Respect

I just finished up the final few cities in the United States portion of the Never-ending Farewell Lecture Tour. Since I will no longer be performing or lecturing for magicians, I thought I would pass along a few suggestions that would make life easier for those who still work the magic club/magic convention circuit. My suggestions are not directed to the performers or lecturers, they are directed to those of you who sit in the audience. There are five simple things that you can do to make the world a better place for those who stand in front of you.

1. Smile. I can state unequivocally that the grimmest audiences I have ever performed for are audiences composed of magicians. I have no idea why this is so. You'd think that a group of people with a shared hobby would look enthusiastic about the prospect of seeing an established performer. But this is not the case. I remember performing close-up at a national convention. As I was waiting to begin I looked up at the audience and was greeted with the most indifferent and apathetic expressions I have ever seen. I was so overwhelmed by this that I had a friend come in and take a picture of the audience, so I would never forget. My message here is simple: A smile does wonders. Please, let the performer know that you're happy he or she is there.

2. Respond as cordially as you possibly can. Nothing is tougher than getting an audience of magicians to laugh and applaud. This situation is so bleak that I address it directly before my lecture begins. I realize that not everything you see is going to be hilarious or completely amazing. Just loosen up a bit. And be aware of applause cues and respond to them.

3. If you are attending a close-up show, stand-up show, or stage performance, put away your notebooks. Taking notes is perfectly acceptable at a lecture, but it is not acceptable during a performance. The routines a performer uses in his act are not being offered for your acquisition. To take notes during the show is not only wrong, it's rude. It is also very distracting to the performer. When you're at a show, you're an audience member, so sit back and enjoy the show.

4. Put the cards and coins away. To sit and fiddle with cards and coins while someone is trying to perform or lecture is simply rude. I assume that you're attending lectures or shows to be educated or entertained. You're not there to practice. Practice at home.

5. If you feel you can't abide by the above four suggestions, you should seriously consider staying home. My point is simple: Treat those who perform or lecture with the same respect and courtesy that you would like to receive if you were the one in front of the group.

Are these simple suggestions? You bet. Would they make the world a better place? Absolutely. On behalf of those who will be standing before you, I thank you for your cooperation. Now back to our regularly scheduled program.

Joshua Jay's Magic Atlas By Joshua Jay

8.5 x 11 hardcover with glossy dustjacket. 161 pages. $35. Available from most magic dealers.

What a wonderful age of information we live in. The last fifteen years has seen a boom in the release of magical secrets. The rise of powerful home computers has made quality desktop publishing a reality, increasing the number of magic books published. The number of magic videos has skyrocketed, and their decline in price has made them affordable. The Internet provides a communications resource, resulting in a worldwide networking of magic enthusiasts. There are very few secrets anymore. Information that was unobtainable at any price when I was a kid is now available in books or on videos. Regardless of where you live or how isolated you are, there is no excuse for mediocre technique. Everything you need to know is out there, you just have to use the information intelligently.

One result of this information boom is the appearance of some very knowledgeable and accomplished young magicians. Standing tall among this group is Joshua Jay, from Canton, Ohio. It would be comfortable to dismiss someone like Josh by saying that he has it a lot easier than young magicians did thirty years ago, but that would be doing Josh a disservice. Josh's hard work, focus, and dedication to the craft would have yielded the same results regardless of when he had been born. Consider his accomplishments: awards from most of the major magic conventions, over 50 tricks published in every major magic periodical, and soon an appearance on a Lance Burton television special. And he isn't even old enough to vote.

Now Josh has released his first hardcover book - Joshua Jay's Magic Atlas. It is an excellent effort, containing over 50 effects for close-up and stand-up, utilizing cards, coins, rope, silks, matches, sand, and a paintbrush. The wide range of plots, methods, and skill requirements should make this an appealing collection to many.

The book begins with a chapter of theoretical essays. One could certainly ask, "What does a seventeen year old know about magic theory?" Well, in Josh's case, quite a bit. While Josh does not break any new ground in these essays, he certainly delineates some valuable information, and in doing so establishes the criteria he uses when creating routines. Most interesting are Josh's comments about structuring the material so it fits a person of his age. This is a big problem for young performers; attitudes and approaches that fit a middle-aged person simply won't work for someone in their teens. One of the delightful aspects of Josh's performing persona is that he has completely addressed the issue of a young person doing magic. Josh shares this experience with his audiences, and his audiences appreciate the honesty.

