Two

The New York Magic Symposium is proud to offer its Collection Two to the magical fraternity. This all-new Collection features both Close-Up and Stage material — never-before-published, original, professional routines contributed by the performers of the '83 Symposium, as well as a number of Special Guest Contributors! Once again, Richard Kaufman will display his expertise in writing and illustrating this tome.

The book is oversized, hard bound, professionally typeset, printed on the best of papers and about 150 pages! The price remains at an incredibly low $20!

Please add $2 for shipping and handling ($4 foreign). Allow 4-6 weeks for delivery.

P.S. The Symposium's Close-Up Collection One is still available. The price is $20. Written and illustrated by Richard Kaufman, with contributions by Harris, Ammar, Roth, Daryl, Fantasio, Dingle, Cornelius, Slydini, Mario, Mullica and many more!

Send you order to The New York Magic Symposium, P.O. Box 169, Rockville Centre, New York 11571.

Pabular is published after the second week in every month and is printed in England. Subscriptions may be obtained from the publishers Pabular. P.O.Box 180, London J»E12 8JJ England, or through many magic aeaiers. Subscriptions rates, including surafce mail worldwide: UK: £14.00 (12 issues), £7.00 (6 issues), £1.20 pence (single issue). Abroad: £15.00 (12 issues), £7.50 (6 issues),£1.25 (single issue), USA: $30.00 (1^ issues) $15.00 (6 issues), $2.50 (single issue), Air Mail Extra: USA 85 cents per copy or $10.00 per year. Other rates on request. Editorial or Content Copy should be sent to Stephen Tucker, Editor, P.O.Box 180, London SE1? 3JJ. Advertising rates sent on request.

EDITORIAL February 1984

This month we have some really top name magicians filling these hallowed pages. Names like ... Stephen Tucker, Phil Goldstein, Stephen Tucker, Roy Walton, Stephen Tucker, Roberto Giobbi, Stephen Tucker, etc. etc.

Before the etceteras get too upset, let me just mention that Henrik Specht unleashes the second of his terrific trio from Denmark and John Aukes, one of Holland's leading close-up workers, allows me to detail his 'Four Card Trick' from his lecture notes titled 'It's Magic'.

John is probably better known for his inimitable demonstration of the Ted Biet rising cards, which he continues to sell out of every time he brings it over here. Barrie Richardson makes the Mentalist's day complete with an excellent book test routine.

Finally I, the great Tuckerini, tease your taste buds with yet another of my prize winning card routines. Can't wait? Well neither can I!

Before you all turn the page and leave me here talking to myself, let me review the booklet 'It's Magic' by John Aukes. It is available from him at the following address . . . Goochelaar-Magician, Zuiderkruis 138, 3902 XC Veenendaal, Holland. I would think that the price would be around £3 or £4 including postage.

This is a 20 page, spiral-bound publication and contains 8 routines. Four are off beat card routines, three are coin effects and the final routine is with rope. The work is fully illustrated throughout and although the English is not perfect, the effects more than make up4 for this. I can thoroughly recommend this item.

Get your grubby hands off that page! How dare you, I haven't finished yet. David Britland has recently completed and published a totally new torn and restored card routine 'Tearing A Lady In Two.' Available direct from the master himself at 33A, Steeles Road, Chalk Farm, London NW3. Priced £3.00.

The instruction booklet is extremely well produced and takes the form of a 6 page, fully illustrated work, heat bound in an attractive plastic cover.

Hie original card problem was one of my own and it took Dave an unbelievable 30 seconds to come up with this solution. The routine is both entertaining and completely baffling. I can guarantee that you've never seen anything like it before.

Okay, now you can turn the page.

THE FOUR CARD TRICK John Aukes.

Ed ... I assume, though I'm not certain, that John based this effect on Bob Hummer's 'THOTO' from his book 'COLLECTED SECRETS'.

This effect can be performed with a borrowed deck but you need to be able to spot some small mark on the back of one card. In most decks you will find the odd scratch, blemish etc. that will allow you to do this.

If you are using your own cards, scratch a small mark on the back of any card. The effect is that you introduce four cards, one of which is your marked card and the others are any three cards of a different suit colour.

Let's assume that your marked card is the Ace of Spades and the other three cards are any red cards.

