V OLUME 1, I SSUE 2 In This Issue:
M ARCH /A PRIL 2007
T HIS
MONTH ’ S
S POTLIGHT :
John Riggs Contents: 1 This Month’s Spotlight 2 The Name game 4 John Riggs’ Mind 8 You Lie! 10 On Becoming The People’s Servant 11 Add-a-Riggs One 15 Jheffsmind
Jheff’s Journal of the Mind, Volume 1, Issue 2. Printed in the U.S.A. Journal of the Mind is published six times a year for member of the Marketplace Membership Club Layout and design by Matthew Schouten. Copyright © 2007 All rights reserved by the authors. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage or retrieval system, except as may be expressly permitted in writing by the copyright owner.
Email:
[email protected]
JOHN RIGGS To experienced and knowledgeable mentalists, the name John Riggs conjures up a mixture of brilliant creativity, eclectic experience, and caustic wit. Okay, there are other things we can mention in that mixture, too, but I'd like to keep this ish "family friendly," if you know what I mean. Without question, John is a mentalist whose incalculable and invaluable knowledge of mentalism makes him one of mentalism's modern masters. If you don't know who John Riggs is, you will. And you will buy his material because it's good, useable stuff that will inspire you. The stuff in this issue is only a very, very small sampling of the incredible amount of powerful material that John can offer you. If you do know John, then you're probably just as eager as I am to see what stuff he's contributed to this issue and will buy anything mentalism-related that John creates, if you haven't already. Just in case you need these recommendations, I highly recommend his impression devices, his complete collection of published material, and his new DVD series. If you buy that, at the cost of less than a thousand dollars, you'll have more than enough superb material and info to provide you knowledge and a variety of material to perform and use for your entire career in mentalism.
J OURNAL OF THE M IND
V OLUME 1, I SSUE 2
P AGE 2
“THE NAME GAME” from The Suburban Charlatan Bob Tripp's Phenomenal ESP Perception is a true classic of modern mentalism. I devised a presentation based on the routine (which was published by Nelson Enterprises), and published it in Heavy Mental as The Three Faces of Man. Over the years, I found other applications for the idea, one of which I’ll describe here.
Effect Three volunteers come up to help. For our purposes we’ll call them Alan, Bob, and Chuck. Each is handed a large, opaque envelope containing a blank card. Each person is asked to write his name in bold letters on the card and seal the card up. The performer does this as well. A fourth person mixes the cards, and holds them up to the light to ensure their opacity. The performer offers the envelopes to Alan, who’s asked to try to pick his name. "Simply follow your gut feelings, your instincts," urges the performer. Alan selects an envelope, and his name is written on it. The procedure is repeated with Bob and Chuck. The performer opens the remaining envelope, revealing that the three participants uncannily avoided taking the performer's card. But, there's more. When the other envelopes are opened, each person has located their own name! Method This is really simple, but you have to stay on your toes or you’ll get lost. Each envelope has a secret mark, as in Pseudo-Psychometry, that allows you to know which person has which envelope. A simple pencil dot in the corner will do. Place one dot in the left corner on the flap side, one dot in the middle on the flap side of the second envelope, and one dot on the right corner of the flap side on the third. The envelope reserved for your own use is unmarked. The cards and envelopes should be large, about a foot on each side. Hand the envelopes out in 1, 2, 3, order, provide the helpers with markers and ask them to write their names on the cards and seal them up. Demonstrate the procedure with your card, writing your name on it in flourishy letters. Urge them to hold the envelopes up to the lights to ensure that it would be quite impossible to find the names by reading through the envelope. Retrieve the three envelopes and mix them up with yours. Allow someone else in the audience to mix them up further, and retrieve them. Now, look at your marks and determine which envelope belongs to whom. Mix the envelopes some more and get Alan's (the first John Riggs’ The Suburban Charlatan is available from:
http://www.jonsaintgermain.com/books.htm
J OURNAL OF THE M IND
V OLUME 1, I SSUE 1
P AGE 3
person) second from the bottom. Offer the four envelopes to Alan in a fan and ask him to select one. Do not tell him to try to find his name — let them wonder what you are up to. Odds are good that Alan will pick the envelope second from the bottom — the one with his name. If he doesn't pick his own envelope, don't worry. We’re prepared to deal with it thanks to Bob Tripp's great idea from Phenomenal ESP Perception! Let's say that Alan really selected Bob's name. Take the envelope back and write on it, pretending to write Alan, but actually writing Bob! Don’t let anyone see what you are writing, but I move my lips as though I were spelling Alan. I say: "OK. Allen, you're committed!" Tuck the envelope under your arm, name side against your body, hiding the writing from your audience. _____________________
“If he doesn't pick his own envelope, don't worry. We’re prepared to deal with it thanks to Bob Tripp's great idea.” ___________________
Proffer the three envelopes to Bob, trying to get him to take 'Alan'. Remember, if Alan actually took 'Bob', Bob's envelope is out of play. If it’s still in play, try to psychologically coerce him to take his own envelope. Don’t make a big deal out of this and you’ll be surprised how often the person selects his own envelope. If he takes Chuck, repeat the above procedure, writing Chuck on the envelope and placing it under your arm.
