Uri Geller

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In 1973 David received a call from a friend in New York. He told him of a party attended by a variety of socialites, musicians and scientists, including Dr Lyall Watson, a specialist in anomalous phenomena. Also at the party was a young Israeli who had performed the most remarkable effects. I lis name was Uri Geller.

This was the first time that David had heard of llri. He was intrigued by the mention of unusual effects but had no idea that this young man would soon play an important part in his own life and become world renowned for his demonstrations of metal bending.

The friend had not described Uri 's feats in any detail, just that he was sure David would find them of interest. The opportunity to see them for himself came when he was invited to the David Dimbleby Talk-In, a popular BBC television chat show This particular show had a paranormal theme and was to be Uri Gcller's first appearance on British television.

Also on the show was Professor John Taylor from London's I diversity King's College. Taylor was a Professor of Mathematics and had authored a book that explained the nature of Black Holes in space. The BBC somehow thought this qualified him to appear as a sceptical scientist on a show devoted to psychic phenomena. Another scientist in the form of Dr Lyall Watson also appeared on the show. He had written a best-selling book entitled Supernature, detailing his own not so sceptical views of the paranormal. Not appearing on the show, but watching from the privacy of the control room was David who had been asked along as an observer. Ah Bongo had also been inv ited along but as his face was less well known to the public (Ali being the ultimate back-room boy of magic), he was allowed to sit in the studio.

Lyall Watson introduced Uri Geller, telling the audience not to watch to see how it was done but rather to watch what he does. David was puzzled when Watson said he hadn't met Uri before. His friend had led him to believe otherwise. He imagined there might be a connection between Lyall and Uri but, as he found out later, this wasn't the case. Nevertheless it made him suspicious and put him on his guard.

Uri was charming and his youthful and infectious enthusiasm endeared him to the audience. T hey, like the rest of the nation, were astounded when he managed to duplicate a drawing made by one of the BBC staff, bend a fork and start broken watches, all apparently by the power of thought. It was an incredible demonstration. Professor John Taylor, the sceptical scientist, was clearly baffled and the programme made Uri famous, literally, overnight.

After the show was over Dimbleby came backstage to see David. I le asked him what he thought. "It was very impressive," said David. "Can you do that?" asked Dimbleby. David was given a teaspoon. Me rubbed it, and it slowly bent. It wasn't the answer Dimbleby was expecting. He shrugged off the demonstration, saying, "Ah yes, but you're a magician."

People have been saying that to David ever since he began duplicating so-called psychic phenomena. He acknowledges that just because a magician can duplicate the work of a psychic it doesn't prove that real paranormal forces do not exist. But he asks people to try to understand that, without further evidence, peoples perception of the phenomenon is governed by what they are told. If you are described as a magician then the demonstration is perceived as a trick. If you are described as a psychic, people are apt to believe that it is paranormal. When the BBC, Britain's leading television and radio broadcaster, introduced Uri Geller as a psychic the audience had to believe it.

Uri Geller made the headlines of many of the next day's newspapers and was subsequently invited on numerous other television shows to demonstrate his powers. So too was David. "I never claimed Uri was a fake. I just pointed out that a competent magician could duplicate his effects without resorting to psychic powers and then left the audience to make up their own mind."

David had performed metal bending effects and watch stopping routines before Geller appeared on the scene, notably during the sixties on his tour of Israel. Some Israeli magicians have suggested that a young Uri Geller may have been inspired by his shows but Uri has told David that he was actually in Cyprus at that time.

Creating new metal bending effects that would stand up to scrutiny by some of television's sharpest presenters was a new challenge for David. He had discovered that cutlery could be weakened by secretly bending it back and forth prior to a demonstration of metal bending (an innovative technique at that time) and had managed to introduce two prc-stressed pieces among those offered to him by the television presenter. David mixed the pile of cutlery on the table and asked Dimbleby to choose several items. David secretly ensured that at least one of them was from the prepared group.

David bent one of the items ("psychically" of course) and had the second, pre-stressed piece, placed into a cigar box. I Ie asked the presenter to shake the box "to make sure that it really was there." The fork rattled about inside and David listened to the sound it made. It wasn't quite what he expected. He had planned that the shaking would break the fork. It hadn't. David closed his eyes and proceeded to concentrate his mental energies. Suddenly he remembered he hadn't put the "fluence" on. He waved his hands over the box then asked the presenter to shake it again. He did and David heard the metallic tone that told him the fork had now broken. After a little more concentration the box was opened and the psychically broken fork revealed to the utter astonishment of the presenter and viewers.

