A magic board is a type of writing board that allows users to draw or write on its surface by using a special pen or stylus. These boards are typically used for educational purposes, particularly in classrooms or during presentations. One of the main advantages of a magic board is that it allows the user to easily erase and modify what they have drawn or written. This feature makes it easy for teachers or presenters to quickly correct mistakes or make changes without having to start over or waste materials. To use a magic board, the user simply needs to press the stylus or pen against the surface and start drawing or writing. The pressure from the pen activates the board's mechanism, allowing the user to leave marks on the surface.

Magic

Nas is a pointillist, better at writing couplets than albums, and Magic proves he’s still a transcendent rapper when he allows himself to be.

There’s an unwittingly poignant sequence at the end of Magic, Nas’s fifteenth studio album. The final track, “Dedicated,” is pure middle-aged ennui couched in wistful pop-culture references, the sort of preoccupied nostalgia trip Jay-Z perfected on 4:44. Nas name-drops Mike Tyson, Kimora Lee, and Carlito’s Way, alluding to some compelling ideas without really exploring them; it’s breezy enough that you can almost forgive the kids-these-days grumbling. But the chorus—“I dedicated my life, my life,” a simple repetition of an evasive half-statement—is tantalizing in its elision. At 48, the Queens native continues to enjoy the institutional acclaim afforded one of rap’s most prodigious talents. A survey of his latter-day catalog yields a melange of short-lived crossovers and self-indulgent concept records, the cynical musings of the bitterly divorced. To what did you dedicate your life, Nas?

Magic points to hard-earned craftsmanship, the humble cultivation of a blue-collar métier. It asks that you overlook his mid-career miscues and late-career misanthropy, which is just as well—his listeners have long clamored for a return to ’90s pragmatism, and Magic is the most meat-and-potatoes Nas record in years. “Speechless” casts back to the It Was Written aesthetic, with a spoken intro and pealing mandolin instrumental. A flashy performance with a modest purview, it relays a judicious street code (“I’m tellin’ it like it is, you gotta deal with the consequence/When you run in a n***a’s crib, n***a, you better be ready to sit”) with knowing winks at the fourth wall (“Only thing undefeated is time/The second is the internet, number three is this rhyme”). If it’s fan service, it’s the best Nas song in a decade.

The album maintains a sprightly 95 bpm clip, opportune for its focus on verbal acrobatics over Nas’s usual sermonizing. Anything faster is liable to trip him up; anything slower and he’s practically comatose. Unsurprisingly, these songs are far more habitable than the haranguing fare of 2018’s Nasir and 2020’s King’s Disease. Similar to 2004’s “Good Morning,” “Ugly” flips an atmospheric premise (“It’s ugly outside, it’s muggy, it’s money outside/One hundred and five Fahrenheit, thunderous skies”) into a metaphor for societal rot, a tactile slice of life relative to his familiar, narrative-driven methods. “The Truth” packs battle rhymes with bright imagery: “Galactica glaciers, eighty-eight karats, immaculate paystubs/Them n****s do a crime, I drop a rhyme, it’s the same rush.” Nas is a pointillist, better at writing couplets than albums, and Magic proves he’s still a transcendent rapper when he allows himself to be.

But he’s never content with low-stakes grandeur: on “Ugly,” he promises yet another King’s Disease installment for 2022. Although Magic steers clear of Nas’ Achilles heel—his notoriously poor judgment of his own strengths—it’s compromised by the presence of Hit-Boy, a thoroughly B-list producer who’s helmed the last three Nas records. Hit-Boy’s depthless beats are stately at a distance but chintzy up close, like music played through a mangled iPhone speaker. The saccharine melodies of “Hollywood Gangsta” and “Wu for the Children” each sound a half-chord off-key, and when he tries to conjure golden-era ambiance with digitized synths, it lends the air of a Vegas revue. Not to play fantasy sports, but DJ Premier is literally right there doing the turntable cuts on “Wave Gods.” Did no one think to ask him for some loops?

You could knock Magic for being backward-facing, but then again, all of Nas’s music is backward-facing. It’s charming when he revisits his own gospels, but the nostalgia act would be easier to swallow if it weren’t so resentful—the King’s Disease records are joyless Grammy bait, demanding that award committees ignore the elephant in the room. (Needless to say, they’ve complied.) The specter of his ex-wife turns up as a scapegoat on “Ugly” (“It’s grown men jealous outside/It’s grown-ass women that’ll have you set up to die”) and “Wu for the Children” (“One girl for the rest of your life, is that realistic?/Some had told me they like when you call ’em all types of bitches”). These are the grievances of a Bitcoin millionaire, music defined less by what it is than by what it’s not: druggy, minimalist, or improvisational.

