Fred Kaps

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First of all, let me say thank you to some of the people who have taken the trouble to drop me a line regarding anything I may have said in the past in these pages. Note that I have said SOME, not all, and by that I mean those of you have been complimentary. I have no intention of replying directly to anyone but will eventually get round to mentioning most of them here. To be truthful, I don't even write to my dear old mother in Scotland and she is much more interesting than some nut in Crimping by the Sea who wants to know how Kreskin does his miracles.

Come to think of it, I wonder how many mothers actually know how their offspring really make their bread? Mine knows I'm in the magic business, and apart from a very few TV appearances, and one kid show in a public park in Scotland years and years ago, she has absolutely no idea of the mental anguish her youngest of seven has had to go through before drunks, callgirls, pimps, gangsters, and I've even worked a few clubs where they specialize in catering for men who look like girls, and before you get the wrong idea, I must point out, very quickly, that I don't always get those kinds of audiences. Once in a while I actually get the chance to meet real people. Hold on a minute, do you think maybe I'm wrong and the people I have been describing ARE the real people and all the others are the product of a decadent civilization?

Do you want to know why I have brought the subject up? (That's English for the benefit of foreigners) — I'll tell you. Looking back over the years, I think of the many occupations I have followed, including a little more than two years in the Royal Navy, and I suddenly realise that the magic buffs I have met are probably the nicest group of all. Is there a reason for this? Yes, there is. Will you explain? Alright I will.

If you work on a building site, or in a factory, or drive a truck for a living, or are president of a large banking concern, consultant engineer in a peanut butter factory or whatever, the chances are that the majority of the people you are going to meet in your lifetime are going to be involved in the same line as you are. The chances of a counter clerk in a department store meeting the president of a large company socially, are pretty remote. But not if he is a magician, and especially not if he is a good one. Go to any magic convention practically anywhere in the world and you will see them sit down and swap moves together as if they had been friends all their lives. Now, I have a question to ask. Why is it that this rule applies more to close up magicians than stage magicians? This rule is not one hundred percent accurate but it is pretty close to being a fact that closeuppers are more closeup than the others, and despite what many

GThecPage bqjr of them may say or think, they spread their secrets around more openly than the others.

To get back to my original point (I think I had one) I think the reason for the magic men being the nicest group I have had the pleasure of operating with is that they come from all walks of life, and I can think of no other group who can match this. There are stamp collectors who are dustmen who will never ever get the opportunity to see the millionaires collection, but in the magic game, there are very few doors closed to anyone. In the old West the colt was the great equaliser, today, an interest in magic will do exactly the same thing for you on another level.

Everything I've said so far could have been said before (and probably was) but my reason for saying it again was simply to state the fact that I'm glad I'm in the magic business one way or another and I'm very happy to have made your aquaintance.

You have given a very small Scottish boy the opportunity to crawl halfway round the face of this earth (I stole that phrase from Goshman) and meet people and see places that he never dreamed existed. He has opened his eyes wide in wonderment at how some people live. I like you.

Patrick Page

Pssssssss. It's possible that most of you will know that I am associated with a magic shop. Wellllllll, in the course of rooting around in the cellar I cam across some old note-books of the late Lewis Davenport. In one of them were some notes he had made about magical performances he had seen. He had made a list of the effects that were performed by other professional performers of the period, which was in the early nineteen hundreds.

Some of the descriptions are a bit sketchy but I think they might be important to someone, and that being the case, I intend to include a description of one act in each issue for the next fe ^months under the heading of

From the notebooks of Lewis Davenport

George P. Sanderson on Colour Psychology

On first reading I must admit I was not impressed with the effect under the above title by Stanton Carlisle in the second issue of "Pabular". However a few days later I read it through again and realised that its simplicity of plot and apparent absence of any force could make it a strong item of mental magic, subject of course to suitable presentation. The one feature I did not like was that the key cards associating numbers with colours were taken from the pocket only after the audience's selection of numbers was known. To me, and no doubt some others would think like me, this was a weak feature. However my interest was aroused and I set the old brain box to work to see if I could overcome this weakness. The result, having now been audience tested with gratifying success, may induce others who passed it by to try out Stanton Carlisle's excellent effect.

The plot remains the same but the routine is slightly changed as follows. FIVE identical sealed envelopes are introduced and four of these are placed separately on the table. Retaining the fifth envelope in his hand the performer states that this contains four cards each bearing a number 1 to 4 inclusive. Three members of the audience are invited to choose one of the cards by number. This done, the performer without any hesitation slits open the envelope, withdraws the four cards and lays them out face upward on the table. It is now seen that the number on each card is set in a background of different colours — Green, Yellow, Red and Blue. Patter along the theme of Colour Psychology follows and it is pointed out that by the use of the number cards three members of the audience have each chosen a colour without being influenced by personal colour preference (which at least provides a more or less plausible reason for the intervention of the numbers). The one colour not chosen by any one of them will be the performer's.

The four sealed envelopes lying on the table are now turned over to reveal, for the first time, that each has a coloured sticker on what has thus far been its underside and these colours correspond with those on the number cards. Each person takes the envelope bearing the sticker of his/her chosen colour, opens it and reads his consolation message. A fourth person is invited to open the envelope left for the performer and removes the £5 note!

George P. Sanderson on Colour Psychology


Three envelopes are prepared by inserting appropriate consolation messages, sealing the flaps and sticking discs coloured respectively Red, Yellow and Blue like seals across the edge of the flaps. The fourth envelope is similarly treated but this receives the £5 note and bears the Green sticker (this can of course be any colour but I am sticking to the arrangement of colours established by Stanton Carlisle). The fifth envelope has six cards inside it and is sealed down but has no colour sticker. The first four envelopes are placed sticker side down on the table without the colours being disclosed.

The six cards which go into the fifth envelope are double sided and each side of each card has a coloured panel with a number printed in the colour panel (or, if preferred, it can have a circle or square of colour with a number above or below on the white ground). Either way it associates one colour with a particular number. Two of the cards are cut slightly longer than the other four (between 1/16" and 1/8"). The colours (indicated by initial letters) and associated numbers and the order of the cards are given in the following table :-

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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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