There are two envelopes left, and you offer a choice to Chuck. The last envelope goes by default to you, and if you’re blessed it’s actually your envelope! If not, then write the correct name on it and add it to the stack. Say, "And that leaves one for me." Take the other three envelopes from under your arm. "Let's recap what just happened. Alan, Bob, and Chuck each signed their name and sealed it in an envelope. These envelopes were mixed up so nobody, including me, could possibly know what each envelope contains." As you say this mix the envelopes slightly, as if illustrating what happened. Actually, you don't want anybody to know the position of each envelope. “Then, the three guys were offered a free choice of the envelopes, leaving me this one, ” showing the one with your name on it.
John Riggs’ The Suburban Charlatan is available from:
http://www.jonsaintgermain.com/books.htm
J OURNAL OF THE M IND
V OLUME 1, I SSUE 1
P AGE 4
“And wouldn't it be amazing if they somehow eliminated all the envelopes except mine? Let's see how they did.”Open the envelope, showing that they left you with your own name! "But there's more. Please open the envelopes each of you chose earlier." Hand 'Alan' to Alan, 'Bob' to Bob, and 'Chuck' to Chuck. When they open the envelopes and find that they each have found their own name, they’ll react very strongly!
JOHN RIGGS’ MIND With John, you never know how he is going to answer a question. Oh, he gives superb and knowledgeable answers, but he always gives it a very pithy, witty, and unpredictable spin. With a great deal of eagerness and a little bit of anxiety, I throw my stock set of ten questions at him to answer. “Why did you create the Brown Hornet?” At the time, there weren’t many clipboards that both looked like a real, office-supply-store clipboard AND delivered a fairly reliable impression. I got tired of buying stuff and getting this sick feeling when I opened the box. So I sat down and made a list of all the qualities I wanted in a clipboard. It had to look like the real thing, preferably a modification of a real thing. It had to be easy to reset, and I wanted to avoid preshow work if I could. I worked in Mechanical Engineering for almost ten years and learned how to approach problems like this systematically, and the solution sprang into my mind almost fullblown one day while I was driving. I went home and made the prototype. Later, I made a portable version, the Skeeter, then the Baby Hornet, the Cicada for Preshow, the Butterfly, etc, etc. “Why do you think other mentalists can use these devices?” Other mentalists encounter the same performing conditions under which I designed these devices to be used. I never had much use for things that looked good in theory or sitting on a shelf. I make my living with these techniques and devices; they have to work. Since they appear to be ordinary items, they don’t raise red flags, and they’re fairly bulletproof so suspicious audience participants aren’t likely to bust them. “John, you also have a new set of impressive DVDs for the working mentalist. Would you care to make some comments on those?” Ah, the DVDs ... yes. I had a lot of unpublished material that I wanted to record, plus some material Join the Marketplace Membership Club for $37 — Includes a One-Year Subscription to Jheff's Journal of the Mind: www.Jheff.com/jmom.html
J OURNAL OF THE M IND
V OLUME 1, I SSUE 1
P AGE 5
from my books that I felt would be better presented in a visual format. I also wanted to get away from the formal lecture presentation of recent mentalism releases and go for a more freestyle, informal approach that was more conversational. I hope by doing so to give a better feel for the way the material plays in performance. I tried to break up the technical presentations with some humor, and time will tell if I succeeded. “What makes mentalism attractive to you as a performance art form?” To tell the truth, I like all forms of magic. When I was six, people asked me what I wanted to be when I grew up and I told them I wanted to be a wizard. Nothing much has changed. I love magic in all its forms. To date, I think I’m the only person I ever met who actually realized his childhood dream.
