Imm for nil writihg this book

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A* I write the introduction to this book I am on a flight from Las Vegas to I on Angeles. I am presented with exactly forty-five minutes to sum up my ((clings about this book.

A lot has contributed to the style in which this book has been written; among ni her things a recent transatlantic relocation from the UK to the USA to nntke a home in Las Vegas.

I now find myself a married man and to top it all off I have even begun work i in t hat traveling freak show I have been dreaming about for oh so long. As ! write this, I am currently on my way out of Las Vegas, the magical capital "I I he world, feeling very ill from the extreme turbulence on an otherwise Uninteresting flight. Vegas is a town that has, in the short while I have lived ilit l'e, already deeply affected my approach to magic and mentalism. Las Vegas really is the best place in the world to see both great and terrible magic. In nut he best of the best to the worst of the worst, Vegas is the place.

I In bulk of this book was written as I lived and worked as a traveling |ii i loriner. Much of the book being written on planes, in hotels and while )'.> in i,illy on the road. There really is a great advantage to having a mobile i if I It i' As one of the publishers of this book would say: "as long as there's a it .irbucks, we're good to go."

A« (In book was written in this fashion with my thoughts collected in essay fin in while on the road, looking back over it I find it a genuinely nostalgic

CXIM-

—CXIV3—THIRTY FIVfl T1211

read. Elaborating on my traveling essays to make them more complete and lucid was much like reading a travel journal or diary from years past.

Certain essays remind me of certain performances and places. Others remind me of various TV shows that I have worked on. I hold many good memories attached to the writing in this book and some not so good memories.

The one thing that the ideas presented in this book have in common is how all of the essays were formed partly because of the countless "bad" magic and mentalism shows I have encountered on my journeys. From live performances to certain recent "TV Stars" bad magic is simply bad magic.

It is these "bad magic/mentalism shows" that are the true inspiration for this book. Without having witnessed so much bad magic and mentalism I would never have been moved to examine my own performances at a deeper level. It was this examination triggered by these performances that inspire my feelings and thoughts as recorded in this book. So in a way I have all the shows that have made me feel sick watching to thank for their inspiration in questioning my own performances at a deeper level.

It is my hope that you enjoy what is presented in this book. You will of course not agree with everything I have written and this is the whole point!

The best thing I could ever hope to achieve with this book is to encourage you to question your own performances in the same way I have questioned mine. If you do this we together are fighting against those "bad magic/mentalism" shows I know we both hate so much. Together with our love for the art that has given us so much we now have the chance to give it some thing back. Lets keep magic and mentalism as exciting as it is to us for our audiences.

Enjoy your journey. Maybe our paths will cross along the way.

With all sincerity I am,

Lukejermay

Beginning his descent into L.A., 2006

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