Chapter Two contains close-up and stand-up routines utilizing a variety of objects. Included are a method for instantly (and visually) stretching a piece of rope, a method for causing your shirt button to grow to three times its size, a pretty coin production using a "Silk Fountain," a visual production of matches, and an offbeat effect in which the Xeroxed image of four coins becomes four real coins.

Josh enjoys card magic, and the next three chapters contain card material. First is a chapter of utility moves, including several false cuts, Josh's technique for the boomerang card, a fancy flourish used to reveal a card, and a very versatile sleight titled, "A Discreet Displacement." This latter item is quite a lovely move, allowing you to control a selection, force a card, add extra cards, or transpose two cards. Best of all, it's easy to do. Also included in this chapter are a visual pen production and a ring and string move.

Chapter Four contains card magic. Here you'll find a version of John Bannon's "Play it Straight," a sandwich effect using the four aces, a very visual production of four queens and a selected card, and my favorite trick of this chapter, "Triple Thought-of Card." Like much of David Hoy's work, this trick relies on nerve rather than digital dexterity.

The following chapter contains card routines that require previous preparation. Included are a version of the "Jennings Revelation" with the added kicker of a visual shrinking of the four kings, a very sneaky version of "Triumph," a routine with a funny card box, a routine using a journal (which won an award from the Linking Ring), and a clever routine using Jay Sankey's "#@!" switch.

Chapter Six contains routines that make use of your wristwatch. Josh offers suggestions on how to use the watch as holdout, as a vanishing device, and as a production device. The final chapter contains seven fully realized performance pieces. All these routines are excellent and should find favor with those who work in the real world. Here you'll find Josh's playing card in TV remote control routine (a highlight of his close-up act), a method for producing sand in a spectator's hand, a very commercial version of the "Six Card Repeat," and two really excellent mental effects (a version of "Pseudo Psychometry" and an offbeat book test).

Joshua Jay's Magic Atlas is a terrific first effort from a talented and hard working young magician. The magic is varied, and Josh's explanations are thoughtful and complete. I'm impressed, and I think you will be too. Recommended.

Pros: Clever close-up and stand-up material using a variety of props, thoughtfully explained. The technical demands span a wide range, so Joshua Jay's Magic Atlas should appeal to wide audience.

Cons: None, except this kid is just too damn good.

Arcardia

By Roger Crosthwaite

6 x 9 hardcover with glossy dustjacket. 198 pages. $35 plus $3.50 p&h. From H&R Magic Books, 3839 Liles Lane, Humble TX, 77396-4088. Fax: 281-540-4443. Email: [email protected]. Web site: www.magicbookshop.com

The world of the card enthusiast is one of crooked streets, filled with fascinating nooks and crannies. For the enthusiast a great part of the joy of the avocation comes from experimenting with new moves, devising new methods for standard plots, and discovering bits of finesse that bring a sleight closer to that elusive (and unobtainable) goal of perfection. Ed Marlo was probably the ultimate card enthusiast. His published works display his obsession for working out moves and methods. I would place Roger Crosthwaite very much in the Marlo School. He enjoys the creative process and is more than willing to pay the price required to master the most difficult of moves. His new book, Arcardia, contains his latest creations. It is a mixed bag, and will appeal only to those who are passionately obsessive about card magic.

Arcardia begins with several essays, including a history of the Think-a-Card trick. Father Crosthwaite discusses several versions of this trick. I am unconvinced that any of these versions improve upon the inspirational source, Vernon's "Out of Sight - Out of Mind." In addition, Crosthwaite's second method uses something called "The Verbal Stop Technique." As far as I can tell, this is just a fancy name for a spectator peek.

Things improve with the next section, a very clever Do-As-I-Do routine that uses a subtle Vernon technique. As part of this routine, Father Crosthwaite explains "The Upjog Switch," a move that looks very good and has numerous other uses. My guess is that this technique will find great favor with cardmen.

Several sleights are covered in detail in Arcardia, including Justin Higham's work on the Dribble Shift, a Twist Pass by Wesley James, glimpse techniques, a method for dealing the third card, a center deal, a bottom deal, and a method for stealing a peeked card into Longitudinal Tenkai Palm position. I understand that this last technique looks very good in Father Crosthwaite's hands, but because of the size of my hands, I find it impossible to grip the palmed card correctly. Most of this material is quite difficult, and will be of little interest to anyone but the serious card worker.