But this is what Nas does: If Illmatic and It Was Written have an expository flaw, it’s that their inmates, capos, and Queensbridge Park winos are welded to their fates. His characters rarely exhibit agency of their own, which becomes a convenient narrative device when your wife walks out and the audience’s gaze drifts from New York to Atlanta. Nas needn’t be a tragic figure, and his endless cataloging of things taken from him—record deals, a happy family, a seat at the throne of hip-hop—is something of a self-fulfilling prophecy. All that’s left is to go through the motions.

Catch up every Saturday with 10 of our best-reviewed albums of the week. Sign up for the 10 to Hear newsletter here.

Nas – Magic 3: Review

This past Thursday, September 14th, Nas turned 50 years of age. And to bless us, like how I blessed my friends by smoking them out on mine, he dropped the third installment of his Magic series, and if this is the last one-to-one collaboration with Hit-Boy, a great send-off at album number six. Between King’s Disease and Magic, I’ve been more bullish with the latter, but maybe it’s that some of the boom-bap beats in the latter series felt dry; however, as it comes to a close, Hit-Boy brings his all, keeping your interest afloat through each production adding up to more consistent and captivating work. I do feel that after some time, Nas feels like he is running out of what to rap about and thus feels like he isn’t having as much anymore with some of his decisions on the content and how to approach it. Here, Nas brings technical virtuosity to balance out what could have been another tried rendition in the Magic series, further making me a fan of Magic 3.

Maybe I’m cynical. As a fan, I feel like we set standards for these artists we revere, and sometimes they may be lower cause their output is insane. Over the past three years, Nas has seemingly fallen into this threshold, and it may be why I’ve been more bullish on the Magic series, but as I’ve noted, Magic 3 is different. It doesn’t feel swift, at times hollow – based on the levels of boom-bap we’ve heard previously. Granted, I wasn’t the strongest proponent of the production of Magic 2, but there is enough there to return to, as it was more this lack of ingenuity over quality. However, that changes with Magic 3 as the Boom-Bap is more a base to build off, feeling more elevated than usual and giving fans something to relish and vibe with as Nas is 2-2 in the third album of a trilogy. The sample size may be diminutive, and when you’ve gotten the inconsistencies with Magic, it’s a significant win, especially with its strong one-two-punch opening and more solid runs from there.

There are some fantastic runs of tracks on the album, though nothing more potent than the run from “Based On True Events” to “Jodeci Member.” Some great introspections and fun are reflected by Nas, exposing further how the pen is mightier than the sword. Starting with “Based On True Events,” parts 1 and 2 are great connections, which get beautifully constructed through Nas’s fantastic storytelling skills; he is detailing with visceral imagery and layering. Part 1 sees Nas looking back at past loves, from a person to his connections to the street, while part 2 has Nas giving us a follow-up where he follows this person he’s met and how their street tendencies lead to their downfall. It’s poignant in relaying varying themes and perspectives from someone who’s through it. He capitalizes on it by following it up with “Sitting With My Thoughts,” which has Nas reflecting on life again, but the flow, emotion, and writing are strong, making it less of a skip.

Unlike the previous Magic albums, the third is longer – in some ways – feel like they were saving the best for last, but there are some weaker moments like songs “Pretty Young Girl,” “Speechless Pt. 2,” and “Superhero Status.” With these songs, there is little fun or imagination, feeling more yawn-inducing instead of what you get when Nas is breaking apart different aspects of his artistry with “I Love This Feeling” or reflecting on his experiences and how it has shifted his perspectives, like with the potent “No Tears.” On “No Tears,” Nas tells his listeners how he’s become numb to the violence surrounding him, as he has experienced it from varying angles that it became a commonality. It does more than some of these I’ve mentioned before, as they have more to say than your typical flex track. It doesn’t have a crisp contrast to the humbling nature we hear occasionally. “Speechless Pt. 2” is a prime example as Nas continues the intro track of the first Magic and does little except add to what he has achieved since the first one. Unfortunately, as good as the writing, there is little to latch on to, especially in the emotional department.

