gaetan has an offbeat performing style, and his pace is quite leisurely. (But remember, he is performing in English, which is not his first language.) You will need to adapt these effects to your own style and your own performing conditions. More important than the effects themselves are the underlying principles, which can be utilized in other ways.
You should own all three of these tapes. If you buy them, do yourself a favor - don't watch the explanations right away. Gaetan groups the performances of all the effects at the front of each tape. Watch them several times. Try to guess how the tricks work. You're probably going to be wrong, and when you finally watch the explanations you're going to be delighted.
I should mention that there seems to be a glitch with the sound on these tapes. The sound level was very low on all three volumes. I hope that this was just a problem with the duplication process and not a flaw in the master tapes. You'll be able to hear the tapes, but you'll have to crank your TV volume to the max.
Tales From The Planet Of Bloom contains material of otherworldly ingeniousness. Once again, here's another product that I wish I could just keep to myself. Highly recommended.
In the world of music, tradition is important. For example, the great classical virtuoso Jorge Bolet studied with a student of Franz Liszt. This connection to the past is vital, because the notes on the page don't give you all the information you need for an authentic interpretation of the music. The only way to gain this insight is to go to the source, albeit through a degree or two of separation.
In the world of magic, especially close-up magic, the great teacher was Dai Vernon. Vernon provided the connection to the past masters that were long gone. Now that Vernon is no longer with us, it is up to his students to provide that connection. The problem, however, is that the study of magic is not as formalized as the study of music, and just because a person spent many years hanging around Vernon, it doesn't necessarily mean that the lessons sunk in. This means that the number of people qualified to pass these traditions along is woefully small.
One person who learned the lessons well is Johnny Thompson. Johnny is best known for his brilliant creation "The Great Tompsoni and Company." With his wife Pam, John has developed one of the truly classic acts in magic - combining comedy with absolutely flawless technique. But Johnny is also an expert in the fields of close-up and stand-up magic, and he brings to his performances the wisdom of his mentors Dai Vernon, Charlie Miller, and Harry Riser.
On the four-volume video set Commercial Classics of Magic, Johnny Thompson performs and explains much of the classic repertoire of close-up and stand-up magic. This is the magic from The Stars of Magic, The Dai Vernon Book of Magic, Malini and His Magic, and the Card Magic of LePaul. This is the magic of Vernon, Malini, Al Baker, Silent Mora, Nate Leipzig, and Emil Jarrow. You may say, "But I already own these books and I know this material." But what is important here is Johnny's historical connection to the material. For example, Johnny learned "Chink-a-Chink" from Charlie Miller, who had learned it from Max Malini. This is the same relationship as the Bolet example I mentioned above.
All four videos are worth your serious consideration. By far, the highlight of the series is Johnny's performance of the Cups and Balls on Volume Four. Johnny's routine is in four phases, and each of the first three phases is done as a different performer (Max Malini, Pop Krieger, Dai Vernon) complete with a dead-on vocal impression. The final phase of the routine contains one of the great moments ever captured on a magic video. One of the assisting spectators (a fellow named David who has been absolutely baffled by everything Johnny has done up to this point) thinks that he has Thompson over a barrel. The revelation of a final load in a cup that David is convinced is empty is so wonderful that you want to stand up and cheer. And Johnny plays the moment beautifully.
Johnny Thompson is one of magic's living treasures. Although he wasn't listed among the "100 Who Shaped the Art" list, his career achievements and his dedication to (and respect for) the Art of Magic definitely place him among that group.
I highly recommend The Commercial Classics of Magic videos. They are important for several reasons. First, they provide information that does not exist anywhere else. Second, they remind us that in our constant search for something new and different, we can lose track of the fact that the classics are just as effective now as they were 50 years ago. And third, they remind us of the importance of those who carry the history, for when they are gone a vital part of magic disappears as well.
Martin Nash: Master Card Magician 1-6 By Martin Nash
This six volume video series was originally part of the Videonics library. The tapes have been digitally remastered and released by L&L Publishing. Each video features an entire card act by Mr. Nash. The technical demands range from routines requiring little digital dexterity to some that are extremely demanding.
I don't consider Mr. Nash to be an innovative creator of new plots or techniques. To me his gift lies in the creation of effective routines. He has the ability to assemble the component parts of an act so they build to a very powerful climax. Because each of the acts on the six videos runs about 20 minutes in length, they will be too long for those who perform in standard close-up venues. However, even if you don't use one of Mr. Nash's acts in its entirety, there is much to be learned in studying how he puts the acts together.
The easiest of the six acts is titled "The Fun Routine" and it can found on Volume 1. This is the video I would suggest for those with only average card handling ability. If you are more skilled with a deck of cards I would suggest either Volume Four or Volume Six. Volume Four contains routines that involve a variety of false deals (seconds, thirds, bottoms, centers, Greek deals), and Volume Six contains "The Castle Act." Mr. Nash kept the exact workings of this act a tight secret until the original release of this video. The routine builds to a remarkable climax in which the spectator pairs up every single card in the deck. The deck switch used in this routine is clever and has many other applications.