Other effects in Arcardia include a peeked-prediction effect, several gambling demonstrations, and Michael Vincent's handling of Ed Marlo's "Devilish Miracle." Some of this material is quite challenging.

Father Crosthwaite approaches card magic seriously and thoroughly. His explanations are clear and accompanied with extensive footnotes. Unfortunately, the market for this type of book is extremely small, and with the exception of a few effects, I am not convinced that the handlings offered are much of an improvement. Your opinion may differ.

Those of you who enjoyed publications such as the Marlo Magazines may have fun working through the routines in Arcardia. Everyone else should probably save their money.

Pros: Detailed explanations with extensive footnotes. Father Crosthwaite's "Upjog Switch" is a versatile move that has many applications.

Cons: Much of the material in Arcardia is too difficult for any but the most serious card student.

The M.C. Bit Book By Algonquin McDuff

5.5 x 8.5 plastic comb bound. 52 pages. $5 plus $1 p&h. From Jester's Press, P.O. Box 3442, Spartansburg, SC 29304

On April 1, 1980 Jester's Press published its first book - The M.C. Bit Book. This book was the first of the McDuff Trilogy, which has now run to seven volumes. To commemorate this occasion, Jester's Press has reprinted The M.C. Bit Book, a small book full of gags and bits of business.

The function of a Master of Ceremonies, of course, is to maintain audience energy while providing a smooth transition between the acts of a show. A challenging aspect of M.C. work is that the time between the acts may vary; in fact, due to unforeseen circumstances, the M.C. may have to fill more time than was anticipated. For this reason, the M.C. needs material of an extremely modular nature. In this way bits of business can be added or subtracted with ease, seamlessly filling the necessary space.

Most of the bits in The M.C. Bit Book are sight gags. There are gags using funny coat hangers, funny newspapers, funny scissors, funny watches, and funny extension cords. There's a series of gags using the plastic rings that hold a six-pack of beer. The book concludes with a dozen miscellaneous gags.

The majority of the gags in The M.C. Bit Book are "funny prop" gags, much like the gags in the acts of Rip Taylor or Carrot Top. If you enjoy that type of humor, you'll probably enjoy the gags in this book. Unfortunately, this type of humor does absolutely nothing for me, so I won't be using any of the gags in this book. However, the Jester's Press is releasing this book at its original price - $5 - which in today's market is an unbelievable bargain. So, if this style of humor fits you, The M.C. Bit Book is worth checking out.

Mental Magic By Martin Gardner

8 x 5.5 softcover. 95 pages. $4.95. From Sterling Publishing Co. ISBN0-8069-2049-1. Available at most bookstores.

MAGIC columnist Martin Gardner has put together a great little book of mental tricks, mostly based on math. You follow the instructions, record your results and then check the back of the book for the predictions made by the famous Professor Picanumba. Most of the time the professor is absolutely correct. The book is geared toward children, but I think you'll find some interesting ideas to play with. (For example, the very first stunt is a word test based on a principle normally used with playing cards.)

Get Your Act Together! Volumes 1-3 By Joanie Spina

Each video $35. All three for $90. Add $3 shipping for each tape or $5 for the set. From Magic Direction, 6130 Gowan Road, Las Vegas, NV 89108

The world of the average magician revolves around tricks: what's the secret, can I perfect the moves, and where do I get more? However, if you want to work in the real world, the emphasis must shift to the presentation of these tricks. How do you perform the tricks in an entertaining, engaging, and theatrically satisfying way?

On the three videotape set Get Your Act Together! Joanie Spina addresses the issues that are important to anyone who wants improve the theatricality of their magic. Ms. Spina has impressive credentials. For over 11 years she served as choreographer and artistic consultant to David Copperfield and was lead dancer/assistant to Copperfield for eight of those years. With co-star Becky Blaney, she staged and performed in The Women of Magic in Atlantic City. She is also the director of the Carnival of Wonders show featuring Mark Kalin, Jinger, and Jeff Hobson that is currently playing at the Flamingo Hilton in Reno, Nevada.