_____________________
“As a performer I’ve encountered people at their best and at their worst. ” ____________________
“What is the most amazing, terrifying, funny, weird, incredible, frustrating, embarrassing or outrageous thing that has ever happened to you while performing mentalism?” As a performer I’ve encountered people at their best and at their worst. When I was nineteen in 1979, I landed a gig twisting balloon animals at the state fair in Tennessee. It was a pretty good gig I thought, I was a recent father and could use the money. The hours were grueling; twelve hours a day in the September sun. People waited in line forever to get their kids one of these bal-
loon creatures. The state fair draws out the lowest forms of human pestilence from the hills and caves of East Tennessee too, and I saw the cream of this crop in my line. I was threatened more times than I could count. One guy, who was about three hairs away from baboon, screamed at me that he had been in line for an hour. When I told him it had been more like fifteen minutes, he let out this high pitched shriek and ran at me. I had had it; between the sun and the people I snapped. I grabbed up the top of my table and smacked him across the head with it as hard as I could. He fell back into the arms of two grinning paramedics. I guess they were enjoying the show. A couple of days later I was about to be attacked by a person with a knife. I reached for my trusty table top when I heard a click. A large biker type had stepped in and was holding the biggest, shiniest gun I ever saw right in front of my face aimed at my would be assailants. He said “You people git back in line, git yer bahloon and move on.” Later, I told him it was nice of him to let them get their balloons. He said that he felt that “Ever’one should git ther’ fair share, but not an inch more.” So compared to balloon twisting, I’ve found mentalism comparatively tame. “Who or what inspired your mentalism when you began your exploration of the craft?” (Continued on page 7)
John Riggs’ famous bug board impression devices are available from: http://www.jonsaintgermain.com/books.htm
J OURNAL OF THE M IND
V OLUME 1, I SSUE 1
P AGE 6
John Riggs’ FAMOUS BUG BOARD IMPRESSION DEVICES The Fabulous CICADA!
Brown Hornet Impression Board!
Designed for pre-show
Real-time Peek
Spectator CANNOT see, feel, or access impression surface
Resets in seconds
One of the best and most natural looking clipboards available
Recessed and invisible impression surface Designed for use in live performance
The BABY HORNET! A Brown Hornet device that fits in your palm or shirt pocket (3" x 4.25") Ultra-sensitive impression
The GRAY MOSQUITO “Skeeter”! Instant access, carry-anywhere impression device (3 3/8" x 4") So thin, no one suspects a gaff
Resets in seconds Works with Post-its, index cards, or business cards
The Beautiful BUTTERFLY! An easily replaced common notepad An instant access impression. No need to rip off the page before drawing on it. Reset it instantly, even in front of people!
Peek in front of your audience Perfect for close-up
The MASCOT MOTH! Big brother of the Butterfly (5 1/2" x 7") Enormous impression surface Gimmick into the back cover COMPLETE WITH PRINTED LOGO for extra camouflage
The BOOKWORM! Perfect version of the Koran book test Gimmick built into the back page of a normal paperback Super-thin cover to ensure good impressions Invisible and reliable technology
The Brown Hornet
$90
The Cicada
$90
The Baby Hornet
$35
The Skeeter
$45
The Butterfly
$35
The Mascot Moth
$50
The Bookworm
$50
The best impression devices on the market, used by professionals all over the world. Order directly from John Riggs at: http://www.jonsaintgermain.com/ books.htm
J OURNAL OF THE M IND
V OLUME 1, I SSUE 1
P AGE 7
(Continued from page 5)
I would say my early influences were Lee Earle and Bascom Jones. Lee and I were good friends for a long time and spoke often. I used to call him to bounce ideas off him. My main influence has been Dr Charles “Cicardi” Scott. He contacted me shortly after Heavy Mental was published and we have been close friends ever since, His advice and guidance has shaped every aspect of my professional career. “Who or what has inspired you recently?” These days my inspiration comes from waking up every morning and finding I’m still alive. As much as possible, I try to avoid watching other performers. I’ve found that in recent years I don’t really enjoy watching other magicians and mentalists. I think it’s because this has been my job so long _____________________ that it would be like a plumber going to watch someone solder two pipes together. My main sources of inspiration are Mark “Compared to balTwain and Jean Shepherd, the writer most people know from the movie A Christmas Story. I’ve also recently decided that Joshua loon twisting, I’ve found mentalism Norton, a.k.a. Emperor Norton the First is my new idol.