One day David was at the Churchill Hotel in London, giving an interview to several journalists. He excused himself briefly so that he could call his wife Ruth but he had hardly been on the phone a few minutes when one of the reporters came running up to him to tell him that I ri Gellcr was staying in this very hotel. Not only that but they'd heard that he was about to come down from his room. Would David be prepared to meet him? Why not? It would be the first time they had met face to face.

When the elevator doors opened out walked Uri with an admiring entourage in tow. The reporters stopped him and introduced David. He extended his hand and Uri clasped it between his and gave him a warm handshake. "It's good to meet you," said Uri apparently unfazed by meeting his chief critic.

That morning Uri had appeared on a children's television show, repeating the effects that had made him famous. It was a good performance although nothing seemed to work for one young teenager. David complimented him on the show and then explained that the young man was his own son, Peter. David had told his son how to conduct himself during the demonstration and that might have explained the singular lack of results. Without pausing, Uri instantly said, "What a good looking young man!" His friendly comment to David told him that here was a man worth watching.

Before he left he took David's hand in his, looked him in the eye and said, "Let me assure you that I don't use laser beams, magnets, tooth radios, belt buckles or chemicals." All of which had been referred to in the press as the possible modus operandi behind Uri's miracles. "I don't use any of these," he assured David. "You will find that I am genuine." And with that he squeezed David's hand and walked briskly away, his starry-eyed followers dragged along in his wake. David looked at the reporters who were anxiously awaiting his reply. "Now you come to mention it," he said. "1 don't use any of those things either!"

The battle between magicians and Uri continued for many years but David was careful to avoid the challenges and name-calling that had been adopted by others. His friend Robert Harbin accompanied him to a number of press conferences. In the beginning Harbin was convinced that something paranormal was going on. His genius for illusion did not extend to mentalism. He even wrote a letter to Abracadabra magazine (Vol 56, No 1453: 1st December 1973) revealing that he thought Geller's demonstrations utterly genuine. He wrote:

What about Uri from Israel then?! His demonstrations make our magic so much nothing. His telepathy (which I have claimed to have been successful with for years) is positive and proved—so what now mentalists?! Now that the real thing has arrived we shall have to do some thinking.

It was only when he witnessed David duplicate the spoon bending under the tough conditions of newspaper press conferences that he became convinced that the effects he had once marvelled at could be accomplished by perfectly normal means. The very next issue of

Abracadabra saw another letter from Harbin:

Further to my last letter (Abra 1453) / am no longer convinced about I'ri Geller. I now know that the gentleman from Israel is a showman like ourselves —but will not admit it. Please discount my previous ravings!

"It is difficult to imagine," says David, "the impact that Uri Geller had on the world. Without any doubt Uri changed my life. The places I went, the things I had to do, both good and bad. It might sound incongruous now but there were serious scientific researchers who thought they were on the threshold of some parapsychological breakthrough. At the other extreme were those obsessed with uncovering sonic kind of trickery."

Britain was possessed by Geller fever. After his performance on the Dimblcby show-many other people, especially young children, claimed that they too could bend metal. T heir claims were often endorsed by parents, teachers and local dignitaries. Sponsored by The Daily Express newspaper, David and Professor John Taylor, still reeling from his encounter with Uri on the Dimblcby show, set off around the country in search of metal benders. It resembled a national dance competition, with playoffs, finals and a big reward for the winner. David himself had offered £5,000 for evidence of the paranormal that could be presented under scientific conditions. Over the years it has increased and now stands at £25,000. It is he emphasises "an ojfemot a challenge. A sincere attempt to discover genuine paranormal phenomena." And it's not the arrogant gamble it might appear because one condition of the offer is that the winner signs David as his management!

It occurred to David that the children he met were in the same age range as those often associated with poltergeist activities and, knowing the history of such inquiries, he was well prepared for the investigation. Professor John Taylor, however, had no experience in these matters and David thought his approach rather naive although this naivety was not reflected in every aspect of his life. David remembers that Taylor was fond of amateur dramatics and because he was a member of Equity, the actors' union, he was entitled to demand television appearance fees that matched union minimum, a fee much higher than that normally paid to other television guests.