The first video of the series is titled Who Are You? and, unfortunately, is slightly mis-titled. Of the fifteen topics covered, only three directly relate to identifying your personality strengths and defining your stage persona. The other topics discussed are useful, but the don't directly relate to the subject. One bit of advice Ms. Spina gives is to hire competent directors, choreographers, and consultants, and in this regard mentions people such as Don Wayne, Jim Steinmeyer, and Andre Kole. While I certainly feel that an act will benefit from the hiring of talented people whose expertise lies in fields outside of magic, I can't imagine the average magician being able to afford the three talented men mentioned above. Near the end of this video Ms. Spina offers some excellent suggestions concerning costuming.

The second videotape focuses on staging. Included are suggestions on directing attention, structuring routines, entrances and exits, applause cues, and the use of effective lighting. I found the information on lighting to be slightly lacking. Ms. Spina presents clips from various acts and instructs us to notice how effective their lighting is. Unfortunately, I know nothing about theatrical lighting, and Ms. Spina provided no commentary, consequently I had no idea what it was that I was supposed to be looking for.

The third videotape discusses movement and stage presence. The majority of the information presented is geared toward the use of dance in a magic act. It's important for an illusionist to move elegantly and gracefully on stage, and Ms. Spina's suggestions are useful.

One point that is emphasized on all three videos is that the choreography must support and enhance the magic, and not dominate it. This is excellent advice, but it is far too seldom heeded. These days a five-minute illusion seems to be composed of three minutes of dancing and two minutes of trick. I'm not sure why this trend started (although I'm sure it has something to do with getting your money's worth out of an expensive illusion), but I wish it would end. While Ms. Spina knows her way around magic tricks, her greatest strength lies in movement and dance skills, and much of the information on these tapes comes from a dancer's viewpoint.

Scattered throughout these tapes are clips from the acts of Jason Byrne, Jeff Hobson, Mark Kalin and Jinger, Marco Tempest, Ashley Springer, Rocco, and Tim Kole. Ms. Spina uses these clips to emphasize certain points. Unfortunately, there is quite a bit of repetition of clips throughout the three videos.

Being a dancer, Ms. Spina has a strong relationship with music, and emphasizes the impact that well chosen music can have on an illusion. She makes one statement however, that I must disagree with. She states that great music can save a bad illusion. I don't agree. You can gold plate a cow flop, but that doesn't change what it is. If an illusion is poorly staged and poorly performed, great music won't make it a great illusion. It will always be a bad illusion. This also applies to movies (see Steven Spielberg's Hook as an example).

(By the way, speaking of music, a while back I mentioned a program for the PC called Acid Music. If you've wondered about the music that program produces, listen to the background music that accompanies the video clips. It's pure Acid.)

As talented as Ms. Spina is, extemporaneous speaking is not one of her talents. Often her discourse becomes a bit rambling and repetitious. While not a fatal flaw, the tapes would have sounded a bit more professional had she scripted each tape and used a teleprompter.

I feel that the information on these three videos is extremely valuable, especially for anyone planning on performing illusions. The presentation of the material is not perfect, and there is some repetition among the three tapes, but overall there is definite value for the money. If you are serious about making your magic look polished and professional, Get Your Act Together! should be in your video library.

(As we go to press I've learned the Ms. Spina is including a small manual with her tapes. The manual clarifies and expands on some of the points made in the videos.)

Pros: Get Your Act Together! gives valuable information on how to create effective, theatrically satisfying presentations.

Cons: There is some duplication of video clips, and a scripted narration would have tightened up the presentation.

Five Minutes with a Pocket Handkerchief By Quentin Reynolds

Produced by Trik-a-Tape, distributed by Show-biz Services. $24.95. Available from most magic dealers.

To me, there's nothing more impressive than being able to stand in front of an audience and entertain and baffle them using the simplest of props. If your repertoire contains routines that use ordinary objects, then you're able to perform even if you've left your bag of tricks at home. On Five Minutes with a Pocket Handkerchief, Ireland's Quentin Reynolds performs and explains a delightful routine using an ordinary handkerchief. The routine combines several effects, including stretching the hank, the stand-up hank, two dissolving knots, the flyaway hank, and the animated mouse. There is nothing new as far as the techniques are concerned, but the routine is well structured and is full of gags and bits of business.