comparatively tame.”
“What advice would you give to those starting out in mentalism?”
____________________
I would advise them to avoid doing what everyone else is doing, to develop an original style and voice and to stay off the internet. The internet sucks up your time worse than television, time that could be better spent marketing and practicing. “What advice would you give to those experienced in mentalism?” I would not presume to advise those experienced in mentalism. They would tell me to go soak my head. “What do you see as the biggest problem facing mentalists today and how do you think it can be solved?” The biggest problem in the whole magic arena is that there is too much stuff. It’s overwhelming. Back in the old days when something new came out you had time to learn it. It takes years to learn the full potential of a performance piece. Now, someone tries something out, and it if doesn’t get the immediate response they want, it goes in a drawer and they buy something else. How many center tears do you need? How many billet switches? How many peeks? I sound like an old man, shaking his palsied fist at the wheels of progress, but it’s true. There’s an information overload. So in my opinion the solution is to select a toolkit of solid techniques and work them. I’ve been accused of being repetitive in my books, like I use the Ostin Clip to death. But that little device has so much potential we haven’t even begun to scratch the surface.
John Riggs’ famous bug board impression devices are available from: http://www.jonsaintgermain.com/books.htm
J OURNAL OF THE M IND
V OLUME 1, I SSUE 1
P AGE 8
There are about four techniques upon which I build my entire professional repertoire. Most of these techniques are my own or my adaptation of old chestnuts. I’ve learned them by sticking with them, not dropping them for the new thing on the market. I think magicians and mentalists are too easily distracted by shiny things. This is why I only make tools, not toys.
YOU LIE! Book Tests were originally part of the Spirit Medium’s repertoire, and have long since become a staple of mentalist’s acts. Here is an idea to take it from a simple thought-reading trick to something a bit more psychological, for those of you who experience discomfort at the notion of ESP or psychic presentations. The idea is that an audience participant selects a word from a book. You hand him a marker board numbered 1-5, and ask him to write down the word he’s thinking of at any position, as well as four other, random words. You take back the board and instruct the participant to answer “No” to every question you ask. “Do you understand?” “No.” “Good! Is this your word?” “No.” He repeats with all five words, and you eliminate them one by one. The method is any way you like to get the original word -- a peek, force or Flashback book. The justification of using a book is very simple. When you pull someone up on stage and demand a word, most people freeze up and look blank. At this point, you say, “I won’t put you on the spot by asking you to spontaneously generate a random thought under fire.” Grab the book. “Just say stop.” You can also point out that there’s a strong difference between a word actually looked at and a word merely thought of, but I wouldn’t make too big a deal of it. I’ve used this presentation in impromptu situations using just a book, a pad of paper and a pencil. It plays very well, and people talk for a long time about body language, reading cues, articles they read on the internet about discerning deception, etc – which is what you want: to generate discussion about what you do, not debate about the legitimacy of your premise.
