V OLUME 2, I SSUE 7 In This Issue:
Paul Brook Contents: 1This Month’s Spotlight 2 ILL-Logical 12 Paul Brook’s Mind 18 ILL-Logical, Part Two 39 Jheffsmind 43 Deuterium
Jheff’s Journal of the Mind, Volume 2, Issue 7 Printed in the U.S.A. Journal of the Mind is published six times a year for members of the Marketplace Membership Club. Published and edited by Jheff Poncher Layout Design Created by Matthew Schouten Copyright © 2008 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.
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F EBRUARY 2008
T HIS I SSUE ’ S S POTLIGHT :
P AUL B ROOK Probably like many of you, I first heard of Paul Brook from the glowing mentions of him on various Internet forums. Then, when Paul announced that his The Alchemical Tools was being released, I invited him to be the feature spotlight in a Journal of the Mind. Paul graciously agreed. Of course, I should say that I was a bit nervous. Here I was offering to spotlight someone’s work that I was familiar with only by reputation. And so I nervously waited for his material hoping that I hadn’t committed myself to doing something I may regret. When I did get the books, I couldn’t put them down. Wow! Of the books I’ve read so far, The Gift is the best single book I’ve seen on the subject of pre-show work. This book brilliantly shows you how to be successful with this technique. Good Vibrations consists of an awesome routine with cards that’s simply a shocker to audiences. And On Mephisto’s Shoulder is an intriguing collection of six routines. The Alchemical Tools, a massive book with tons of insight, is by far the jewel of Paul’s work (I have not obtained The Brook Test yet.) The basic ideas may not be new, but Paul has numerous subtleties I haven’t seen and he expertly explains them in the context of mentalism. What I haven’t mentioned yet is that Paul has a background in psychology. His works feature extensively detailed discussions of his ideas and the subtleties. This, of course, is something that every experienced mentalist should pay attention to. What’s in this issue is merely a sampling of Paul Brook’s wonderful contributions to the art of mentalism. It’s a complete chapter and one effect from his recent work, The Alchemical Tools. I hope you enjoy the excerpts as much as I did.■
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Counterintuitive Help A startling discovery in the world of psychology; by helping a person the helper feels positive emotions for the person they are helping. When you think about this it is goes against what you would expect to happen; it is genuinely counterintuitive. If I were to ask you to open a door for me, you would feel more emotional connection towards me. I on the other hand would hardly, if at all, notice any emotional change. Therefore, if you want a person to like you more, or feel a stronger connection with you, do not do things for them; allow them to do things for you. Even though I have known about this idea for years and use it on a daily basis, it still seems strange to me as I write it here. When we break it down, it becomes easier to understand. The reason why people feel more connection to you is that you are making them feel needed, wanted, and useful all at the same time. You would have to be mad not to want to be associated with such qualities. This method, as with others in this book, relies on making the subject feel special. Wise men have stated many times throughout history that true happiness lies in making other people happy; I think they were onto something. Everyone becomes happier; the people that help you and you yourself. _____________________
"Wise men have stated many times throughout history that true happiness lies in making other people happy.” ____________________
There is a tendency in magic to perform an action that a spectator could perform; such a shuffling the cards. If it is not essential that you shuffle the cards then make sure someone else is asked to do so. In fact if you are using playing cards then get a number of people to shuffle the cards; make sure that everyone is doing something for you. To be fair, if you allow other people to do more things it appears to be a lot fairer as well as making them feel as if they are worthwhile.
If the method of the effect means that you cannot allow the subjects to do anything for you, then why not create a presentational angle that allows the people to be involved; even if it has nothing to do with the end effect. Getting subjects to hold out their hands in front of them and touch their fingertips together works wonderfully. Whilst they do this you say; (Continued on page 8)
On Mephisto’s Shoulder is available at http://www.paulbrook.co.uk/01477410.htm
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THE ALCHEMICAL TOOLS This tome of 398 pages explains how you can make your magic transform into miracles. Paul shares with you some of his best kept secrets from the world of Psychology, so that you never have to have a lackluster response ever again. Over 50 Psychological methods are discussed in full detail. As well as the powerful Psychology included in the first 250 pages, you also receive a number of strong effects. Effects include: At the Doors of Perception: A deck of cards is never touched by the Mentalist. The volunteer secretly selects a card and shuffles it into the other cards. After the deck has been shuffled by the person the Mentalist is then able to remove one card from the deck; it is the spectators.