Following a performance in front of a group of unbelievably well behaved school children (obviously not from the United States), Quentin thoroughly explains each phase of the routine. This routine comes from a professional's repertoire, and during the explanation I looked for the small details that only develop from years of experience. I wasn't disappointed. Quentin's explanation of how to fold the mouse is very clear, and contains some information that was new to me. (If you want more information on the mouse, check out Martin Gardner's Encyclopedia of Impromptu Magic, where you'll learn that the animated mouse was a favorite trick of Lewis Carroll.)

A routine like this tends to be dismissed by the guys looking for new and fancy moves. That is, until they see someone else kill a room full of people with it. I'm adding this to my repertoire. What more can I say?

Pros: A delightful, impromptu routine that features the animated mouse, one of the great handkerchief folds of all time.

Cons: You may already know many of the effects involved.

Technicolor Prediction By Martin Lewis and Ali Bongo

$40. From Magickraft Studios, 7057 El Viento Way, Buena Park, CA 90602. Fax: 714736-0153. Email: [email protected]

For many years, the original version of this effect was a mainstay in my stand-up show. The effect is by Martin Lewis and the new design is by Ali Bongo. Here's what happens: The magician shows an acrylic board, 13 inches long and 4 inches wide. Two long elastic bands run the length of this board. Under the elastics are three envelopes, one green, one red, and one yellow. The magician explains that in each envelope is a prediction. A man and a woman are invited up on stage. They each choose an envelope, and they can change their minds or even swap envelopes. Let's assume the lady chooses the red envelope and the man chooses the green. The remaining envelope, the yellow, is removed from the board and held by the magician. All three people open their envelopes. From each envelope they remove a slip of paper. The lady (who picked the red envelope) reads her slip out loud. It says, "I predict you will pick the red envelope!" The man (who picked the green envelope) reads his slip. It says, "I predict you will pick the green envelope. Of course, this whole thing looks like a gag until the magician reads his slip. It says, "The lady will pick the red envelope, the man will pick the green envelope, and the yellow envelope will be left with the magician."

Martin's original method used a Himber wallet, which meant that the slips of paper had to be rather small, and consequently the writing on the prediction was very difficult for the audience to read. I came to the conclusion (which I kept to myself) that the solution was to use envelopes attached to a board. This would allow the slips of paper to be larger. Unbeknownst to me, Ali Bongo had come to the same conclusion, and his board design was much better than mine. Magikraft Studios has now released this trick, and I'm delighted they have.

You get the acrylic board, the elastic bands, the envelopes, and the predictions. The construction of the board is clever, and allows you to deliver the correct prediction to whichever envelope remains. I ran into two small problems. The instructions provided are pretty cryptic, so you'll have to play around with the board until you get the idea of what's going on. The other problem I had was reloading the board. Slightly thinner paper would probably eliminate the problem.

"Technicolor Prediction" is a funny trick with a great kicker. It's simple to do and the prop should last you forever. It's going back into my act. Recommended.

Pros: A funny trick with a surprise mystery at the end. The prop is well made and should last a long time.

Cons: Cryptic instructions and a tough reload of the prediction board.

The Compact Disc Manipulation Manual By John T. Sheets

8.5 x 11, plastic comb bound. 20 pages. $25 plus $2 p&h. From John T. Sheets & Co., P.O. Box 1801, Arvada, CO 80001-1801

Here's a routine for those of you interested in stage manipulation. The magician produces a flash of fire. From the flame he produces a red handkerchief. From the handkerchief he produces a compact disc. He produces three more CDs. The CDs vanish one at a time and then reappear. Then all four vanish for good. As an optional finish, two fans of jumbo CDs may be produced.

All the moves of this routine are thoroughly explained and the text is accompanied by 78 illustrations. You'll have to track down all the necessary props and (as with any manipulative routine) practice is required. For those willing to put in the time, this could be an effective addition to their repertoires.

Indian Poker By Doc Wayne

$19.95 plus $2 p&h. From Doc Wayne, P.O. Box 1302, Newport Beach, CA 92659

Doc Wayne offers another of his fully scripted routines. This time around, the routine is a variation of the classic Ten Card Poker Deal. The patter places the routine in the context of a third person story, thereby taking the onus of losing off the assisting spectator. The routine has seven phases, and the final phase involves switching one poker hand for another composed of five jokers. To accomplish this, the deck has to be picked up. Since the deck has not been in play during the preceding six phases, picking it up screams that something funny is about to happen.