You ask the spectator to think of any one of the three red cards. Hand the Spectator the Ace of Spades and ask him to put it between the two red cards he didn't think of. He now cuts the four card package as much as he likes and upon taking the cards from him, you deal them in a face down row on the table.

Immediately you can push the thought of card forward from the row!

Secret

The four card packet is cut as often as the spectator likes but not shuffled. Once the cards are in a face down row on the table you simply count three cards to the right, including the' marked card. You do this with your eyes so that the spectators don't realise. Push the third card to the right forward and it will always be the thought of card.

Editor

If you ask the spectator to think of any card and then remove any three cards of the same colour containing his card and hand him the Joker as you explain it is a mindreader you can find the card he is thinking of.

The overall effect is that you found the card he was thinking of from all the 52 cards. Once you have spotted the thought of card, you could slowly eliminate the other three instead of simply pushing the card from the row.

There is no need to have the three cards of the same colour. You could use the four Aces and have your marked card as the Ace of Spades. Ask the spectator to think of any Ace but the Ace of Spades as this is your mind reader. Have the spectator put the Ace of Spades between the two Aces he didn't think of etc.

If you take the trouble of marking the backs of the Ace to King of Spades, you could have the spectator think of any card but a Spade. Have him remove all four cards of the satne value as his and place the Spade card between the two cards he didn't think of. If you use a marked deck, you can have the spectator remove four cards of the same value, think of one and you simply point to one of the four face down cards. If it's his card you've got a miracle and if it isn't you ask him to push it between the two cards he isn't thinking of etc. (You can easily spot the card due to its markings).

SHORT CIRCUIT Phil Goldstein

By golly, another printing routine. This one has the virtues of speed and efficiency. You will require a pack of cards, plus four gaffs: two blank-backed Kings of Spades; one blank-facer; one double-blank. At the start of the routine, these four specials aré in order from the top: blank-backer, blank-side-up; blank-backer, blank-side-up; blank-facer, blank-side-up; doubleblank.

1) Begin by forcing the King of Spades from the deck upon a spectator.

2) Introduce the four-card packet. Perform a Flushtration Count to display the cards as being four double-blanks.

3) Explain, "I shall exchange one of these blank cards for your selection." Remove the top card — openly displaying it on both sides — and hand it to the spectator. Take the spectator's King of Spades, and drop it face up on top of the packet. Obtain a break beneath the top two cards.

4) Perform a Double Lift, turning the squared pair from above the break face down. A back shows atop the double card, so all seems correct. This face down double is held with the right hand in a Pinch Grip at the right side. Gesture with the right hand's card(s) as you state, "When your card comes into contact with these three blanks, something interesting happens." In the course of this gesture, perform a K.M.Move. This secretly unloads the lowermost card of the right hand pair (the selection) beneath the left hand stock. The single card in the right hand (the blank-facer) is placed on top of the packet. The order of the cards is now, from the top: face down blank-facer; face down blank-backer; face down blank-backer; face down King of Spades.

5) Turn the entire packet over. Perform a Jorback Count, displaying four identical Kings of Spades, printed backs and fronts. At the conclusion of this count, a minor displacement is necessary. Hold the packet with the right hand from above (Biddle Grip). The left hand milks off the top and bottom cards, and replaces these two cards on top of the right hand stock. This action takes but a moment, and seems to be a casual cut. Only kings show during this. Alternatively, you can accomplish this same result by performing an Elmsley Count to re-display the four kings. In this case, to be consistent with previous actions, the count should be done from a Biddle Grip.

6) State that you will trade cards once again with the spectator. Remove the top card (the normal KS), and give it to the spectator, retrieving from him/her the double-blank. Place the double-blank on top of the packet.

7) Say, "The minute this blank comes into contact with the packet, the king faces disappear ..." Extract the bottom card of the packet — which shows blank — and gesture With it. Replace this card on top of the packet.

8) Qontinue, "In fact, the backs disappear, too." Here, perform a Takagi Turnover Count; turnover the packet; deal the top card to the table. Turn over the packet; deal the top card to the table. Turn over the packet; deal the top card to the table. Turn over the single card remaining, and deal it on top of all. Only blank surfaces will show during this, giving you a convincing finish.

I'D GIVE MY RIGHT HAND Roy Walton

The following routine is a variation on my 'AMBIDEXTROUS' from issue: 12 Vol:7. Roy has modified the handling and overall effect of the original and I believe improved greatly upon it.

