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Introduction
All great magic and mentalism is built on the shoulders of those
who have come before. It is important that we remember the
names of those whose work we find inspiration and joy in. Our
privilege is given to us in bringing those concepts, ideas and
techniques to life in our performances; our reward is the reaction
and applause from the audience.
This is, for the most part, applause those who have inspired us
can no longer hear. The applause is our reward, and remembering
their names is our duty and their reward.
This list of credits is far from exhaustive on each premise
contained on this DVD set; however I have done my best to
directly cite those people who have directly inspired me in this
work.
Silent Communication
This routine is, as far as I am aware, a new premise in the world
of mentalism. It was developed in my exploration of the classic
E.S.P match-up sequence, informed by a desire to take the generic
nature of the ESP cards and transform them into something that
would allow for a demonstration driven by personal information.
The simple method of edge marked boards can be traced to the
early works on edge marked playing cards. However, with the
simple nature of the method, it is impossible for me to credit any
specific person.
This routine has been shared for the first time on this DVD set,
but was developed in the early part of 2012.
Touching on Hypnosis
Touching on Hypnosis is a continued exploration of my effect
Touching On Hoy, which I developed in 2006 and first published
in my book The Coral Fang. It takes inspiration from the Tossed
Out Deck principle, as popularized by David Hoy with his neoclassic routine published in The Bold and Subtle Miracles of Doctor
Faust. The basic principle of Tossed Out Deck dates back to
what is possibly the oldest card trick known: The General Card.
The earliest reference I have found for this is c. 1700, on p. 79
of the Pieper translation. Inspiration was also taken from the
mechanics of Banacheks PK Touches, which is a very different
effect.
The specific application to a false hypnotic demonstration was
influenced by the classic works on false stage hypnosis, and
specifically from the information contained within The Mental
Mysteries and Other Writings of William W. Larsen Sr. In that
book, he details the Dr Q Hypnotic Act in which spectators are
stooged in a very bold way to simply pretend they are hypnotised.
My outcome is very different and removed from each of these
sources but nonetheless, each of these sources have played their
part in bringing me to the present routine.
Modern Oracle
The modern oracle act utilises a flawless envelope to exchange
one billet for another. I first encountered this wonderful switch
on page 164 of The Secret Ways Of Al Baker published in 1941.
The manner in which I utilise information (by cribbing it on the
cards and introducing them into the stack) was simply a solution
that appealed to me due to its bold nature. It might be inspired by
the Q&A routines of old, in which the performer held out a crib
beneath a crystal ball. By hiding the information in the visible
objects in use the secret is hidden in plain site, much like the crib
hidden within the crystal ball or on the performers shirt sleeve.
My structure and handling came from repeated performance for
real audiences.
This routine was developed in isolation, but as with most of my
material, it was inspired by the thinking of Michael Weber.
Fools Journey
This simple concept was developed in isolation to any other
material. It just seemed like a really simple way to get a big
question answered without losing the feeling of mystery. I am
sure many readers have developed such things over the years,
however I have not seen anything like this anywhere else.
Marked Personality
I developed this approach in my early teens, at a time in which I
was obsessed with marked cards. It was inspired by the personality
surveys that are so often found in womens lifestyle magazines
such as Cosmopolitan. A friend had me undertake one of these
personality surveys and I instantly thought about how useful
such a thing would be in the performance of a reading. I then
connected this to the idea of marked cards since they were never
far from my mind during that time. From here the rest unfolded
naturally.
Many years later Joshua Quinn released a fantastic product called
Ascension which also used an approach in which an audience
member ranked various themes within their life. Joshuas concept
was developed in isolation from my own, since I had not shared
it with anyone on a wide scale. Joshuas routine is brilliant. I wish
I had thought of it. If you enjoy my routine I urge you to seek out
Joshuas routine; it really takes this concept into a great direction.
Nailed ACANN
Here is a secret reward for those who have read this far. I would
suspect there will be very few of you reading this. Well done!
Please keep this between us. Dont go telling everyone about it,
or posting about it online. Instead, keep it as your secret reward
for your interest in the history of the routines contained on this
DVD set.
The Card At Any Number routine is accomplished by using the
multiple out preshow approach shared in the explanation for
Shape Shifter drawing duplication combined with a standard
preshow approach. I preshow one spectator to have two different
numbers in mind (which they can switch between during
performance). I preshow another spectator to have one card in
mind. Before the show I place this card and a duplicate of this
card in both positions. I use an impression device to capture the
information chosen by the audience members I work with in
preshow. I suggest having the spectators think of information
and write it down on the impression pad using the techniques
discussed elsewhere on this DVD. The premise was directly
inspired by my friend and teacher David Berglas and his legendary
Berglas Effect as well as from a concept of Dunninger and
Lustig. In their version, they performed the Invisible Deck with
the deck in its box nailed to the wall. I loved the visual and when
I considered the Berglas Effect I immediately knew the power of
the nailed deck visual would prove a wonderful fit.