Sleight-of-hand artist Apollo Robbins
is so stealthy that he once started a
conversation with Jimmy Carter’s Secret
Service agents and had everything out
of their pockets within minutes. They
were completely unaware that he’d
acquired their badges, watches, Carter’s
itinerary, and the keys to his motorcade. Source
“In more than a decade as a full-time entertainer, Robbins has taken (and returned) a lot of stuff, including items from well-known figures in the worlds of entertainment (Jennifer Garner, actress: engagement ring); sports (Charles Barkley, former N.B.A. star: wad of cash); and business (Ace Greenberg, former chairman of Bear Stearns: Patek Philippe watch).
He is probably best known for an encounter with Jimmy Carter’s Secret Service detail in 2001. While Carter was at dinner, Robbins struck up a conversation with several of his Secret Service men. Within a few minutes, he had emptied the agents’ pockets of pretty much everything but their guns.
Gifs via: youtube/NBC
Robbins brandished a copy of Carter’s itinerary, and when an agent snatched it back he said, “You don’t have the authorization to see that!” When the agent felt for his badge, Robbins produced it and handed it back. Then he turned to the head of the detail and handed him his watch, his badge, and the keys to the Carter motorcade.”
If you try to pick pocket Zevran he says “No” and it’s just the funniest thing because he is the only companion that says anything and I can just picture him smacking the Warden’s hand away like they are a child reaching for the cookie jar.
I’ve seen some hc’s of Gavin joining the crew after he’s caught badly pickpocketing Geoff, but what if he wasn’t? What if Gavin was the thief who not only robbed the king of Los Santos and got away scott free, but was cocky enough to do it again and again. The first few times Geoff doesn’t even notice, thinks its bad luck, faulty memory, blames himself for the loss and moves on. So Gavin gets cheeky, takes bigger risks and pinches more and more expensive items, escalating until Geoff notices, then further still until the man is worked up into a rage about it.
When Geoff finally catches him (A moment Geoff swears up and down wasn’t orchestrated by Gavin, but even he has doubts) Gavin is decked out in Geoff’s missing rolex, his pricey cufflinks and obscenely expensive sunglasses, his tailored jacket and his goddamn favourite belt-buckle. He has Geoff’s phone, the keys to one hide-out and half-a-dozen stolen cars, a wallet full of cards and one very valuable custom-made beretta. But Geoff has him now, and he’s going to kill him. Except, well. Geoff wasn’t expecting a kid, and he sure as hell wasn’t expecting said kid to treat his aggressive interrogation like a freaking job interview.
Say what you will about his methods, Gavin’s a bright guy and it didn’t take him long to work out where the real power lay in Los Santos. He had no intention of messing around with low level gangs in the hopes of gaining the right attention, of working his way up to the big leagues. No, he knows his talents, is confident in his ability to talk his way into a job once he gets an audience, and boy does he like to make an entrance.
Stemming from the old Scots word, a “glamour” (always spelt with the British “ou”, as we are referring to the spell not the trait) is a kind of magickal spell or enchantment that a person casts upon an object, a person, or themselves to confuse, bewitch or obscure the senses of other observers. For instance, a pickpocket may use glamours as a means of assisting in the avoidance of detection, and a secret Witch may use a glamour to hide their spell supplies. Glamours are also one of the primary spells that the Fae Folk use to hide their presence, and also to make mischief and cause harm to intrusive or blundering humans who offend them.
Why have I never heard of this before?!
Probably because it’s not very flashy and, by its very nature, it’s centred around concealment. Glamours are very powerful, very useful spells, but they don’t involve love or money or luck or happiness and so they tend to be overlooked by most novice or self-taught Witches. They’re also quite hard to perfect, and so many more experienced Witches give up before they have mastered them.
They are simultaneously very simple spells to perform, but very difficult to perfect, as they require significant effort of Will and a lot of practice but if you achieve a true glamour it can be one of the most powerful spells in any Witch’s arsenal. It’s also worth noting, however, that glamours do not conceal things from machines. Machines like metal detectors, security cameras and proximity detectors don’t have minds, and as such they cannot be fooled by magick that affects the mind and how the brain perceives senses. They also work poorly on animals, especially cats. Do not try to fool a cat with a glamour. Dogs are often confused by glamours, but generally see through them with time, and snakes and lizards are completely immune as far as I can tell (since their minds are not concerned with things that glamours affect).
OK, but how do I cast a glamour?
The first step is, as with all spells, to decide to do it. Decide “I am going to cast a glamour”. Know it in your soul, know that what you will do is magick, it is a glamour, and that it’s purpose is to hide yourself. Glamours on yourself are generally the easiest to start with, because they are the easiest kind with which to tell when something needs improving.