John Riggs’ GODS WITH FEET OF CLAY DVDs are available from: http://www.jonsaintgermain.com/books.htm
J OURNAL OF THE M IND
V OLUME 1, I SSUE 1
P AGE 9
The Books of John Riggs Essential Sleights for Mentalists There is a bewildering amount of material on the market for magicians, but the Mentalist's needs are different. In my opinion, the sleights and subtleties included in this book are essential for any Mentalist. $25.00 Psychic Pselections Mentalism routines you're gonna love ... Routines for stage, close-up, and ideas for the psychic reader who works public venues. This book contains some of my best ides yet. $35.00 Heavy Mental Heavy Mental deals with strong presentations of Psychic and Psychic reading techniques. $35.00 The Compleat Fortune Teller A treatise on the Question and Answer effect, with some Pseudo-Psychometry thrown in. $35.00 The Even Compleater Fortune-Teller A continuation of the Q & A discussion. $35.00 The Psychic Agenda Ways to develop a reputation as a real Psychic, with many routines of strong mentalism. $35.00 Psychic Soirees Deals with psychic parties and small shows. $35.00 Phrenology for the Psychic Reader An easy-to-learn way to perform Phrenology readings. $25.00 PW—The Mentalist’s Secret Weapon A text devoted to pocket writing. $25.00 The Suburban Charlatan Elegant mental mysteries for the Yuppie Psychic, with contributions from Psiman, Pecor, and Ron Martin. $35.00 The Messiah Process No mentalism routines, but an in-depth discussion of psychological techniques to create a magickal experience in the sitter. Past life regression, astral projection, hypnosis, implanting false memories. Three case histories of people who created small cults using these techniques. $35.00 Fat-free Mentalism Tired of carrying around a trunkload of props? This book has routines using minimal props or preparation $35.00 Psychic Singularities Routines, ideas and tips from me, Jack Dean, C.L. Borde, Sal Franchino, Fred Crouter, Myrus, Amazing Whillicker and Fred Kolb. More cool idea than you can shake a stick at! . $35.00 Pitch Books! THREE Pitchbooks e-mailed to you in Adobe PDF Format-- Palmistry, Graphology and Psychic Development. Print them out, add your personal information, and sell them! . $50.00
SPECIAL DEAL! RECEIVE ALL OF THE ABOVE TITLES AS EBOOKS ON A CD-ROM FOR ONLY $250.00
For ordering information, please visit: http://www.jonsaintgermain.com/books.htm
J OURNAL OF THE M IND
V OLUME 1, I SSUE 1
P AGE 10
ON BECOMING THE PEOPLE’S SERVANT I remember the very moment I decided to become a full-time performer for the second – and final – time. The first time was when I was around six years old. People used to ask me what I wanted to be when I grew up and I responded that I wanted to be a Wizard. In East Tennessee, in the early 1960’s this was tantamount to saying “I want to worship Satan and all his Imps.” Since my family dabbled in fortune-telling, it was expected that I was to follow the Highway to Hell. I performed my first professional act at the age of fifteen in the upstairs nightclub of a honky-tonk bar called Bonduli’s Lounge for an audience of redneck drunks. My act consisted of a silk act performed to Glick’s Dance of the Sacred Spirits, Zombie ball performed to Tchaikovsky, and concluded with Miser’s Dream, producing thirty silver dollars and tossing them into a beer pitcher. Let me assure you that they did not know what to think of me. They had come to hear shit-kicking rock and roll and drink cheap beer, not experience cultural enlightenment. Around age nineteen or so, I thought about the possibility of working for a living, since by then I was married and had a son. Plus, everyone continually told me you couldn’t make a living doing magic, including all the experts at the local magic club. So eventually I went to school, got an engineering degree, and in due time got a job in the mechanical engineering field. I hated it, and hated the people I worked with. I felt like I was dying inside. I still did magic on the side, but eventually set it aside too. It just bored me. _____________________
“I actually looked into their eyes and I could tell exactly what they were feeling. I loved that sensation.” ____________________
For four years I did no magic at all. Then I got a call from a friend of mine who owned a night club in the Old City, a rejuvenated artsy part of town. He said that Leon Redbone wanted a magician to open for me, and he remembered that I was, in his words, a really good one. I told him those days were over. He told me to think about it and call him back. There was two hundred bucks in it. In 19 81 dollars, to a young single dad, that sounded good. So I dusted off my case, got my props out, and ran through my act. It was as though no time had passed at all. I knew every move and every corny joke. So I called my friend up and told him I would do it.