Fan the pack for a card to be taken and remembered. Have it pushed back into the fan and as you close up the fan, obtain a little finger break one card below the selection. The selected card is immediately above your left little finger.

Bring your right hand over the pack, thumb at the rear short end and fingers at the far one and pick up the break with the right thumb tip. Drop two cards from the right thumb and retake the break with the thumb at this point. Maintain the break with the left little finger also.

Remove all the cards above the left little finger break with the right hand and use the right hand group of cards to flip the top card of the left hand section face up. State the name of this card and flip it face down again with the right hand section, doing the drop-addition move so that the face two cards from the right hand section are added to the top of the left hand section. Thumb off the top card of the left hand section face down onto the table.

Flip the top card of the left hand section face up with the cards in the right hand and again name it. Fairly flip it face down again and flip it off with the left thumb onto the card already face down on the table. Place the remainder of the pack aside.

Look toward the spectator and point to the two face down cards on the table and ask, "Was either of these cards the one you selected?"

The spectator will answer, "No."

Pick up the two cards taking care to keep them face down and square them up. Bend them in half across their width so that the top face-half of the lower card kisses against the lower face half. If you do this neatly, there is no chance that the face of the lower card will flash and once you squash the fold flat, the face of the lower card is conceiled completely.

Pretend to unfold the two layers of cards but really only unfold one as in the original instructions. Tear the cards across the fold and place the single half on top of the remainder. Elmsley count the four sections into the right hand and then replace them in the left. Using the Elmsley technique again, apparently count off the top two cards into the right hand, really ending with the whole card in the right hand and the torn sections in the left.

Close each hand into a fist and turn them palm down, extending them towards the spectators. Ask a spectator to touch either hand. If he touches the left hand, show the two pieces it contains and say, "Thank you, we will discard these."

Do so by placing them in your pocket. If he touches your right hand say, "Thank you, we will use these two pieces." Show the two sections in your left hanti and put them in your pocket. This is of course the standard conjurer's force technique and you always end by using the contents of the right hand and discarding those of the left.

Say, "Watch closely." Place your right hand palm down on the table, using your right thumb to open the card by pressing between the sections and ending with the right hand pressing the now unfolded face down card onto the table. Slowly remove the right hand to show that the two sections have joined together. This is your first surprise.

Ask the spectator who remembered the selection to name it. When he does so say, "Watch very very closely." Place your second fingertip on the crease of the face down card and move it around in a circle a few times. Slowly turn it face up and show that it has become the selected card.

October 1983 Roy Walton.

THE KANGAROO SPOTS Henrik Specht

Effect

The performer shows five cards: the Ace, two, three, four and a Blank faced card. He explains that he will cause the spots from the four cards to vanish and assemble on the blank card. The blank card is placed on the table face down and as if by magic, the four spot cards become blank. When the blank card is turned over, it is seen to be a ten spot.

The effect is repeated backwards. The ten is placed on the table face down and the four blank cards change back into the Ace, two, three and four. When the assumed ten is examined, it has changed back into the blank card.

You'll need four cards with blank backs ie. the Ace, two, three and four of any suit. You'll also need a normal ten spot of the same suit and a Blank faced card with the same back design as the ten.

Set them from the top down . . . four, Ace, two, three, blank, ten.

Performance

Backcount and show the four, Ace, two, three and a blank card. In fact the last card is a double.

The blank card, double, is placed on the bottom and the packet is turned face down. The top card is dealt to the table, without showing its face. The spectator's think that it is the blank faced card but really it is the ten.

Turn the packet face up again and show the three, two, Ace and four, via the Backcount. Ascanio spread and suddenly the Ace has become blank on both sides. Place the blank double card on the bottom, turn the packet face down and deal the top card to the table. This is assumed to have been the Ace and is now thought to be blank on both sides. Flip the packet face up again and repeat the Backcount to show the four, two and the three. Perform a three card Ascanio spread and the two suddenly becomes blank on both sides. Once again put the blank double to the bottom, flip the packet face down and deal the top card to the table, onto the other blank card.

Turn the packet face up, Backcount and the three and four are seen. Perform a two card Ascanio spread and the three spot vanishes. Put the double to the bottom, flip the packet face down and deal the top card to the table, onto the other two.