But he took the children's claims at face value. If they said they could only bend metal in the privacy of their room and totally unobserved, then that's what Taylor allowed them to do. He would hand them a strip of metal, they would go away and w hen they came back it was bent. David was not impressed.

He felt that Taylor was paying too much attention to observing the metal when he should have been observing the children. David did the reverse, making friends with the child and initially encouraging them in their metal bending efforts. A bond of trust was formed and David was often invited to observe the phenomena firsthand. It was always disappointing. The children were deluding themselves, copying what they had seen on television, or deliberately deceiving others.

In 1978 The Daily Express sponsored a "Bend-Off," a nationwide search for children who claimed an ability to bend metal.

In 1978 The Daily Express sponsored a "Bend-Off," a nationwide search for children who claimed an ability to bend metal.

Theresa May 1970s

Sometimes entire groups of children would he asked to bend metal at the same time but keeping a close eye on them proved problematic. They would rub the metal for a long, long time and invariably the observers grew tired, physically and mentally. At some point they would look away and that's when the metal would bend. To avoid this the children were filmed, sometimes secretly, to reduce the risk of fraud. Many cheats were caught and David never found anyone who could bend metal convincingly under those conditions.

Professor John Taylor, however, was fascinated by the whole affair and wrote about it in a book called Supertninds. At that time he was convinced that metal could be broken by the human mind. David was later asked to review the book for New Scientist magazine. He quoted a story that he felt illustrated Taylor's lack of experience when it came to unravelling puzzles.

He had called at Taylor's Cambridge home ready to set off on another investigation. Taylor had not yet arrived but his wife invited him in and made him a cup of tea. As he was sitting in the kitchen he noticed that a standard lamp seemed to be attached to one of the kitchen chairs by means of a bicycle lock. He asked Mrs Taylor for an explanation of this unusual arrangement. "One of the children did it," she said. The lock, a thick metal cable, linked the two objects and now couldn't be opened. It had been that way for some weeks. "Would you like me to do it by magic?" asked David. "Well, turn around. You have to look away." Mrs Taylor and the children averted their eyes for a minute or two. When they looked back, the chair and lamp were unlinked. They were very surprised.

The puzzle had baffled the Taylor household for weeks but a solution had occurred to Dav id almost immediately. He had simply removed the lampshade and then raised the chair high into the air, unlooping the chain from around the standard lamp. It was disconcerting that his fellow investigator had not been able to do the same.

It was many years before Taylor reconsidered the material presented in his book Supenninds and wrote another book, Science and the Supernatural, in which he said that he no longer believed in metal bending powers because the scientific evidence for them had not been forthcoming. Until that evidence is provided he remains sceptical.

At the time of the spoon-bending furore scepticism was in short supply. David attended a talk given by scientist and psychic investigator Andrija Puharich at Kings College in London. Puharich was Uri's mentor and had played a huge part in bringing him to the attention of the world. At King's College he recounted one of the many amazing events that had taken place in the presence of the Israeli psychic. Puharich had been relaxing in his New York apartment one evening when he heard a terrific crash coming from the porch. When he got there he saw I ri spread-eagled on a table calling for help. The table was broken and its heavy plate glass top was shattered with shards of glass spread all over the floor. There was a hole high in the porch screen and it looked as if Uri had dived through and landed on the table. It wasn't, said Puharich, some kind of bizarre accident but a paranormal event of the most extraordinary nature.

Uri told him that just moments before he had been some thirty miles away walking through the streets of New York. He had just purchased a pair of binoculars when suddenly he felt transported and the last thing he remembered was hurtling through the porch screen of Puharich's apartment and landing on the table. It was clearly a case of teleportation.

Puharich had drawn a diagram on a blackboard as he spoke and marked the position of his apartment relative to New York. David looked around the conference room to gauge the audience's reaction to this extraordinary tale. The journalists made notes as if this sort of thing happened every day. He couldn't believe that no one seemed sceptical or thought that Puharich's story might be a little bizarre. They just wrote it down and would serve it to their readers without further investigation. "1 have never felt such an outsider," says David, "I felt like an alien. I couldn't believe that 1 was hearing this from a scientist and that no one was asking questions. They didn't even express amazement."