When I performed this show, there was something different. I experienced a sense of satisfaction I had never felt before. In the past, when I performed, I totally concentrated on the magic. All my attention was on the props and the execution of the act. This time, though, I was out of myself. I think that raising a kid, having another human being totally dependent on me, had broken my narcissism and gotten me out of my own head. For one thing, I looked at my audience for the first time in my life. I actually looked into their eyes and I could tell exactly what they were feeling. I loved that sensation. I knew that I was doing something positive for them; not just showing off a skill but delighting them and making John Riggs’ GODS WITH FEET OF CLAY DVDs are available from: http://www.jonsaintgermain.com/books.htm
J OURNAL OF THE M IND
V OLUME 1, I SSUE 1
P AGE 11
them laugh. Something changed in me and I knew that this was what I wanted to do. I went into that show for the money, but after that moment I didn’t care about money. I still don’t. For me, it’s about bringing something to an audience that they didn’t have before. When I hear performers brag about how much money they’re making, I know that he and I are from different worlds. We don’t speak the same language. If I die poor I don’t care; I’m rich in the sense that I’ve made a lot of people happy. I think that this makes me an idiot in some people’s opinion, but screw’em. I saw that Mentalism affects people on a different level than conjuring, although good, strong magic can still bring that look of wonderment to a person’s eye. So this is the point of this long story: There has to be a reason for a person to become a performer. I think a lot of people go into show business to get attention, or to make up for something missing in their lives. It’s all “Me me me!” and they forget about the needs of their audiences. If you’re not a naturally giving person who has a true willingness to serve, perhaps performing isn’t the best career choice. Because you give a lot, and you don’t always get a lot back in return. Magic and mentalism are fine hobbies, but if you inflict yourself on an audience, I think you owe it to them to be competent. Have you ever seen someone leave a bad movie saying, “Well, there's two hours of my life I'll never get back.” Man, I would hate to hear that after my show!
“ADD-A-RIGGS ONE” from Unchained I've only given three lectures in my life, and Unchained was the first lecture I ever gave. It was at the New Jersey Meeting of the Minds many years ago. I was scheduled to lecture the second day, but as soon as I walked in the hotel from the airport, Ted Karmilovich grabbed me and asked me if I could fill in for the first lecturer, who had cancelled. 'When?" I asked. 'Right now," he said. So with about five minutes prep time I tossed on a suit, got miked and delivered Unchained before a group of my peers. The lecture wasn't even set up, and when you see the DVD you see me setting it up as I go along! To add to it, I was heckled by the widow of a famous mentalist who was proficient with a band writer. She took me to task during my demonstration of pocket writing during one of my pet pieces BEAR YOUR SOUL. I got her back the next year, when I opened the Saturday night show. I did a bit where I did PW, but not Pocket Writing. I included this rather vulgar bit of footage as a bonus track on Volume Two of gods With Feet of Clay. In UNCHAINED, I talked about my favorite Add-A-Number switching device, which resembles nothing more than a simple stack of index cards. I came up with this one night about an hour before a show, tried it out and loved it. I include it here for readers:
John Riggs’ GODS WITH FEET OF CLAY DVDs are available from: http://www.jonsaintgermain.com/books.htm
J OURNAL OF THE M IND
V OLUME 1, I SSUE 1
P AGE 12
Effect: In Suburban Charlatan I described one version of doing this effect. I've since come up with another, better way to do it. I included this handling in my lecture before the Psychic Entertainer's Association and it met with a great deal of enthusiasm. The effect, as you know, is that you have three people in the audience write down three different fourdigit numbers. The numbers are added up by a fourth person (the ‘Witness’), and the total called out. The total matches the prediction made by the performer earlier.
_____________________
“So sneaky you'll chuckle in an evil manner each time you perform it.” ____________________
The method traditionally involves switching out the audience numbers for a set of numbers of your own (if you like to impress your audience, it is advisable that the sum of these numbers match your prediction!). We accomplish this in a way so sneaky you'll chuckle in an evil manner each time you perform it. Place a stack of about six 3" x 5" index cards in a wide rubber band, so that the band is in the middle of the stack (Figure One makes this arrangement very clear).