If you enjoy card magic, you'll find much of value in the Martin Nash: Master Card Magician series.
You Asked For It - Magic Related Segments From William H. McIlhany
You Asked For It was a pretty goofy show. Viewers would send in requests for certain things, and the producers would try to oblige those requests. Very often, these requests were magic related. Bill McIlhany has collated the magic related segments from You Asked For It and has released these segments on four videotapes.
The first volume contains a complete You Asked For It program, allowing the viewer to get a feel for the show. The main act on this full program is Dina Figone who is sealed in a sarcophagus of ice for the duration of the show. Ms. Figone seems a little out of it, and I'm not convinced that she knew what she was getting into. ("An ice casket! I thought you said, 'A nice casket!'")
The remainder of the first volume and the other three tapes contain the magic segments, with an emphasis on escapes, blindfold vision, and gambling exposes. You'll see Dante, Senor Frakson (with more smoke than I've ever seen come from a cigarette), Kuda Bux (who is on several times), Lee Grabel, Senor Maldo, Harlan Tarbell, George McAthy, Harry Blackstone, Sr., and Arthur Buckley. Contact Mr. McIlhany ([email protected]) for information on specific tape contents.
All the shows have been digitally remastered, and they look very good. If you have an interest in magic on television, I'll think you'll find these tapes to be a valuable addition to your library.
One thing you can say about Curtis Kam: he doesn't lack self-confidence. Anybody who titles his videotape Palms of Steel is prepared to be the butt of some easy jokes. (I will not make any jokes, however I will mention that, coincidentally, Palms of Steel was also the title of Cox Dixon's [see "Marketplace," October 1999] first video, back in the days when he was working under the name of Dirk Driveshaft. But I digress.) Curtis is a professional magician in Honolulu, Hawaii, and in Palms of Steel he offers three challenging coin routines suitable for restaurant or strolling venues.
"New York Spellbound" is a variation of Scotty York's "Triple Change Spellbound." An African coin (with a hole in the center) transforms into an English penny, and then turns into a half-dollar. "The Silver Circle" is an extended routine in which three silver dollars appear, multiply, travel from hand to hand, vanish, reappear, and eventually transform into the magician's finger ring. "Chinese Silk and Silver" features the production of coins from a silk handkerchief, combined with the Coins Through Silk effect, ending with the production of a giant coin.
In addition to the above routines, Curtis discusses two interesting techniques with magician Kainoa Harbottle. The first technique, the Harbottle Rolling Discrepancy, is a method for performing the Steeplechase flourish while holding out several coins. The other technique, Falling to the Fingertips, is method for holding out coins while performing John Cornelius' "The Coin that Falls Up." Both these techniques will be of interest to the serious coin magician.
Only one camera was used on this video, which was unfortunate, because there were a few instances when an alternate camera angle would have been useful. However, you will be able to learn from Curtis' explanations.
There is certainly nothing wrong with the material in Palms of Steel. The routines are commercial if you are willing to pay the price in practice time. As I mentioned above, these are challenging routines, and will be of most interest to the upper-intermediate and advanced coin handler. If you have the chops to perform these routines, you probably already have your own handlings for these effects, but you may find ideas that you can incorporate into your own routines. If you like to practice, and you like coin magic, Palms of Steel may be just what you're looking for.
The magic hobbyist drives the magic marketplace. Professional magicians (whether they are close-up, stand-up, or stage performers) simply do not demand enough new tricks to sustain the existence of magic shops and magic creators. Most importantly, the requirements of the professional are different from those of the hobbyist, and most of the products offered for sale simply do not meet those demands. One demand of the professional close-up performer is that the objects used be examinable (or least can be switched out for examinable duplicates). For the hobbyist, a prime purchase factor is whether or not the trick is easy to do. "Choin," from England's Mark Leveridge will appeal more to the hobbyist than the professional. It is easy to do, but there are serious examinability issues.
The magician removes a small, blue poker chip from a ring box. He also removes a quarter from his pants pocket. Both objects are placed in his left hand. The quarter is removed and placed back in the pocket. It returns to join the poker chip in the left hand. The left hand is closed and the poker chip is removed. The quarter vanishes from the left hand and returns to the previously empty ring box.
There's nothing wrong with a routine of this type, although there is nothing particularly exciting about it either. My problem with "Choin" is that nothing can be examined. The poker chip (which is an unusual looking object) cannot be examined at any stage of the routine. You start dirty, you're dirty all the way through the routine, and you end dirty. I think that those who work for real people will find this to be an unacceptable situation. The hobbyist, however, will probably appreciate the fact that "Choin" is virtually self-working.
This little utility device by Dennis Marks is a terrific addition to the card man's arsenal of sneaky things. Mr. Marks has created a way to use a card cheater's device in a very natural and unsuspicious way. "The Invisible Eye" allows you to learn the identity of a freely selected card. No skill is required, but you will have to practice to do it smoothly. "The Invisible Eye" is a nifty gimmick, and I recommend it.