Show the last card in your hand to be the four spot with regular back design. Place it face down onto the three blank cards on the table and pick up the packet.

Reverse count three cards from hand to hand but place the last two cards held as one onto them. It should appear that you have simply reversed the order of the four cards. Backcount yet again and this show all four cards to be blank. Place the double to the bottom, flip the packet over and table it.

Point to the assumed blank card, flip it face up and the ten spot is seen! Like small kangaroos, the spots have jumped onto it? ED

Are you kidding! You are now set for the return to normality, hope you bought a return ticket! Put the face up ten spot onto the tabled packet, pick it up and turn the packet over by revolving the wrist. Perform the Glide as you apparently replace the ten face down to the table but in reality you have dealt the Blank faced card instead. Keep the packet that way up and reverse count, holding the last two as one as you did before. Place the double onto the other three and flip the packet over. You are now about to show that the spots have returned. . . . Hold the packet in Biddle-grip in your left hand, with your right fingers remove the lower card but be careful not to allow the back of this card to be seen as it is blank. Deal it face up to the table and show the next three cards on both sides via the Back count all the spots have returned!

Finally flip the ten spot face up to show that it has returned to its blank state.

Editor

Let me draw your attention to the effect '4 BLANK CARDS' from Walt Lee's excellent book, 'THE IMMACULATE CARD MAGIC OF WALT LEE'S.' (Not the most modest of titles I might add.)

Walt's routine is quite similar to Henrik's and I think both are worthy of your attention.

THE JOKER FOLDS UP Roberto Giobbi

This routine is based on an effect which is usually associated with the late Fred Kaps. This handling has one point in its favour . . . only a Joker is destroyed with each performance and can therefore easily be replaced afterwards.

Effect

A signed Joker changes into a freely thought of card. The Joker is found folded up in a small box, which has been in full view all the time.

Requirements

An ordinary deck of cards with at least one Joker. A pen and a small box with a folded card inside. This card is fastened within by a thread and therefore moves freely in the box so that it can be heard rattling within when the box is shaken. If the box is tipped over when the lid is removed, the card within will stay in place due to the thread. The box has a removable lid and is similar to a small ring type box.

Performance and handling

As you are making some introductory remarks, run through the deck and bring the Joker to the top. Place the small box to your right on the table and explain that everyone know that a deck of cards always contains a Joker. The Joker is present just in case another card is damaged or lost. The Joker is the only card that can replace another and therefore can take on the identity of any card in the deck. This fact alone makes the Joker a very special card and you are about to demonstrate just how special it really is.

Ask the spectator to give the Joker in your deck any identity he likes. We'll assume that the spectator names the King of Clubs. Remove your pen and set it on the table. Explain that you will write the name of his card on the face of the Joker and so saying, run through the deck, remove his card and place it on top of the Joker, which is already on top of the deck.

It appears that you have looked for the Joker, found it and placed it on top of the deck. This belief is increased by squaring up the deck and flipping the top two cards over and face up onto the deck. (Double lift.)

The Joker is seen. Pick up the pen and write the name of the 'King of Clubs' over the face of the Joker. Hand the pen to a spectator on your

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■fiftOHl TMuH'iS/oM: CRfiG<ta*tf (JiHibUdon London,5W2o,8QH, left and ask him to sign his name on the face of the Joker. It is still resting face up atop the face down deck and you hold the deck steady for his signature.

Turn the double face down and deal the top card to the table using Martin Nash's Ghost Switch.

Draw attention to the box on the table and point out that the spectator named any one of the 52 cards in the deck and he in fact named the King of Clubs.

Ask if the spectator would consider it to be a good effect if his card happened to be within the box. He will of course say that it would indeed be a good effect. During this question, you pick up the box with your left hand, shake it and something is heard within.

Comment that you want the effect to be even better, you want to show them a miracle. Make a magic pass from the deck to the box and then back again. Pause.

Look at the spectator who named the card, turning the deck face up and point out that he could have named any other card from the 52.

Spread the deck face up between your hands, without exposing the Joker at the bottom of the face up deck. Ask him to turn the Joker face up and point to the tabled face down card as you request this.

Immediately fold the Joker at the bottom of the deck in the manner described on page 305 in Hugard and Braue's 'Expert Card Technique' (ALSO SEE PABULAR VOL:7 PAGE 1102 IN ISSUE 9.)