Next, you will construct a gimmick that makes the effect possible. Prepare an index card as follows: The bottom half of the card is actually an envelope stuck to the card. If you can find a white coin envelope that fits the card, simply cut it in half and glue it in place. If not, use another index card. Wrap it around the bottom half of the card and glue in place. On the top half of the card gimmick write your series of force numbers. Take a half-card and round the bottom edges. You will want to trim off about 1/32 inch from the edge so that it will smoothly slide into the envelope. Insert the bottom edge of the half-card just barely under the envelope, and it will hide the pre-written numbers. This is Edward Bagshawe's idea, and is most popularly seen in the marketed trick Out-toLunch. (The envelope part is my idea). When the gimmick is placed at the face of the stack of cards under the rubber band everything looks normal. Since the rubber band hides the juncture, the somewhat complicated arrangement looks like an ordinary card. (Continued on page 14)
John Riggs’ GODS WITH FEET OF CLAY DVDs are available from: http://www.jonsaintgermain.com/books.htm
J OURNAL OF THE M IND
V OLUME 1, I SSUE 1
P AGE 13
John Riggs UNCHAINED In 1996, John Riggs was released from his cage to present a lecture at the Meeting of the Minds in New Jersey for the Psychic Entertainers Convention. He performed and explained several of his pet effects from his writings. Included in this one-hour DVD re-release is: Procrastinating Prognosticator Including all the original handling and bad jokes! They Hell Fire One of the strongest close-up mental effects you can do! Add-A-Riggs One and Add-A-Riggs Two One switches numbers and one DOES NOT! Bear Your Soul You present an audience member with a teddy bear carrying a letter signed with the name of the bear they had when they were a child! An extensive discussion on Pocket Writing and much discussion on performing tips and philosophy. This set contains: The DVD (almost an hour) The lecture notes (containing all the effects and several bonus effects as well)
$35 from
www.jonsaintgermain.com/books.htm
J OURNAL OF THE M IND
V OLUME 1, I SSUE 1
P AGE 14
(Continued from page 12)
You may want to make the device from a wallet containing a small calculator, such as described in Suburban Charlatan, for reasons that will become evident. Place the goods in your pocket, and you’re ready to proceed. Performance: Elect someone to be the witness, and have him sign his name at the bottom of the prepared card. Go into the audience, and have three people, from widely separate parts of the room, write three four digit numbers. These numbers are written on the half card, which is concealed by the Out to Lunch principle. Come over to the witness, and as you're apparently checking the numbers, with the tip of the pencil (or your finger) simply slide the half card downward, into the envelope. Your force numbers now come into view. Hand the goods to the witness to total. If you are using the calculator wallet option, allow him to use the calculator. When he announces the total, reveal your prediction in the dramatic manner that years of marriage should have taught you! Here is a disclosure that I like, also described in the Charlatan book: Remove your jacket and turn around, revealing a note pinned to your back. Ask the witness to read aloud what is written on the card. He reads: “KICK ME!” “I'm going to kill that damned kid;” the performer mutters. “Unpin the card and read the other side.” He does as asked, and the card has a number written on it, and once again your prediction is correct!
John Riggs’ famous bug board impression devices are available from: http://www.jonsaintgermain.com/books.htm
J OURNAL OF THE M IND
V OLUME 1, I SSUE 1
P AGE 15
JHEFFSMIND Though there are many pearls of wisdom that John imparts on his new DVD series, there is one that I don't agree with entirely. John explains that there is so much one can do with a regular book that a mentalism shouldn't pay loads of money to get the gimmicked expensive ones. I certainly agree that a mentalist doesn't need a gimmicked, expensive book test. However, the really good gimmicked book tests allows for features that regular books don't have. The freedom of having such features makes them very attractive to use. That said, my opinion on booktests is to be armed with both. Gimmicked book tests that I recommend include THE MOTHER OF ALL BOOK TESTS, DOUBLE VISION, WIZARD'S MANUAL, and NE PLUS ULTRA. But that's a discussion for another time. Besides the excellent "You Lie" in this issue, here are a few of my favorite book tests that use regular, unprepared books that can be borrowed. All of these effects are available at the time of this writing. HOY BOOK TEST -- This is probably the best, and most known, impromptu book effect. A very good version of this can be found on Volume 2 of Richard Osterlind's Easy To Master Mental Miracles series.