In the mid-seventies Uri Geller launched a record album with a lavish party at the Savoy Hotel in London. The album featured Uri's poetry set against a background of "Music to Bend Metal By." Several notable scientists were listed on the album cover as having endorsed Uri's powers. One scientist who didn't give any such endorsement was also at the party that night. He looked slightly odd, as the best mad scientists do, with his untidy hair, bushy eyebrows and cigarette ash scattered liberally across his corduroy jacket. But no one paid him any attention which is exactly what he had intended for the eccentric looking scientist was none other than David Berglas exercising a penchant for disguises. It was, at the time, the only way he could get close to Geller and watch him at work.

It was a tactic he used when visiting the Geller show in Birmingham in February of 1974. Coincidentaliy David had been visiting Birmingham regularly as part of a Chrysler promotion and was well known to the press. The Birmingham .1/^/7 inv ited him to the show with

Lahore Steel Bending Style

From Berglas to Salgreb, the Pakistani metal-bender.

the sole purpose of exposing the Israeli metal bender. David declined. Exposures of this type aren't his style.

He did though agree to a different proposal, which is why he found himself sitting in the Birmingham Town Hall disguised as a Pakistani bus conductor and waiting for I ri Geller to begin his show. There was a large Pakastani population in Birmingham at the time and the masquerade, though unusual, was very effective. Disguised as Salgreb (that's Berglas backwards) David planned to go up on stage when Geller asked for volunteers. And if Geller bent a spoon, Salgreb would give it a slight rub and mysteriously unbend it, creating a sensation. The press would be desperate for an interview with Salgreb, the mysterious bus conductor, who would explain that such things were common in his native land. After the interval Salgreb would disappear and the following day The Birmingham Mail would reveal that the Pakistani psychic-was really magician David Berglas, proving that metal bending is not the exclusive province of the psychic. Caveat Emptor.

When David got to the town hall he was surprised to see that Geller's staging was much like his own. It was like being in the audience at his own show. The performance, however, did not start on time and, after a long wait, David was tempted to step up on stage himself and entertain! The delay got longer and after twenty minutes the theatre manager came on and announced that the performance had been cancelled. Anywhere else on the planet there would have been pandemonium but as this was England people simply shrugged their shoulders and calmly walked out. They included a group of magicians from the British Magical Society who had gone there with the express purpose of catching Geller. As they passed Salgreb they happened to speak of David Bcrglas, who had lectured to them only a few weeks earlier, and how they wished he was here because "he knew all about this metal bending stuff."

A press conference revealed a death threat had been made against Uri Geller. According to Geller, someone had called him on his private line at the Savoy Hotel and told him that if he appeared in Birmingham, the theatre would be bombed. Geller took the threat seriously and cancelled the show. Salgreb the Pakistani psychic never got his fifteen minutes of fame.

Years later, long after the Gellermania had peaked, Uri phoned David. He had watched the Channel Four television series. The Mind of David Berg/as, and gently but sincerely berated him for making light of his talents and denying that he had any psychic powers. When David succeeded the Piddingtons on radio, bookers and agents had advised him to follow their lead and leave open the possibility that he used psychic powers even if he didn't actually say so. Instead he always denied that he was psychic. This did not stop the audience sending in money, which was always returned, in the hope he would give them winning numbers for their football pools!

Maurice Fogel had taken a similar line with David on several occasions and found it impossible to understand why he didn't lead his audience in the direction of some paranormal explanation for his work. He remembers a conversation they had after David's one-man show at the Hendon Classic.

We had a love/hate relationship brought about by the rivalry of two people doing similar things but privately always remained friends. He was sitting in my home and was really upset that / wasn V playing the part of the mentalist in the way that he had. " Well /'/// sorry Maurice. That's the way I present things. That's the way I've always presented my shows." It was strange, thought David, to hear Uri saying much the same thing many years later.