• • • •
No Forces No Stacks Genuinely shuffled by the volunteer Cards can be borrowed
Deuterium: A thought of card effect, where you have a 1/6.5 chance of guessing the card that the volunteer is thinking of. • No Forces • No Pre-Show • No Writing Down Insightful Sequence: The numbers 1-10 are written onto 10 business cards. The volunteer is asked a number of questions in order to psychologically profile her. After some mental calculations the Mentalist writes a secret number onto a piece of paper, then folds it up and gives it to the volunteer. The cards are also reordered based on the information that the volunteer provides. The volunteer then chooses what order the cards are placed in to. When the volunteer opens up the piece of paper, the number sequence of the cards matches the sequence predicted on the paper.
• • • •
No Forces No Switches The volunteer makes free choices Once the prediction is made it is never touched by the Mentalist.
Killer-Hertz (kHz): Five ESP cards are given to a group of four people. The Mentalist turns around and faces away from the group. Each person selects a card leaving the Mentalist with the not chosen card left upon a table. Before the Mentalist turns around he/she removes a sealed envelope from his/her pocket, and throws it onto the table. Whilst the cards are all hidden, the Mentalist turns around and correctly guesses what every person has selected. The envelope on the table is opened by a volunteer and an ESP card, matching the ESP card left for the Mentalist, is found within. On the ESP card a note states, "I am always left with the circle!"
• • • • •
No Forces No Pre-Show No Writing Down No Glimpses No Marked Cards
Thus Spake Zarathustra: Paul shares six of his most guarded cold reading secrets. If you do not include any cold reading at all, these little gems will inspire you to start doing so. Paul concludes this book with a number of essays and thoughts on the subject of Mentalism and Psychology. Get the strong miracle reactions that you deserve! 398 page, perfect bound soft cover book. All first printing books will be signed by the author.
$80/£38 Available at: http://www.paulbrook.co.uk/ alchemicaltools.htm
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ILL-ogical from The Alchemical Tools We, as humans, are not as logical as we like to think we are, for we are driven more by emotion than we are by analysis and logic. Emotional experiences colour the black and white reality of the world around us and how we function within it on a daily basis. It is this emotional aspect that interferes with a killer’s perfectly planned out murder; only to discover that Columbo is at the door with “just one more question”. The killer believes that they have constructed a perfect plan, but emotions blur their analytical thinking; once this happens mistakes occur. Emotions and feelings are the weak link in the chain of logic. When such weaknesses are exploited the person will feel as if he has been very logical; when in reality deception and control are lurking in the midst. There are a number of ways that we can use these illogical aspects of the mind to create miracles out of magic. In this chapter you will see techniques that enable a subject to really buy into the presentation of your effect. Whilst, other techniques will explain how you can create an idea or concept that appears to be logical when, in reality, it is a complete lie.