This past Thursday, September 14th, Nas turned 50 years of age. And to bless us, like how I blessed my friends by smoking them out on mine, he dropped the third installment of his Magic series, and if this is the last one-to-one collaboration with Hit-Boy, a great send-off at album number six. Between King’s Disease and Magic, I’ve been more bullish with the latter, but maybe it’s that some of the boom-bap beats in the latter series felt dry; however, as it comes to a close, Hit-Boy brings his all, keeping your interest afloat through each production adding up to more consistent and captivating work. I do feel that after some time, Nas feels like he is running out of what to rap about and thus feels like he isn’t having as much anymore with some of his decisions on the content and how to approach it. Here, Nas brings technical virtuosity to balance out what could have been another tried rendition in the Magic series, further making me a fan of Magic 3.

Maybe I’m cynical. As a fan, I feel like we set standards for these artists we revere, and sometimes they may be lower cause their output is insane. Over the past three years, Nas has seemingly fallen into this threshold, and it may be why I’ve been more bullish on the Magic series, but as I’ve noted, Magic 3 is different. It doesn’t feel swift, at times hollow – based on the levels of boom-bap we’ve heard previously. Granted, I wasn’t the strongest proponent of the production of Magic 2, but there is enough there to return to, as it was more this lack of ingenuity over quality. However, that changes with Magic 3 as the Boom-Bap is more a base to build off, feeling more elevated than usual and giving fans something to relish and vibe with as Nas is 2-2 in the third album of a trilogy. The sample size may be diminutive, and when you’ve gotten the inconsistencies with Magic, it’s a significant win, especially with its strong one-two-punch opening and more solid runs from there.

There are some fantastic runs of tracks on the album, though nothing more potent than the run from “Based On True Events” to “Jodeci Member.” Some great introspections and fun are reflected by Nas, exposing further how the pen is mightier than the sword. Starting with “Based On True Events,” parts 1 and 2 are great connections, which get beautifully constructed through Nas’s fantastic storytelling skills; he is detailing with visceral imagery and layering. Part 1 sees Nas looking back at past loves, from a person to his connections to the street, while part 2 has Nas giving us a follow-up where he follows this person he’s met and how their street tendencies lead to their downfall. It’s poignant in relaying varying themes and perspectives from someone who’s through it. He capitalizes on it by following it up with “Sitting With My Thoughts,” which has Nas reflecting on life again, but the flow, emotion, and writing are strong, making it less of a skip.

Unlike the previous Magic albums, the third is longer – in some ways – feel like they were saving the best for last, but there are some weaker moments like songs “Pretty Young Girl,” “Speechless Pt. 2,” and “Superhero Status.” With these songs, there is little fun or imagination, feeling more yawn-inducing instead of what you get when Nas is breaking apart different aspects of his artistry with “I Love This Feeling” or reflecting on his experiences and how it has shifted his perspectives, like with the potent “No Tears.” On “No Tears,” Nas tells his listeners how he’s become numb to the violence surrounding him, as he has experienced it from varying angles that it became a commonality. It does more than some of these I’ve mentioned before, as they have more to say than your typical flex track. It doesn’t have a crisp contrast to the humbling nature we hear occasionally. “Speechless Pt. 2” is a prime example as Nas continues the intro track of the first Magic and does little except add to what he has achieved since the first one. Unfortunately, as good as the writing, there is little to latch on to, especially in the emotional department.
As for the Lil Wayne feature, it’s one of the significant highlights, along with some of Nas’s great introspective joints. For one, it’s one of the rare tracks where flexing is at a peak and doesn’t feel tried. Additionally, Lil Wayne’s flow brings much-needed flavor and fun to the mix and, in doing so, makes Nas bolster his delivery to have fun as well. Like it, “Jodeci Member” sees Nas bringing this unique touch to the track by envisioning himself with oozing class and swagger like Jodeci. It does what “Superhero Status,” “Pretty Young Girl,” or “Japanese Soul Bar” does minimally or at all. Nas is more eloquent and casual, sounding rudimentary, incurring a missed opportunity. Take “Japanese Soul Bar,” for example; it is direct and flip-floppy between flex and reflection while lacking enough energy to entertain what Nas wants to relay, or that’s how it felt to me. He uses homage to relay his status as an independent rap figure, reflecting his shifts between labels big and small, successes to now leading an independent label. “Superhero Status” is similar; you have Nas bolstering his status and talent, yet it’s mainly timid with its creativeness and isn’t well written. It’s just there.

