My Journey Toward Performing

Master Mentalism and Magic Tricks

Revelation Effect Mentalism and Mind Reading

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Jo help you appreciate the ideas and routines in this book, it might be helpful for you to understand how I became a professional mcntalist. Unlike many people, I began performing professionally much later in life.

In fact, 1 became interested in inagie much later than most I bought my first book of card effects at age .35. Within a year. 1 was taking close-up classes from A1 Schneider, inventor of the coin magic classic, "Matrix." A1 was not only a very creative magician, but a wonderful teacher as well. A1 challenged me to think about every aspect of a magic routine. Within a short period of time, I began experimenting with all the standard props (ropes, coins, cards, etc.) used by close-up performers. By age 40.1 was a fairly competent amateur close-up performer.

About that time, I performed my first menralism effect: Dick Barry's "Clairvoyant Cassette." (An ungaflfed

Mo / in ■nrporatai audio cassette player is shown. A person mentally selects any playing card. When the cassette is played, the audience hears the pcrfomicr's voice name the selected card.) 1 immediately noticed the strong impact this effect had on people. I quickly began learning as much as 1 possibly could abuut mental ism.

I eventually asked myself, "What causes mental ism to have such a strong impact on people?" The best answer 1 came up with is that many people believed that what they saw me do was real. Some people actually believed I had used my special mental abilities to make things happen.

This reaction was different from what I experienced when performing close-up magic. For example, when I performed "Matrix." 1 talked about making the coins move invisibly from one locution to anoihei. "Matrix" a very-strong routine. The sleights arc undetectable. People were amazed. But. when "Matrix" was over, very few people believed I had the ability to make the coins move invisibly. F.ven if they were entertained and amazed, most left believing that what they had witnessed was sleight of hand or other deception. Less than one percent of the people left wondering, "1 low did he make the coins become invisible?"

Compare that experience with this simple demonstration of telepathy. I begin by talking about the possibility of mind-to-mmd communication. 1 then ask a person to seud me tclcpathically the name of a good friend. When 1 cor rectiy announce the friend's name, some people watching this demonstration will believe that mind-to-miud communication has occurred. Certainly, not everyone will believe. A few people will always suspect deception or sleight of hand whenever they watch mentalism. But some people will leave wondering, "How in the world did he read that person's thoughts?"

Creating this belief within people became more stimulating for me than performing close-up magic. I'm not saying mentalism is more entertaining than close-up magic. Both can be very entertaining. There are audiences for both. I still enjoy performing both. But 1 lind performing mentalism much more challenging and exciting.

In l%9, i was accepted into the Psychic Entertainers Association, a worldwide organization of over 300 people who have a passion for mentalism. Many of the demonstrations in this book were inspired by materials and routines created by PEA members. More importantly, the help and support I received from my friends in the PEA gave me die euiifideuee 10 begin performing pi occasionally.

In 1995. at the tender age of 52, I did my first paid corporate mentalism show. It's hard to describe how excited I felt after that first show. 1 fulfilled one of my personal dreams. Imagine, getting paid to amaze people!

With one ¿ho* under my belt, I began marketing myself io organizations as a Corporate Entertainer (not a men-talist). Most of mv work now conies from contacting Meeting Planners and Human Resource Directors, and promising to make their events and meetings more fun, memorable, and amazing.

Since 1995, I've presented over 300 shows for orgaiii-?aiious of ail si/.es. These shows gave me numerous opportunities to discover what routines worked best for me, and what routines worked best for corporate audiences. More

Mental ~ism, I near pot ate.d importantly, I also learned what routines didn't create the reactions I hoped for.

These shows helped me to line-nine my own unique style lor performing mcntalism. I discovered that I'm more comfortable with a lighter, more conservative approach to exploring the untapped powers of the human mind.

The act described in this bouk is almost completely different from the first act 1 presented in 1995. Only the book test remains.

Will my corporate act change much in die next three years? I don't believe it will. Why not? These demonstrations work vciy well for me. Together they create a very strong impression on corporate audiences. Yet I constantly search for new ways to make my act more fun and entertaining.

Again. I sincerely hope (lie ideas and routines in this book help you more effectively present mcntalism to corporate audiences.

t'afK-r.'ai'u'ner:; on J Mi nlnHsm for Corporate Audiences

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The Art Of Cold Reading

The Art Of Cold Reading

Today I'm going to teach you a fundamental Mentalism technique known as 'cold reading'. Cold reading is a technique employed by mentalists and charlatans and by charlatan I refer to psychics, mediums, fortune tellers or anyone that claims false abilities that is used to give the illusion that the person has some form of super natural power.

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