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Winnie the Witch is a popular children's book series written by Valerie Thomas and illustrated by Korky Paul. The series follows the adventures of Winnie, a witch who lives in a colorful and chaotic house with her cat, Wilbur. Winnie is known for her distinctive black hat and stripy stockings. The Winnie the Witch books are generally aimed at children between the ages of three and seven. This age range is ideal because it allows younger children to enjoy the vibrant illustrations and simple stories about Winnie and Wilbur's magical mishaps. The books are often filled with humor and visual gags that children in this age group find entertaining.

Sitting with my back straight, it becomes hard to hear

Yet the beauty, however dark, of Magic and Loss is in the asking in the subtle, elegiac lift in Reed s stony sing-speak, the sepulchral resonance of his and Mike Rathke s guitars and the Spartan grace of the storytelling. You can hear the impact of his multi percussion contributions on songs such as Tom Waits Clap Hands from Rain Dogs, and the famous marimba part on Elvis Costello s cover of Don t Let Me Be Misunderstood.

The books are often filled with humor and visual gags that children in this age group find entertaining. Older children within the age range can also appreciate the books as they contain themes of friendship, problem-solving, and imagination. Winnie the Witch encourages children to think creatively and embrace their own individuality.

Life’s Like A Mayonnaise Soda: Lou Reed’s Magic and Loss at 30

When Lou Reed released his sixteenth solo album Magic and Loss on January 14, 1992, he was well adept at making records that resonated with added impact and inspiration.

He had gone the concept route several times before, beginning early on with Berlin and continuing up through Songs For Drella , recorded with his former Velvet Underground colleague John Cale, but none of his previous albums made quite as indelible an impact as this particular effort overall.

“It’s my dream album, because everything finally came together to where the album is finally fully realized,” Reed once wrote. “I got it to do what I wanted it to do, commercial thoughts never entered into it, so I’m just stunned.”

Lou Reed Magic and Loss, Sire Records 1992

So, too, Magic and Loss makes for one of the most personal statements Reed ever offered. Originally inspired by a somewhat strange fascination with Mexican magicians, the narrative shifted when Reed learned of the passing of two people that had been a profound inspiration to him early on — songwriter Doc Pomus, a major proponent of Reed’s work at the start of his stint in the music biz, and a woman only identified as “Rita,” but widely assumed to be “Rotten Rita,” an associate of Andy Warhol’s and one of the regulars at Warhol’s in-spot, The Factory, during the Velvet Underground’s early residency at that same scene.

Despite that personal perspective, Reed’s typically dispassionate voice served up the usual quotient of doom and gloom. “What’s Good” shares some optimism in its melodic make-up, but its lyrics eschews any upbeat intent. “Life’s like forever becoming,” Reed intones before declaring “But life’s forever dealing him hurt…life’s like death without living, That’s what life’s like without you.”

“Sword of Damocles,” meanwhile, takes that sobriety several steps further. “I have seen lots of people die from car crashes or drugs. Last night on 33rd St. I saw a kid get hit by a bus.”

It’s not exactly cheery stuff, and indeed, songs such as “Goodby Mass,” “Cremation” and “No Chance” further affirm the the fact that death and despair get equal emphasis when Reed ruminates on the passing of people that held special meaning for him. This is no walk on the wild side by any means, and it seems all Reed can do to muster the motivation to continue.

Nevertheless, Magic and Loss is fascinating in its own way, and Reed’s tales of death and destiny occasionally strike a conciliatory chord, far removed from his usual edgy intents. It’s a knowing look at mortality from the perspective of a man who saw that demise first-hand and then struggled — successfully — to put it into clear context. Yet, when he elevates the tempo and rocks out with the assertive “Warrior King,” desire gives way to determination and a fierceness fueled by ominous intents. “I wish I was the warrior king in every language that I speak, Lord over all that I survey and all that I see I keep,” he declares before threatening to break his rival’s neck and rip out his “vicious tongue” altogether.

Things get scarier still with “Harry’s Circumcision,” a bizarre tale of a young man who purposely disfigures himself because he feels he too closely resembles his father. Spoken over a tentative strum, it takes the album to an unforeseen level of masochism and manipulation.

Some thirty years on, Magic and Loss remains as passionate and profound as it did on its original release. In some ways, Reed was predicting his own demise from hepatitis on October 27, 2013, a life lost all too soon.

“I was driven by the power and glory with a bravery stronger than lust,” he sings on “Power and Glory Part II” as the set draws to its close. Indeed, Reed’s lust for life was never more evident.

VIDEO: Lou Reed “What’s Good”

“Between two Aprils I lost two friends/Between two Aprils magic and loss…”.

The stories often revolve around Winnie's magical abilities, but they also emphasize the importance of being oneself and accepting others. The vivid illustrations by Korky Paul are a standout feature of the books, adding an extra layer of humor and detail to the stories. The visually appealing nature of the illustrations helps capture and engage the imagination of young readers. Overall, Winnie the Witch is a beloved series that captivates children with its entertaining stories, vibrant illustrations, and relatable themes. It is an age-appropriate series that provides a fun and magical reading experience for children in the early years of primary school..

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