This results in the Joker being folded into a face down packet a quarter of its original size.

Palm the folded packet in your left hand finger palm as the right hand spreads the deck face up across the table. Comment that there are no other Jokers in the deck. Pause. Look at the box. Pause. Pick it up with the right hand and shake it again, producing the rattling sound heard earlier. Pause, their brains will start to work. Look at them, smile and then nod. As you are holding the box in your right hand from below, ask the spectator on your right to remove the lid. Show the folded face down card within, shaking it as you do so and the card is seen to move.

Apparently dump the folded card from the box and into your left hand but in reality, the card in the box remains in place and the folded Joker in your right hand is seen. Hand it to the spectator on your left and have him unfold it. Climax!

Notes

The lid can be replaced on the box and then pocketed. You can, if you wish, switch the lower section of the box containing the folded card for another empty section on your lap. This leaves you with everything apparently examinable. The card in the box can of course be loose and later lapped after the switch, again leaving you clean.

You can of course replace the initial switch of the Joker for the thought of card with a Top-change or a Curry turnover change etc.

Roberto Giobbi. March 1983.

POCKET DICTIONARY BOOK-TESTS Barrie Richardson

Yet another awe-inspiring title but fear not. . . the routine makes up for it! The routine is a close-up demonstration of mind-reading which can be performed anytime with no preparation.

An un-gimmicked pocket paperback dictionary is needed. Mine is a Webster's pocket dictionary, which can be found in most stationary shops for a small sum. You'll also need a couple of pens or pencils and paper upon which to write.

The Effect

I'll set the scene " Will you please think of any word in the English language. Make it a difficult word but not a proper noun. Will you please look it up in this dictionary. If it is not there, please think of another word. I will turn my back while you do this."

"Have you found your word? Good! The pen on the table writes with a disappearing ink. I'm sure that you've seen this before and as a child you may have evjen used it yourself. After a few seconds or two the ink will vanish from the paper and this will prevent anyone, including myself, from stealing your thoughts.

Will you please write the word you have thought of on this little scrap of paper. Don't let anyone see it. Fold it in half and in half again. Hold the paper like this in your left hand and blow on it. This will accelerate the chemical reaction." The spectator does this.

"Sir, will you help me also. You will thumb through this dictionary, while my back is turned and you will stop somewhere. Take the dictionary and choose a page.

Now look at the very last word at the bottom of the right hand page. Please say it to yourself oyer and over again, in your mind. Now cover the word with your right hand, look up at the ceiling and spell the word to yourself in your mind. Close the book and hand it to me."

"Sir will you please help me. Just stop me anywhere as I thumb through the dictionary. Are you sure you want me to stop here? We can go further it you like. Okay, just look at any word at the top of the page."

. The performers head is turned away during this procedure.

"Let's try an experiment in thought transferance . . . First I would like you, (THIRD PERSON.) to pretend that your left hand is a piece of paper and that your right forefinger is a pencil. Print the word on your hand while my back is turned. Now let's see your hand. I see a letter 'C' and a letter 'A' I can't quite make out the third letter but the fourth is a letter 'T'. Are you thinking of the word 'CART'? You are!! That's fantastic. Thank you very much.

Now you sir, (SECOND PERSON.) please put your hand on top of mine. Now close your eyes. I will move this pen around the sheet of paper and I'd like you to concentrate on the word you're thinking of. What word are you thinking of?

CHEMISTRY? Take a look at the paper, what have we written?

CHEMISTRY!____Thank you.

One last word word to find. We'will do this the hard way. I won't even touch you. Pick up a pen and when I count to three, I'd like you to write your word on this piece of paper. I will write on my paper at the same time."

Needless to say, when the two papers are compared both words are identical !#

Method

There is plenty of room for showmanship as the methods are all so simple. The first person follows your instructions. The bit about the 'Disappearing ink' is just a little ploy that I personally like. The paper that the spectator actually holds and blows on is completely blank as you have previously switched his paper for an identical looking blank paper. (See Pabular for the Dollar Bill divination on how a thumb tip can be used to make a quick and subtle switch.)

The virtue of this approach is that you don't need to perform the centre-tear or even burn the switched billet as you have already told them that the ink will vanish.