Use Their Name Upon hearing our own name, even if shouted through the busy streets of a major city, we will turn and look for the caller. We have all been in that situation where our name is shouted out, only to turn around and embarrassingly realise that it was meant for someone else. Why do we do this? Well our name is the biggest ‘label’ that we place on ourselves; it supercedes all other ideas of who we are or how we fit into the world. For all intents and purposes our own name is the most powerful and important word to us in the world. If a person says your name you give them attention, both mentally and physically. Your heart rate increases and your body enters a state of mild stimulation. These reactions happen instantly without any conscious thought and have occurred from the very first moment that you realised a certain repeated sound was your designation. The Alchemical Tools is available at http://www.paulbrook.co.uk/01477410.htm
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A name is essentially a life long conditioned response that you respond to; the same way that you were conditioned to answer a ringing telephone. The conditioning does not stop there; once you are stimulated by your name you await a response. You are waiting for information, the senses are poised and the body in most cases becomes still. By using a person’s name you get instant attention as well as receptivity. _____________________ Besides gaining attention from the subject you will also gain respect. You see, by using a person’s name you are stroking "If a person respects you their ego; remember their name is the most important word to then they are on ‘your them. Every time that you use that person’s name you will side.’” demonstrate to them that you respect them. Once the person ____________________ feels respected, they will start to respect you. This is very important; if a person respects you then they are on ‘your side’. If you happen to come across some hecklers the people that respect you will deal with them, in most cases. If they do deal with the hecklers, it enables you to retain a position of power as people only defend people that they respect. Also, by doing something for you they will in fact like you more; this will be covered later on in this chapter. All of the positive feelings that the person feels once they are ‘respected’ are transferred to their surroundings. This is another illogical aspect of the mind that we can use; the fact that people perceive the world around them according to the emotions they feel. If you feel annoyed then the world around you will be annoying. Equally if you are happy, you will see everything through rose tinted spectacles. Whatever you perform for a person that feels respected, everything for them will be perceived as being wonderful. You have made them feel important, and in turn you and your performance gains importance. It makes me laugh when I see Magicians and Mentalists who belittle their patrons and show them a lack of respect. They think that they are being ‘big’, but in reality they are slitting their own throats. So by using a person’s name a great deal of improvement can be added to an effect. Nothing really changes other than the perception of the effect in the subjects mind. Magic really is in the person’s mind and perception; a true magician knows how to allow the person to perceive the effect in a certain way. Now, here is the dangerous part; forgetting someone’s name. Of all the insults in the world this is one of the greatest. The person may not go on a killing spree with a machine gun if their name is forgotten, but you and your performance will be affected. The law of reciprocation is invoked; your lack of respect is transferred to you and you are neglected.
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It goes without saying that if you are given little importance, so it will be with your effect. Therefore, it is a must that you never forget a person’s name. Very occasionally you may forget a persons name; it happens to me every now and again. When this happens it is very important that you are honest about it and that you make an extra effort to relearn their name. If you forget Fred’s name then you simply say, “I’m sorry, I have forgotten your first name; would you be as kind as to remind me?” This will allow you to move on from a potentially damaging and embarrassing situation. By first apologising, you are taking blame; that is important, you must own the mistake; and so you should. When you say that you have forgotten their first name you imply that you know the person’s other name/s. Even though you may have never asked about their other name/s this impression that you have only partially forgotten softens the blow. After asking them for their kindness they will feel placated enough as you will have shown them that they are important to you. Once again, this is a small single sentence, but one that I am sure you agree, is worth knowing. It is the pivot point betwixt doom and success; especially if you forget a prominent client’s name. It is said that prevention is better than cure and I strongly subscript to this ideology. It is far better for you to go to a table and to use a memory system/mnemonic to remember the names of those present. As with a lot of these psychological techniques, you will find a vast array of books that will cover this subject in far more detail. However, I will share with you a technique that I have found very effective and one that I have used for many years now. Firstly, you must actually turn on your ears, I know this may sound strange, but when we actually meet a person we are running a conditioned ritual. We shake their hand, we ask their name, and we don’t pay attention, then immediately launch into small talk. Due to this being a habitual routine we really are on auto pilot for most of the process; in this state you will find it hard to recall a person’s name, especially when you are dealing with more than one. Therefore, turn on your ears and become interested in the name when it is given to you. Make sure that your goal is to get one thing; the person’s name. That way when they give you their name you will be ready to give it the attention it needs. As a side note, when people give you their name they really are giving you a gift; the power to influence them. It is then your choice if you want to influence them or not! Once the name has been given to you it is very important that you verify the name again. You may have misheard the name or it may be a name that you are familiar with; either way, by verifying it you are able to make sure you have the correct name. The Gift is available at http://www.paulbrook.co.uk/01477410.htm
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Even if it is an amazingly simple but wonderful name like Paul, (Did I really just write that? Did I really allow this book to go to print with the word wonderful in front of my name? Yup!), you should still verify the name. Verification is simple; as they give you their name you simply repeat it back to them whilst looking them in the eyes. If you have made an error, trust me, they will let you know about it. This process when used will allow you to have the name said at least twice, thus increasing your chance of remembering it. It "Using the person’s name also leaves an impression that you are extremely interested in whenever you naturally getting their name correct; this is because you will be. This will can, will make them feel be perceived as showing respect to the people you are about to perform for; again you should respect them as they feed your good, enable you to rehunger and quench your thirst. _____________________
member the person’s name and also giving your effect the importance that it truly deserves in the mind of the volunteers." ____________________
Here is the most important part of the process; the word/name association. When you have a name given to you, think about another person that you know who has the same name. For example, if I meet a person names Sylvester I will picture Sylvester Stallone in my mind; I will imagine that this person is Rambo or Rocky.