Doc provides you with all the necessary props (five jokers plus a large card with a picture of a mule on it), a four page manuscript detailing the routine, and an audiocassette of him performing the patter. My main problem with "Indian Poker" is the patter. It is highly stylized. For example, here's the opening paragraph:

"And now a little game of Indian Poker - five card stud - it's played with ten cards and one stud.. .[point to yourself with thumb],. Jokers are wild and so's the dealer.. .the game was taught to me by an Indian princess name of Minnie Hee Hee from the Running Nose Reservation in Chickenspit, South Carolina.. .Minnie ran a lottery - asked me once if I wanted to take a chance on an Indian blanket.. .had a sign on her teepee - said all the bucks stop here."

If you can envision yourself saying the above words, then "Indian Poker" may be of value to you. Otherwise, save your money. (Native American readers may want to contact Doc directly.)

The Plus Wallet The Mentalist The Poker Card Case By Jerry O'Connell

The Plus Wallet - $135. The Mentalist - $65. The Poker Card Case - $30. From Wizard Craft Magic, P.O. Box 1557, Pleasant Valley, NY 12569. Phone: 1-800-400-1620. Email: [email protected]

Craig Dickson's Wizard Craft Magic is now carrying the full line of Jerry O'Connell wallets. Mr. O'Connell does very fine work and his products are worth your serious consideration. Craig sent along three wallets. "The Plus Wallet" is 7 3/8 inches long and almost 4 inches wide. It will allow you to do three effects: card in sealed envelope, card in wallet, and a no-palm card in wallet. Because of the size of the wallet you'll probably have to construct your own envelopes. A pattern is provided. This wallet is a little big for my taste, but it loads easily. The "slide" used to deliver the card to the inside pocket is cleverly concealed. In addition, side access is also built in, allowing you to load the wallet without palming.

"The Mentalist" is a wallet (about 6 x 3 inches) that holds a small pad of paper. A pencil on a string is attached to the wallet. Three or four spectators are invited to write numbers on the pad of paper. You are immediately able to switch the spectator's numbers for numbers that you prepared earlier. This is a clever idea, and the action of the wallet is quite smooth.

"The Poker Card Case" is just that - a black leather case sized to fit a deck of cards. There is a tongue on the back of the case that allows you to clip the case to your belt. In addition, this tongue acts like a leg on an easel, allowing you to set the case vertically on the table. The case is designed to hold the playing cards only, a deck of cards in its cardboard box will not fit. I tend to think that cards should only be taken out of the box they were sold in, as God intended. However, I can see some situations where "The Poker Card Case" would be useful. For the strolling performer pocket space is always at a premium. Using Mr. McConnell's case would free up a pocket. Also, there are some card routines (for example "Brainwave") where you don't want the spectators to know the actual color of the backs of the deck. Again, the McConnell case would be useful.

Each wallet comes with instructions, and where necessary, some replacement parts. I wish that the instructions had been illustrated. A few drawings would have made things clearer. All in all, though, the Jerry McConnell wallets are well-made products and worth your consideration.

The Houdini Photo Frame The Art of Magic Cloisonne Egg

The Houdini Photo Frame - $49.95 plus $6 p&h. The Art of Magic Cloisonne Egg -$15.99 plus $3 p&h. From Facemakers, Inc., 800 Chicago Ave., Savanna, IL 61704. Fax: 815-273-3944. Email: [email protected]. Web site: www.facemakersincorporated.com.

The Houdini Photo Frame is made of cast resin. It measures in at 6.5 x 10 inches, and weighs in at a whopping two pounds. At the top of the frame is a bas-relief bust of Houdini (although to me the bust resembles Grandpa Munster). There is elaborate decoration around the frame, which comes in three different finishes: Aged Ivory, Antique Gold, or Vintage Mahogany. This frame is far too rococo for me, but everyone's taste is different, and perhaps it would go perfectly with your picture of Elvis on black velvet.

On the other hand, I think The Art of Magic Cloisonne Egg is rather cute. The Cloissone enamel process was brought to China from Constantinople during the 13th century. The process involves soldering thin strips of brass to a hollow copper egg. Each of these strips is shaped by hand to form the designs on the egg. (The designs include stars, streamers, a rabbit, and a magician's top hat.) These designs are filled with powered, colored glass, and then the egg is fired. It takes three applications to fill the partitions. Lastly, the egg is ground and polished smooth.

The Art of Magic Cloisonne Egg is not terribly expensive, and it would make a nice gift.

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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