The phone call led to a friendship and that in turn led to Uri's first appearance at a magic convention. It was at the 1988 British Ring convention in Brighton that magicians heard that David was to introduce a special mystery guest on Saturday morning. David was nervous. Firstly he was worried that Uri, who had had a difficult time with magicians, wouldn't show up and secondly that if he did, his reception at the convention might be less than warm. But when David introduced Uri on stage the audience was stunned. Not in their wildest dreams did they imagine that the world's most controversial psychic would pay a visit at their annual conference. Uri talked to them and immediately charmed them. A temporary truce seemed to have materialised out of thin air and by the end of the session the magicians were applauding loudly. After that David took him around the Dealers Hall, where he bought a few items for his children and posed for photographs. It was an occasion no one will forget.

David and Uri have now been friends for many years, occasionally visiting each other's homes, attending parties and functions. At one of David's birthday celebrations he was pleased to have had both Uri Geller and Paul Daniels sitting at his table. Paul makes no bones about his scepticism of Uri but for the duration of the party the debate about the paranormal and the ethics of showmanship was temporarily suspended. A photograph of this unlikely meeting was published in one of David's theatre programmes with the caption, "Proving once again that nothing is impossible."

Despite the socialising David has never seen Uri bend a spoon. Everyone else has. Uri always finds time to perform his miracles but he never does them when David is around. Likewise, when I ri's son Daniel asked David to do some magic, I ri made an excuse to leave the room to prepare some food in the kitchen. To this date they have never watched each other work live.

When John Fisher was producing The Best of Magic television series he asked David if he thought Uri would appear. David acted as intermediary and put the request to I Tri who said yes. The idea was that Uri discard his spoons and perform some magic, specifically a routine with a theme similar to David's Turning The Clock Back. Anything put into a magic cabinet appeared to travel back in time. Popped corn would revert to kernels. Tied handkerchiefs would become untied and so on.

There has been much speculation as to I ri's early career as a magician but in rehearsals he showed little aptitude for conjuring. While his son was able to master the slipknot required for the handkerchief trick Uri himself had great problems with it. David thought that the sequence didn't work very well at all. Uri trying to present magic looked phoney and David regretted that Uri had participated in the programme.

Uri took it all in his stride and readily said "yes" when John Fisher asked him to appear in another television show, 'This is Your Life. The "victim" was David who was surprised by the presenter at The Magic Circle Banquet and whisked away to Thames Television studios in Teddington to meet an assortment of friends who had all played a part in his life. Uri Geller was the final surprise guest and came on to applause from the studio audience. David was very flattered and Uri made a touching speech. "When I first came to this country," he said, "1 thought this guy was out to get me, to unbend me. But as years passed by 1 discovered that he is a true friend, a deep person and I'm here to say how much I respect him, how much I love him. And finally. 1 think he is the greatest man of mystery in the world." There are few higher accolades.

I ri is one of the most positive people David has ever met. He is an eternal optimist and sometimes optimism is the best thing you can have. In May 1995 David suffered a heart attack and underwent a triple heart bypass operation. It was a testing time for him and his family. I ri phoned often.

He was very kind and genuinely caring. He was a/ways saying nice things and sending positive thoughts. People might scoff at this but when you need support it really gives you a boost and I always looked forward to his calls. I've fully recovered and now lead an active life. Til never

Hanna Geller
Ruth and David with Uri and Hanna Geller

forget Uri's kindness.

David has never viewed Uri as a rival nor does he share his views about the paranormal. And while others may continue to worry about the way Uri presents his feats David believes that in the end he has been extremely good for Magic and a tremendous influence on magicians everywhere.

If he is a magician, then he is the best we have ever seen, and the most famous since Houdini. On the other hand if he is a psychic then he is the only man who can do what he does.. Magician or psychic, agree or disagree with him, either way we have to respect him for what he has done. He is truly a phenomenon.

Cunard International

I\ 1975 David was asked to conduct an industrial sales presentation that would promote the facilities of the Cunard International, a new London hotel owned by the Cunard shipping line. David devised a naval setting for his presentation and created a spectacular event that he hoped would make a lasting impression on the delegates and sell one of the hotel's most notable features, the ballroom, the second largest in London.

The potential customers were sitting in two banks of tiered seating, facing a platform that had been made to look like the deck of a ship. It was bordered by a rail made of white shipping rope and Cunard life belts hung from the backcloth. David was appropriately dressed in a smart blazer, adorned with the Cunard badge, white trousers and shoes. The team of girls assisting him were similarly attired, wearing blue skirts and blue blazers of naval design and a Cunard sash.