If I didn’t know anyone called Sylvester then I would find parts of the name that remind me of other objects; for example, Sylvester could be Silk Vest-er. It is simply a case of picturing a silk vest on that person. The word association is a little silly compared to that of remembering a film star or friend, but it works extremely well. In fact the more bizarre the association the easier it will be to recall it from your memory. Once that you have a famous person or some words associated with the person’s name the final step is to use the name. Improved memory recall is increased by frequent use of the information to be recalled. Using the person’s name whenever you naturally can, will make them feel good, enable you to remember the person’s name and also giving your effect the importance that it truly deserves in the mind of the volunteers. Please, do not overuse the person’s name, as there is a tendency for people to do when they first start utilising this technique. Remember the golden rule, if a subject realises that you are trying to do something to them they will stop you from doing it. Therefore, I would not recommend that you say a person’s name more frequently than once every few minutes.
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(Continued from page 6)
“Research has shown that in this position people often feel as though a small electric current is running through their hands. Who can feel that?” If someone says yes, then run with it and use that person for an effect. You already know that they are more suggestible than others at the table if they have accepted this suggestion; this is the person you want to use for psychological forces. On the other hand if everyone there can feel the ‘electricity’ then ask everyone to describe how it feels. This will build rapport in the group; this will be transferred to rapport with you. If no one can feel it then you can talk about how some studies in psychology are a waste of time. You then explain that other studies are more worthwhile and thought provoking; this is a nice segue into the effect you will perform. All this is assuming that you are taking a psychological slant; this is easily adaptable to any style once given some thought. Whatever the outcome you will have asked every person present to perform an action for you and that is the reason for getting them to do this. You will always be able to work some kind of spectator action into your presentation, even if you cannot do so for the effect itself; just give the presentation process the time it deserves during creation. _____________________ There is another benefit to be gained from using this methodology; a master/servant division. The very nature of "This extra respect and doing something for a person makes the person subservient to obedience makes audience you in that precise moment.
management easier and In most normal circumstances this is fine because we share will also make sure that the subservient role with the people that we know. In this the subjects are responsive situation you will not be sharing the subservience, but instead to your requests.” allow it to be one sided; with you becoming the master.
____________________
Time to check the ego at this moment; the people will not be your slaves or actually subservient to you. Yes, they will be in that moment, but not for any length of time and this is definitely not the time to go on a power trip. You will not be seen as a master in any way, you will only gain more respect and increased obedience. You will not be forcefully controlling anyone (well only if they really heckle you), it will all be done in a convert and hidden manner. This extra respect and obedience makes audience management easier and will also make sure that the subjects are responsive to your requests.
Good Vibrations is available at http://www.paulbrook.co.uk/01477410.htm
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When using this technique in a real world environment (nothing to do with magic) you have to be careful that you do not ask too much of the person. If you were to get the person to perform tasks for you without you performing tasks for the person, they would start to resent you. This normally takes a fair deal of unrequited requests, and will not be an issue in the short space of time that you will be performing. Therefore, use this method liberally with as many people as you can; get people involved.