They sound too similar to the varying flexes we hear, becoming more of a yawner than anything. They are slight disappointments that have come with the series, but here, more misnomers are immersed and blended within the flow for the first few listens before you notice what doesn’t work for you. I enjoyed this more than expected, and that’s a great thing, especially with how I felt about past albums. Give Magic 3 a spin, even if you were similar to me and bullish on previous releases, as this did change how I felt about the series as a whole; it’s a remarkable conclusion.

Album Review | Nas – Magic

This album was released on December 24th this year. As of the time of this writing, the album has been out for 10 minutes. It was announced less than 24 hours before its release, so this was a pretty big surprise for me. I enjoyed King’s Disease 2 a lot, and it’s actually grown on me even more since I reviewed it. That album is really great. I’m hoping that this project here will be even better, but I’m gonna try to keep my expectations in check. Every track is produced by Hit-Boy.

There aren’t any songs that I don’t like on this project, so I’ll write about the full thing in the proper order of the tracklist. The album starts off with Speechless. I think the beat on this track is pretty awesome to be honest. It actually kinda sounds like something that Kendrick could’ve rhymed over on good kid, m.A.A.d. city. I think Nas killed this shit too. His flow on the first verse is great.

I'm 21 years past the 27 club
It's like I went back into my past and then I sped it up
Robert Johnson, Winehouse, and Morrison found where heaven was
Heaven on Earth, this shit is magic with no fairy dust
Home of the gully gangsta, the gruesome, and the scary stuff
I told my brother Jung "fuck 'em, they gon' go through hell with us"
They don't have the history in the streets that compare with us

I even love the hook on this track. There’s really nothing I don’t like about this song. Nas usually starts his albums off with great opening tracks, so I guess I shouldn’t be surprised that this song is so good. It really impressed me though. I think it’s dope as hell. The following track is called Meet Joe Black. This one didn’t impress me nearly as much as the opening song, but I still think it’s pretty good. The beat from Hit-Boy is cool, and both of the verses from Nas on this song are good. I actually think the hook is really good too. There’s nothing that I don’t like about this song. It’s just that nothing about it really blew me away. Everything here is very well done though. Nas’ flow sounds great. It’s kind of a short song, so there’s not much to dig into, but nevertheless, I enjoyed it. Ugly is better than the preceding song in my opinion, but not as great as the opening track. I think the production is pretty goddamn good, and of course both of the verses from Nas are great. His flow is nice and smooth as always. I really like the opening quatrain.

It’s ugly outside, it’s muggy, it’s muddy outside
105 fahrenheit, thunderous skies
The clouds shape a clown face above where you reside
Under his eye, teardrop got the ugliest cry

At one point he teases King’s Disease 3, so I guess that’s coming out in 2022. That’s cool.

You been through shit, I been through shit, everyday is an honor
It's ugly how Mercedes Moore lost her life to a stalker
I'm on offense everyday 'til I see the love
KD3 on the way, this just to feed the buzz

This song definitely has the weakest hook on the album up to this point. I wouldn’t say that it’s bad, but it’s just not particularly good. With that said, the actual rapping and production are so good that I don’t even mind. I think this track is dope. I have mixed feelings about the production on 40-16 Building. I appreciate how loud and energetic it is, but the repetitive loop gets kind of old after a while. I still think it’s a good beat, but it’s definitely not one of my favorites on the album. Thankfully, I think Nas rapped over it really well. I like how aggressive he sounds here, and I think the hook is pretty good too. It’s a good track, but far from my favorite on the album. I still fuck with it though. Track 5 is called Hollywood Gangsta, and I know I’ve heard that same sample somewhere very recently, but I can’t remember where. If I ever figure it out I’ll update this review. Update: the sample comes from the song “So Low” by Mic Logik. Anyway, I think the sample itself is pretty great. I just wish it was something I hadn’t already heard before. The beat is still fire though. I think Nas killed it too. Again, his flow and rhymes were smooth as hell, as always.

The scars of martyrs, the path of bastard seeds
Effects of absentee fathers passed on with ease
Hope the babies eat healthier, and may we get wealthier
They was not givin', we ask for forgiveness, not permission
Whole clique is each other's counselor
Holdin' sticks without a hockey puck
Can't co-sign 'em, them niggas not with us
Hop on a private jet with 12 tenants
Right when I land, the chopper to Manhattan is 12 minutes

There’s not really much of a hook on this track, which I don’t mind at all personally. I think the song is really dope. I don’t have any gripes with it. I mean, I guess I would’ve preferred if it had a more original sample, but that’s a super nitpick. The song is dope. The following track is entitled Wu for the Children, and it’s another really great song. I think the production is pretty fantastic. I appreciate the minimal percussion, and Nas sounds fantastic over it. Both of the verses on this track are really smooth. I love how smooth his flow is during this couplet…

It’s so hard for him even though his talent is god-given
Pardon him, stop putting your faults on him

I think the hook on this track is really good too. Nothing about the song really blew me away, but there’s also nothing in particular about it that I don’t like. I think it’s really dope. The following track is a highlight entitled Wave Gods.