The highlight of the presentation was the introduction to the Cunard hotel's most spectacular feature, its enormous ballroom. None of the delegates had seen it yet. Now they were going to get the most unexpected and memorable glimpse. David mentioned they were actually seated in a section of the ballroom but, "Unfortunately I'm not able to show you the other part of this room because there is a private function going on." Then he paused, thought again and said, "Well, if you're really quiet perhaps we can just take a peek." He pointed to

the wall, which now David explained, was obviously not a wall at all. It was a huge folding partition. The lights started to dim until the room was in darkness. Then slowly the wall slid open and light poured in together with the sound of talking and music and the clinking of glasses. The audience turned in their seats to see what all the commotion was about.

To their astonishment another huge room, easily as large as the one they were already in, lay beyond the sliding wall. The total size of the ballroom was indeed enormous. And in that part of the room was a banquet in full swing. It appeared to be a business luncheon with people eating and drinking at tables and apparently unaware that they were being watched. Waiters were serving drinks and food and a gypsy trio roamed about the room serenading the guests. The spectacle continued for some minutes until a toastmaster, standing near the top table, banged a gavel and everyone stopped their chatter and looked in his direction. The room fell silent. The toastmaster thanked everyone and then introduced a guest at the top table. He stood up, the audience applauded, and he began to make a speech. As he did so the partitions began to close, hiding the party from view once more and the lights came back on.

It was the most peculiar experience. As if David's audience had eavesdropped onto what seemed like a wonderful party. The kind of party they might host if they hired the prestigious Cunard ballroom. It was a superb piece of salesmanship but it wasn't over yet.

David continued his presentation saying that perhaps now they had some idea of the size of the Cunard International ballroom. He went on to discuss many of the hotel's other conference facilities and David said, "Just in case you were not able to appreciate the full size of the room let me show it to you one more time."

Once again the lights began to dim and the partition opened. Just five minutes ago the room had been filled with people but now the diners and waiters and gypsy band were nowhere to be seen. Neither were the tables nor the toastmaster. The party had literally disappeared and the room had become even larger than it was before. Instead of the banqueting scene, they were looking down what appeared to be The Mall! That's right, London's famous avenue

leading to Buckingham Palace. It was breathtaking. Flagpoles stood on either side of the room forming a pathway to the Palace gates but beyond them, unmistakably, was the Palace itself. It took a second or two for the audience to realise that it wasn't the real thing. It was a huge photographic image projected onto the wall and it was stunning.

The delegates were clearly puzzled, the ballroom was larger than they had ever imagined. Then, faintly, they heard the sound of a single muffled drum, which soon increased to two and grew steadily louder. It was the sound of a marching band and they seemed to be getting closer. Suddenly, from either side of the palace gates, came the Grenadier Guards, in full ceremonial uniforms and marching to a rousing military tune. They paraded down the road

Cunard Line Uniform





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David with a small portion of his cast for Cunard International.

between die flagpoles and towards the audience and then assembled in lines of four, srill marching and playing. Finally they divided into two lines and, breaking through the invisible theatrical wall, marched around the audience who stamped their feet and clapped their hands in time to the music. Then the band marched back up the Mall, through the palace gates and away. The music and the lights faded on the scene and the partition closed leaving the audience stunned and applauding.

The stunt was expensive and required great co-ordination on the part of the extras, many of them friends or Cunard employees, whom David had asked to play the part of the diners. The round tables were laden with food, plates and cutlery that were anchored in place so that they could be moved swiftly and hidden outside the room.

The ballroom could be divided into three sections using two partitions. This gave David the idea of revealing the true size of the room little by little. He conducted his presentation in one third and then had the partition opened to reveal the second room containing the business luncheon. The revelation of the third part of the room and the production of the street s6ene were totally unexpected. The Mall scene was less complicated than the banquet scene and most of it was already set up behind the second partition. The gates were painted wood rather than metal and Buckingham Palace was made up of several photographic slides projected from overhead onto the cream coloured wall. David had hired the Grenadier Guards to make a dashing musical entrance and give the scene an upbeat finale. It remains one of his favourite sales presentations because it embodies magical thinking without recourse to traditional magic-effects or illusions. For Cunard International it was a great talking point, new clients were signed and the hotel facilities were in great demand for many years as was David himself who was recommended for many other ev ents on the basis of this one stunt.

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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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