Applied Pattern Interruption A pattern interrupt is any action physical, visual, verbal, etc. that changes a pattern of behaviour/though and leaves the subject in a clear state. Imagine still being half asleep in the morning supping on a cup of tea/coffee with the TV blasting on in the background; also known as the ‘zombie’ state. I am sure we have all been there. Whilst in this state we are staring at the floor/wall and day dreaming. Suddenly there is some breaking news rapport about a terrorist attack, instantly you ‘snap out’ of that ‘zombie’ state and become focused and attentive; your pattern of ‘zoning out’ has been interrupted. A new state of mind will be created from the new information/environment around you. That was just one example, we go through countless state changes throughout our daily lives. So how can we use this natural process to make our magic turn into miracles? First of all you need to be aware that a pattern interrupt can be anything from a caffeinated cup of coffee, to the shocking and outrageous. When creating pattern interrupts for performance you will want to use techniques closer to the shocking/sensational end of the scale. A sensational opening statement such as, “In about five minutes time I will show you something that your brain won’t be able to stop thinking about!” will grab your audience’s attention. It will interrupt their pattern of being in a group and having a chat, or whatever they were doing. There will be a separation from what was happening and what is about to happen. This shift is very important because their new pattern/state can be whatever you so wish. You essentially move them away, mentally, to a place of your choosing; that is strong stuff. If you have used a sensational statement as a pattern interrupt then you will have some extra bonus material. In the example pattern interrupt spiel above, I made a rather large claim; it is this claim that explains to the audience that you are an expert. Don’t Forget! Marketplace Members Get an Additional 5% Discount! www.marketplaceofthemind.com
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Just as a card technician will use a single flourish to say, “Hey, I’m not your Uncle Charlie playing with the cards, I’m a professional!” the Mentalist can use a strong pattern interrupt to separate him from others that may encroach on the subject’s time. I recall working at a gig where there were six strolling entertainers were booked; three magicians, two impressionists, an origami expert, and myself. I noticed that a group of chaps in one of the corners kept sending entertainers away as soon as they approached them. During a company speech the entertainers all went to get refreshments in a side room and nearly all of them started to moan about this group of men. I had found out that they weren’t just saying, “No, thank you!” they were being quite rude about it. I then decided to try my hand at entertaining them. It occurred as follows: Me:
“Good evening gentleman, I trust that you are enjoying yourselves?”
Group Leader:
“Listen buddy, get a real job or just go bother someone else. Fucking pest!”
The entire group started to laugh at this. From my conversations with the other entertainers I had expected this. I simply waited for the tittering to die down before continuing. Me:
“It’s a real shame that you would deprive yourself of something that I have demonstrated to royalty. Enjoy the rest of your evening.”
I had performed the effect many, many times and it wasn’t exclusive for royalty, but they didn’t need to know that. As I said this I started to walk to another group of people when the group leader called out:
The Brook Test is available at http://www.paulbrook.co.uk/01477410.htm
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“Hey wait up buddy, sorry about being so harsh, I thought you were one of these third rate entertainers. I had no idea they hired any professionals for these things, they never have before.”
This group gave me some of the best reactions of that particular gig. They weren’t expecting to be entertained, so when they were, they loved it and really let their hair down. Sadly, their preconception of the entertainment meant that they were not letting anyone else have a shot at performing for them. They perceived me as being better than the other entertainers _____________________ even though the others were just as good. Especially the impressionists, they were spot on and really funny too. The "Whenever you use a only difference between the other entertainment and myself pattern interrupt that is was that I made that group want me; I made them feel as though they were missing out and that I was worth their time. sensational you will get
instant interest and All of this was achieved by using a pattern interrupt in the attention from the people form of a sensational statement. It worked wonders with that you say it to.” hard crowd, just image the effect you can have on more willing subjects.
