(Introduction by Tony Binarelli)
I know Massimo from many years (more or less 20 years) since he came with me in a trip I organized in USA to try to establish a sort of bond between the italian and the american style of magic.
He was then only a very young guy with the passion for all that was magic; in his eyes you could have read the enthusiasm of the "child" immersed in Wonderland.
After that trip together, as sometimes happens in life, both of us pursued our separate pathways, both in magic and in life.
In those past years Massimo has enriched his baggage of knowledge by traveling around the world and meeting many big names in magic. He also did a personal study on cold-reading when he stayed, for long periods, in USA. It was clear from the start that his real interest was toward what, in my opinion, is true magic's last beach: Mentalism.
I want to make clear that I don't say that because I have something against the big great illusions shows. I don't have and never had anything against big shows full of dancers, spotlights and glitters, but it's my opinion that those performances, even when done by big artists, at the end catch the eyes of the spectators more than their minds.
And it's in the Mentalism field that Massimo had done a long journey, trying to study everything he could put his hands on.
And it has been the Mentalism too, a sort of "file rouge" which connects both of us, that has made Massimo and me meet together again, when Massimo organized for me a three days workshop on this very topic and for which I'll never end to thank him because he gave me the possibility to teach and at the same time to learn from the attendees. I indeed believe that the person who is teaching should also learn from who is learning, as it was in my case.
I'm glad to have met him again, to have seen that he has the same passion he had when we first met, and I'm glad he shared with me the long journey he did in his learning practice.
This book of Massimo Tira (and I wish that other books will follow) it's in a way the mirror image of his author, of his way of reading and interpreting some of the classical effects in Mentalism.
In my sincere opinion they are revisited for good and they will have a full impact on the lay audiences.
But, as everything in Mentalism, the ease of technical handling required should not have the readers fall victim of the false equivalence: easy to handle = easy to present.
Each routine in this book is a little masterpiece, crafted in every detail, limiting to the bare essential the need for sleight of hands and maintaining the performance free from empty moments.
Just look at Psychometrack (in my opinion one of the best take-off from the old and original Annemann's Pseudo-Psychometry) which plays exactly as real psychometry should, or look at Prophetriter in which the unexpected ending is what will cause people to believe in what the Mentalist has stated before about his prophetic dreams.
But in each effect you can spot the deep knowledge of the author and his research in bringing Mentalism as close as possible to the true essence of magic.
All of these routines need some careful study and, sometimes, the skill of being able to read "between the lines" to understand, really understand, how Massimo came to formulate a modus operandi instead of another as it happens, for example, in his Miscellanea notes when he speaks about a Drawing Duplication a la Geller and he even gives to his readers some alternative ways to be sure that, at the end, they will be 100% right.
To end my introduction, a big thank you to Massimo because of his will to share some of his stuff with the readers and for having given me the pride and the joy to introduce him to the readers of this book.
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