This track features A$AP Rocky & DJ Premier, and I think it’s fire. I really love the production, and A$AP Rocky actually rapped shockingly well on the first verse. I mean, it’s not really anything special lyrically, but his flow and delivery just sounded really goddamn great. He fits over this beat really well too in my opinion. Nas definitely had the better verse, but that shouldn’t come as a surprise.

I used to hit the block hopin' they see me
Watchin' Video Music Box, sittin' close to the TV
I was inspired by Whodini and Kool G
Got my first pair of J's, thought I was 2-3
Invest in all my G's before we rest in peace 'cause we sure to rest in peace
My shorty is a piece, a piece of mind, a dimepiece
I might buy her a piece of property
You might've had some joints, but ain't nothin' like me & Rocky seen

Out of all the songs on the album, this one somehow feels the most complete. The production is fantastic, the rapping is great, and the scratches from DJ Premier are just the icing on the cake. The song is dope as hell. The penultimate song is called Truth, and it’s another really great track. I think the production is pretty cool. I appreciate how aggressive it sounds, and Nas matched the tone pretty well. This is definitely one of the most aggressive songs on the album. His flow on the verses is smooth as hell.

We need a meeting, money and fame is fleeting
You never really know the reason why two people is beefing
Bloody murder, in the '80s, he had suede Louis seats in the 'burban
Did dirty, his sentеnce start turning
Look at life, took advice from thе streets of Vernon
Nothing Nice, John Boy Ice, his death undetermined
Pick an island, anywhere for your happy soul or return it
When I'm gone, I pray my family don't get the cash and burn it

I think the hook is pretty solid too, despite its simplicity. I’ve seen people making bold claims about this song, calling it Nas’ “best song since ’94,” which is kind of insane to me. It’s not really a highlight for me on the album. I think it’s dope though. I fuck with it. The closing track is a major highlight called Dedicated. I love the production from Hit-Boy, and I appreciate how it’s slightly faster paced than a lot of the other songs. Nas sounds fantastic over it.

Chefs come cook for me
Look what it took for me, the streets had its hooks in me
Yeah, people ask me what books to read
Destruction of Black civilization, that's history
Journal of Chris Columbus, that is what interests me
Juneteenth holiday finally came and it pisses me
Off for the fact that we came in chains, you'll be physically in pain
Dedicated like Ricky Walters, Dougie and Dana Dane

There’s a pretty awesome beat switch about halfway through the track that kinda pushes the song to the next level for me. I think this is the best track on the album personally. It grows on me more and more each time I listen to it. It’s dope af.

This album is pretty great. I don’t think it’s quite as good as King’s Disease 2 personally, but it’s definitely close. Also, for what it’s worth, this is the first time that I’ve liked every single track on a Nas album since Illmatic. I really don’t have any consistent gripes with it. Not every track blew me away, but I’m definitely satisfied with this project. I think Nas & Hit-Boy are a great pair, and, even though I’d personally like to see Nas work with guys like DJ Premier and Large Professor again, I’m looking forward to King’s Disease 3. I won’t be surprised if this ends up as my favorite album of December. I think it’s really dope. Check it out.

Favorite Song: Dedicated
Least Favorite Song: Meet Joe Black

82

Watch the video below for more thoughts on this album.

ACRN.com

Ohio University's place for all things music and media.

Album Review: Nas – Magic 3

By Adrian Woods, Staff Writer

[Mass Appeal Records, 2023]

Rating: 7/10

Key tracks: “Fever”, “Never Die”, “Based On True Events Pt.2”

Ever since his 2018 album NASIR, the hip-hop community has both condemned and praised Nas for making (arguably) one of hip-hop’s best comebacks to date. From the King’s Disease and Magic trilogy, Nas has been on a roll making some of his best music to date, and while Magic 3 is not the strongest in his recent run of albums, it’s still a solid addition to his discography and a good addition to this new trilogy.