Things really got screwed up in the first paragraph of the November review column. The paragraph should have read ".. .thirty-two measure transcription..." and ".. .thirty-second note septuplet..."; but since the joke really wasn't that funny anyway, the hell with it.
A more serious error was my incorrect typing of the price of Dean Dill's "Believe It Or Knot." The trick sells for $25, and is worth every penny.
It's Not Magic, But.
At the beginning of this column I mentioned the music project that absorbed my complete attention for 33 straight days. During the course of finishing this project I had to learn to use three new software programs and four new pieces of hardware. The only reason I was able to hurdle the learning curves involved is that I can read and understand technical manuals.
I promise that this is the last time I'll mention this in 1999: Learn to read! Instill in others a desire to read! If you don't, you're going to fall far behind the pack.
To get you in the mood, here are some entertaining non-magic books.
The Twilight Zone Companion by Marc Scott Zicree is a guide to one of most intelligent series in the history of television. Everyone has a favorite episode, whether it is Burgess Meredith breaking his glasses just when he had all the time in the world, or learning that To Serve Man is the name of an alien cookbook. The Twilight Zone Companion is informative and a very fun read.
Harry Houdini is a master detective in Daniel Stashower's The Dime Museum Murders. The great escape artist has to solve the murder of a toy tycoon.
If you enjoy mathematical puzzles you'll enjoy The Man Who Counted by Malba Tahan. Mr. Tahan presents important mathematical concepts in an easy to understand way.
Finally, if you know a young person who has yet to catch the reading bug, try giving them a copy of one of the Harry Potter books by J.K. Rowling. Harry Potter (he with the small lightning bolt on his forehead) has been on the covers of most major national magazines, and the three books of the series remain on the New York Times bestseller list. The books are geared toward kids, but my guess is that you'll enjoy them, too.
"Killer Red Caps" by Roger Monaco. $19.95 postpaid in US (outside of US add 20% for p&h.) From Bob Kohler Productions, 2657 Windmill Parkway, Box 313, Henderson, NV 89014. Email: [email protected]. Web site: www.bobkohler.com.
Theater of the Mind by Barrie Richardson. 7 x 10 hardcover with glossy dustjacket. 320 pages. $40 postpaid in US (overseas airmail $16). From Hermetic Press, Inc., 1500 SW Trenton Street, Seattle, WA 98106-2468. Fax: 206-768-1688. Email: [email protected].
Cyber Sessions by Jason Alford. 8.5 x 11, plastic comb bound. 160 pages. $30 postpaid in US and Canada, $35 postpaid overseas. From Jason Alford, 302 Avenue H, Kentwood, LA 70444. Email: [email protected].
Of Legierdermaine and Diverse Juggling Knacks by John Braun. 8.5 x 11 hardcover. 592 pages. $65 plus $5 p&h in US and Canada ($8 p&h overseas). From Salon de Magie, 6600 Smith Road, Loveland, OH 45140
Tales From The Planet Of Bloom Volumes 1-3 by Gaetan Bloom. Each tape $29.95. All three for $84.95 (postage free in US, Canada, and overseas surface). From A-1MagicalMedia, 3337 Sunrise Blvd., #8, Rancho Cordova, CA 95742. Fax: 916-8527785. Web site: www.A1MagicalMedia.com
Commercial Classics of Magic Volumes 1-4 by Johnny Thompson. Each volume $29.95. All four for $110. (Free postage in US and Canada.) From L&L Publishing, P.O. Box 100, Tahoma, CA 96142. Fax: 530-525-7008. Email: [email protected].
Martin Nash: Master Card Magician Volumes 1-6 by Martin Nash. Each video $24.95. $135 for all six. (Free postage in US and Canada.) From L&L Publishing, P.O. Box 100, Tahoma, CA 96142. Fax: 530-525-7008. Email: [email protected].
You Asked For It: Magic Related Segments. [John: you will have to fill in the details here.]
Palms of Steel by Curtis Kam. $29.95 plus $3.20 p&h. From Curtis Kam, 7518 Nakalele Street, Honolulu, HI 96825. Fax: 808-394-5119.
"The Invisible Eye" by Dennis Marks. $40 postpaid. From Dennis Marks, Marksman Productions, 3636 Barham Blvd., Suite S-301, Los Angeles, CA 90068
The Twilight Zone Companion by Marc Scott Zicree. 6 x 9 softcover. 465 pages. $15.95. ISBN 1-879505-09-6. From Silmon James Press.
The Dime Museum Murders by Daniel Stashower. 4 x 7 paperback. 256 pages. $5.99. ISBN 0-380-800056-8. From Avon Books, Inc.
The Man Who Counted by Malba Tahan. 7 x 7 softcover. 244 pages. $14.95 plus $2 p&h. From Wonder Workshops, P.O. Box 153, N. Clarendon, VT 05759. Email: [email protected]. Web site: www.wonderworkshops.com.
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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.