The information on the original slip of paper is read when you later turn your back.

The word which the second person selects is in fact glimpsed by you in a very subtle manner. Few people know that the last word on the right hand page is the same as the top word on the right page in the corner.

When the spectator looks up to the ceiling you will have ample opportunity to spot the word and remember it. The spectator is in fact covering the word with his right hand but you sight the upper word.

The third word is a force and is in fact the 'Jim Ryan Card Force' applied to a small dictionary.

You need only remember the top four words on your force page or better still, glimpse the first two words on the page you will force. Place your little finger into the page about to be forced and you're all set. . .

Flip through the pages slowly and when the spectator calls stop, raise the book and open it apparently at the point stopped at but in fact you open it at the force page by simply opening the pages at the little finger break.

Make sure that you time your flipping through the pages so that the spectator stops you in the vicinity of the force page.

Ask the spectator to concentrate on one of the words at the top of the right hand page.

Editor

You must point out that the words you'd like the spectators to think of are in fact the ones in bold print and not part of the actual definitions.

The good news is you've got the fob. The bed news is you're on strike"

The good news is you've got the fob. The bed news is you're on strike"

"If its cords you went, come to my office and TU give you some different ones"

"If its cords you went, come to my office and TU give you some different ones"

DEPARTURE LOUNGE Stephen Tucker

Despite the title of this routine, there is little resemblance to Alex Elmsley's 'Point of Departure'. The ending though, was influenced by his premise.

Start with the black Kings atop your deck and have two cards selected and signed. Having the cards signed saves the spectators any embarassment when they'll later forget which cards they have selected.

Control the selctions so that once they are returned and you apparently loose them in the usual series of cuts, shuffles and minor flourishes, they reside atop the deck in the following order Selection, black King, Selection, black King etc.

Ask a third spectator to merely think of any card in the deck but not one of the black Kings as you will be using them later.

Explain that you'll demonstrate the invisible cut. Make a fast movement with the deck and follow with a double-turnover revealing one of the black Kings. Flip the double face down and deal the top card, actually a selection, face down to the table. Offer to repeat the invisible cut and again perform the above actions this time revealing the second black King and apparently tabling it on top of the other card on the table. In fact you flip the double face down and lift off both cards, placing them on top of the other tabled card.

It should appear that you have merely located the two black Kings, shown them and tabled them atop each other on your table before you. In fact the situation is that on the table you have the two selections with one of the black Kings between them.

NOTE* Slip-cut the top card to the centre prior to the second double turnover. Now for the • spectator merely thinking of a card . . . Ask him to name the card and explain that-you will remove it for him. With the cards facing you, run through the deck, apparently looking for his card but in fact you cull the card tp the top of the deck.

Apologise and explain that the card is missing. Keep hold of the deck in your left hand in a dealing position. Obtain a little finger break beneath the top, thought of, card in readiness for the Mario 'Visual Retention Change.'

Look in the card case and then smile, pick up the assumed black Kings and spread them. Three cards will be seen and you point out that somehow the thought of card has taken refuge between the black Kings.

Up-jog the centre card and switch it for the top card of the deck using the Mario Switch.

This has the appearance of simply pulling the centre card out from between the Kings and allowing it to fall to the table.

Place the deck to one side and use your free left hand to turn the tabled card face up to reveal that it is the very same card thought of!'"

The effect appears to be over so take this opportunity to half pass the lower card of the two in your possession. These are the selections, assumed black Kings, just in case you've forgotten.

Comment that you will repeat the effect with one of the other thought of cards. Make a magic gesture as if invisibly taking a card from the deck and tossing it between the two Kings.

Show that a selection has appeared between the Kings by Victor counting the two cards as three. This shows a face up selection apparently between the two face down cards.

This will achieve more response from the audience so once again make use of the misdirection, square up the two cards and turn them over in your hands.

Ask the other spectator which card he is thinking of. Explain that you will attempt to change the molecular structure of the other spectator's card and make it appear as his card.

Repeat your gesture and repeat the Victor count. Once again a face up card appears between the two face down cards but this time it is the second spectator's card! Finally comment that the Kings have outlived their usefulness so you don't need them any more.

End with the Elmsley 'Between The Palms' vanish of the Kings only to reveal that you are left with the two selections.

Thumb Tip

Patrick Pace's

Thumb Tip

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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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