Secondly, you must visualise strongly - and I mean REALLY strongly, let it consume your being - the purpose of the glamour. Fill yourself with the knowledge how how it will work, what it will do, how it will work. If you are looking for a glamour of imperception, whereby you attempt to make yourself hard to see by convincing the minds of people around you that you are utterly uninteresting and forgettable, fill yourself with that. Let to complete and utter truth of that ring through your head;
“I am forgettable, I’m not even here. You don’t remember me, I’m utterly boring, I’m just another part of the background. Everything about me is empty and dull. There is nothing here”
And similar such truths. Let your Willpower make them true, let their truth fill the world around you through the strength of your visualisation.
Thirdly, sustain it. This is the hardest step, but a glamour will only last for as long as it is sustained and remembered. If you are visualising a glamour on something that moves or changes (such as yourself) this can involve literally constant reinforcement - never ever stop thinking those reinforcing statements and pouring all your Willpower into them. For objects that are more static, for instance a chest containing spell supplies, this can simply involve a period of refreshment every evening whereby you place your hands upon it and refresh the enchantment you’ve placed upon the chest, reminding it of how completely ignorable and boring it is, reminding it that nobody will open it because nobody will care enough to try, that nobody will notice it because it’s so dull it’s not even there.
That seems REALLY hard, is there a simpler way?
The short answer is, no. This is why glamours are often quite unpopular - despite their obvious power and usefulness, the sheer effort of Will that goes into the construction of a glamour, and the amount of practice you need to get really good, can scare off a lot of Witches from truly persisting. Those who need glamours are often the only ones who are really any good at them - the best glamour-caster I have ever known developed her skill during her life as a pickpocket, when she used glamours to avoid getting caught. The simple fact that she has no criminal record attests to their efficacy! But, it took her a very long time to get that good, and most Witches simply don’t care enough to try.
However, I urge you to do so! It’s such a rewarding skill, even if only so that you can be the undisputed champion of paintball and laser tag in your friend group because nobody ever sees you in the shadows.
So there you are! The ancient, powerful, and mostly-overlooked art of glamours! I hope this helped all you lovely Witches!
Gün olup beni seveceği düşüncesiyle avunamazdım. Gençtim, romantiktim ama,aşkı zamanla büyüyüp gelişen bir şey olarak göremiyordum. Maddelerine uyulacak bir anlaşma değildi aşk..ya bir bütündü, sizi tümüyle içine alırdı ya da aşk değildi
başka bir şeydi belki
daha mantıklı,daha sakin bir şey. kendine göre yine güzel bir şey… ama o şeyi istemiyordum ben.
Bana da acımakla vakit kaybetme Montjean. Ben hayatta kendi durumumu dikkatle saptadım. ne fazla mutluluğa, ne de fazla acıya yer bırakıyorum. Kendime güvenli ve kararlı bir yüzeysellik edindim. Zevklerim var ama iştahlarım yok. Gülüyorum, ama pek seyrek gülümsüyorum. Beklentilerim var, ama umutlarım yok. Esprilerim var, ama mizahım yok. Çok atağım ama hiç cesaretim yok. Açık sözlüyüm ama içtenliğim yok. Çekiciliği güzelliğe tercih ederim. Rahatlığı da yararlılığa tercih ederim. Güzel kurulmuş bir cümle bence anlamlı bir cümleden iyidir. Her şeyde yapaylığı seçerim!
Henüz hiçbir şeye teşebbüs etmediğim için, kendi yetersizliklerimden haberim yoktu. Bir şeye cesaret etmemiş olduğum için de, cesaretimin sınırlarını bilmiyordum.
“Another reason I decided to make Xiao Wu is that in 1997 I was getting ready to graduate from the Beijing Film Academy and after four years of watching Chinese films, I still hadn’t seen a single one that had anything to do with the Chinese reality that I knew. After the Fifth Generation’s initial success, their artistic works started to undergo a lot of changes. One of these big changes came with Chen Kaige, who once said, ‘I increasingly feel that film should be used as a vehicle to describe legend.’ I, however, could not disagree more. Sure film can describe legend, but where is it written that film can’t depict other things as well? Unfortunately, most of the Fifth Generation directors all followed this trajectory… But there was a very clear disconnect between these films and the current Chinese reality that we are living in. There is something about this phenomenon that left me feeling very unsatisfied, and it was partially out of this frustration that I decided to make films. I told my collaborators at the time that I wanted to express the here and now, and that has been the aim of our films ever since.” – Jia Zhangke (2002)