The record kicks off with one of the best songs on the album, “Fever”, a song that is both one of Nas’s best recent album openers and a track that really feels like a throwback to a song that could’ve been on an early Nas record. This is in large part due to the production by Hit-Boy, who gives a real old school feeling to it. There is even a nod to one of Nas’s songs off Illmatic, “Represent”. The production on the album from Hit-Boy is really sharp and his work on the past Nas projects has been nothing but great, even if a few beats fall short or feel repetitive. Songs like “Fever”, “TSK”, and “Jodeci Member”, are a few of the best produced songs on the album.

The Magic trilogy has had features from artists like 21 Savage, ASAP Rocky, and 50 Cent, but this album’s only feature comes from Lil Wayne on “Never Die” where he delivers a great verse on the track. Nas’s pen game on this album, with this run he’s been on, is still extremely creative. A central topic in these songs is talking about Nas’ past, and you really get to see how he shaped himself to become the artist he is. Returning to “Fever”, it’s a song where you can tell Nas is very grateful for his career and all that made it successful, making us feel his journey and age with this song. “Based on True Events” and its Pt. 2, details his past as well, discussing past relationships and his street life and how that affected him, as well as his growing away from them.

It might be odd to say, but even at just 45 minutes, this album feels like it is too long. The two previous entries in the Magic trilogy were both about 30 minutes long, which was the perfect length for those albums. This one could have trimmed a few songs to keep it from dragging a bit. As great as Nas’s lyrical work is on this, a lot of Nas critics believe that his lyrics are too corny. While a lot of the time that is to Nas’s advantage, there are a few lyrics on here that come off as dated or just silly—maybe not necessarily in a bad way, but in a way where you’re laughing at it and not with it.

Magic 3 is a fun ending to the Magic trilogy. With his signature style and flow with beats that feel like they’re straight from the ‘90s, it’s almost a guarantee that hip-hop heads and Nas’ hardcore fanbase will dig this record.

Listen here:

The pressure from the pen activates the board's mechanism, allowing the user to leave marks on the surface. Once the drawing or writing is complete, the user can easily erase it by using a built-in erase button or by simply swiping across the surface with a damp cloth or tissue. In addition to their educational uses, magic boards can also be used for entertainment purposes.

Some boards come with special features, such as different colored pens or the ability to change the color of the surface. This allows users to create colorful and interactive drawings or designs. Magic boards are often made from durable materials, such as plastic or glass, which makes them long-lasting and resistant to damage. They come in various sizes, ranging from small handheld versions to large wall-mounted boards. Overall, magic boards are a convenient and versatile tool for drawing, writing, and presenting information. They offer an efficient and eco-friendly alternative to traditional paper and pencil methods, which is why they have become popular in classrooms and offices around the world..

Reviews for "The Psychological Effects of Doodling on a Draw and Erase Magic Board"

1. Sarah - 2/5 rating - I was really disappointed with the Draw and Erase Magic Board. The markers were very faint and hardly showed up on the board. Even when I pressed down harder, the ink would smudge and create a mess. Additionally, the eraser that came with the board did not work well at all. It left behind marks and residue, which made it even more difficult to use. I had high hopes for this product, but it didn't meet my expectations at all.

2. Michael - 1/5 rating - I absolutely hated the Draw and Erase Magic Board. The board itself felt flimsy and cheaply made. The markers were barely visible on the board, even after shaking them vigorously and trying different angles. It was frustrating to draw on this board, and the ink would often smear and ruin the picture. The eraser was practically useless, as it didn't fully erase the previous drawings and left behind unsightly marks. Overall, I would not recommend this product to anyone.

3. Emily - 2/5 rating - The Draw and Erase Magic Board was a letdown for me. The markers were not vibrant or consistent in their color output. Some lines would be too faint while others would come out too dark. It made drawing on the board a frustrating experience. Additionally, the eraser was not effective in completely wiping away the previous drawings, resulting in messy and smudged images. I was hoping for a fun and easy drawing experience, but unfortunately, this product did not deliver.

4. John - 1/5 rating - I regret purchasing the Draw and Erase Magic Board. It was cheaply made and had a flimsy construction. The markers provided were not long-lasting and started drying out after just a few uses. Even with the eraser, it was difficult to completely erase the drawings, and the board would be left with ghosting and marks. It was an overall disappointing experience, and I would not recommend this product to anyone looking for a durable and reliable drawing board.

Incorporating Draw and Erase Magic Boards into Homeschooling Curricula