_____________________
“Here are a few of my favorite book tests that use regular, unprepared books that can be borrowed.” ___________________
Josh Zandman's IMPROMPTU BOOK TEST -- Recently released, this blends the classic Hoy Book Test principle with another classic principle. This is now in an instantly downloadable e-book form and is available from Outlaw Effects. You can find the link to get this on my site. Michael Sibbernsen's AAA BOOK TEST, Ralph Monserrat and Bob Cassidy's THE MONSERRAT/ CASSIDY BOOKETEST, and Richard Busch's PAPER BACKED THOUGHT PROJECTION. Michael's effect appeared in his recent collection, Frame of Mind, and also in Chuck Hickok's Mentalism, Inc., Volume Two. Ralph Monserrat and Bob Cassidy's routine is found in The Artful Mentalism of Bob Cassidy by Bob Cassidy (natch!). Richard Busch's effect appears in his book, Peek Performances. All three of these effects appear the same to the participant. The mentalist holds a book and looks away while the pages are flipped. The participant says stop and notes a word. The mentalist reveals it. However, the handlings of each are different. Ty Kralin's WHENEVER ...ANYWHERE and Richard Mark's BOOK IT -- Essentially, these are the same effect and both get the credit. Both were published by Lee Earle. The first is available in Syzygy John Riggs’ famous bug board impression devices are available from: http://www.jonsaintgermain.com/books.htm
J OURNAL OF THE M IND
V OLUME 1, I SSUE 1
P AGE 16
- The First Five Volumes. The second is found in Richard Mark's MIND WARP, which is unfortunately out of print now. The basic premise is that random words are called out from any book, magazine, newspaper, etc. The spec thinks of one. The mentalist reveals it. Max Maven's AUTOME -- This can be found on Max Maven's Videomind Vol. 1 and it isn't really an effect you can do with any borrowed book, but if you use a popular book you may be able to have a copy given to you. As always, if you have any questions, let me know. Until next time!
Jheff March 2007
John Riggs’ GODS WITH FEET OF CLAY DVDs are available from: http://www.jonsaintgermain.com/books.htm
J OURNAL OF THE M IND
V OLUME 1, I SSUE 1
P AGE 17
MARKETPLACE SPECIALS FOR MARCH/APRIL 2007 Members only!
Annemann: The Life and Times of a Legend by Max Abrams A classic that EVERY mentalist should have!
Now 25% off the $79.95 list price
Syzygy's Best Volume 2 by Lee Earle and Larry Becker Features John Riggs' Dream Design and five other outstanding routines. One of the best entries in this series.
Now 20% off the $29.50 list price Syzygy's Best Volume 3 by Lee Earle and Larry Becker
Features John Riggs' Compelling Key and five other routines.
Now 20% off the $29.50 list price
www.marketplaceofthemind.com (LOG IN TO THE MEMBERS PAGE FOR DETAILS!)
J OURNAL OF THE M IND
V OLUME 1, I SSUE 1
P AGE 18
John Riggs GODS WITH FEET OF CLAY Volume 1: Immaculate Impressions It's been almost ten years since the prototype of the Brown Hornet was created. In that time, John Riggs developed several variations on the basic theme of a good, reliable and innocent-looking professional tool. In this, the first of a multi-volume DVD series, he discusses and demonstrates all aspects of each impression device, along with handling tips, presentations, and many ideas that he hitherto only shared with a few friends. This is a multi-camera shoot, with extensive close-ups, over-the-shoulder and insert shots to make every handling crystal-clear. Playing time is over one hour, with scene selections and fully operational interactive menus so you can replay or jump to the topic that interests you most. Covered on this DVD are: The Brown Hornet; The Cicada; The Butterfly; The Baby Hornet; The Skeeter; Peeks, peeks and more peeks; Repair tips; Handling tips; Much, much more!
$35 from www.jonsaintgermain.com/books.htm