____________________
Whenever you use a pattern interrupt that is sensational you will get instant interest and attention from the people that you say it to. As with any method that gets your subjects interested it will place them in a receptive state of mind. It will also make them focus on what you are saying and performing; making them more susceptible to your psychologically worded script. After making your initial claim, there will also be doubt in their minds, especially if you say the kind of things I sometimes say. I say things that make the people doubt my abilities because it makes the successful conclusion of the effect even more powerful. If for example I said that I could jump 2 meters in the air, then it may be possible as other people have been known to jump high. Because it is possible the person doesn’t doubt it, and when I do this they are impressed but not amazed. On the other hand, if I claimed to be able to jump 2 meters in the air and then levitate for 10 seconds before slowly floating to the ground the person would doubt it, a lot. If I then perform that action, the person will be amazed, as they never though it would possible. So if you are using a pattern interrupt make sure that you can do what you say you can whilst making it seem impossible. Always deliver a pattern interrupting statement in a serious way. This doesn’t mean that you have to be solemn about it, just serious. The people that are listening to you need to be aware that you are not joking. Steve Cohen’s WIN THE CROWD! NOW 20% OFF! USE COUPON CODE: VERSA42008
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If I said I could jump 2 meters in the air and levitate in a joking tone then it would not be taken seriously. For your pattern interrupt to work it must be delivered in the confident and serious tone of a person that can live up to his/her words. (Continued on page 18)
PAUL BROOK’S MIND It is no secret that to be an accomplished mentalist, you must have a very strong stage presence. One must command the stage and control the audience. After all, that’s what a mentalist works with – the minds of the audience, as opposed to the magician who amazes the audience’s sense of sight and logic. It follows, then, that the more psychology you know, the more successful you’ll be. It is important for a mentalist to control not only what the audience does, but what they remember. Texts that deal with this subject are rare and valued. The good mentalists value this information more than learning effects. It’s much more important to learn the subtleties of the how and why one makes a routine successful, rather than be satisfied with the basic principle behind it. Enter Paul Brook’s The Alchemical Tools. It is by no means an encyclopedic text on the psychological behind performing mentalism, but quite a bit of what is contained within its pages is golden material that I’ve not seen in print before. Of course, someone with such invaluable insight and experience is someone who could share quite a bit with us. So here are Paul’s incredible answers to my interview questions. Why did you produce The Alchemical Tools? I was a psychologist for nearly a decade, during this time I ended up becoming heavily involved within the field of Mentalism; as this happened, a marriage between these two disciplines took place. I applied various psychological techniques to my Mentalism performances for a number of years, that then became commonplace for me. The use of psychology within my effects has helped me to take small effects (and powerful ones) and make them a whole lot stronger. I see a lot of magic out there, that if the presentation were tweaked ever so slightly, the effect would be miraculous. This is the focus of The Alchemical Tools, making magic into miracles. Performers are often filled with passion for effects that garner a powerful response, and sometimes that response can be pretty ‘hit or miss’. As a result of this performers can slowly lose their passion for their art, in fear of being underappreciated. With this book I hope to empower the performer to get powerful responses every single time that they perform; thus installing that high level of passion that they once had.
The Alchemical Tools is available at http://www.paulbrook.co.uk/01477410.htm
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Over 250 pages of the book are devoted to applying psychological techniques to one’s performance, the remaining 150 or so pages being dedicated to a number of effects, cold readings, and essays. My other releases have been well received by our community and the aspects of my books that seem to receive the most praise are the psychological aspects. I have received e-mails and letters from seasoned professionals and enthusiasts who have found something of value within the psychological nature of my releases. This book is really in response to the wanting of a psychologically driven book on the subject of Mentalism. I am a big believer that we never stop learning, our egos simply stop us from continuing the process. I am sure that anyone that purchases The Alchemical Tools will find something that they can use within their art form. Why do you think other mentalists can use The Alchemical Tools? I have made the information very accessible to the performer, and have included numerous ‘real world’ examples of how this information can be applied. These changes are not mammoth by any means, I know as a psychologist that large scale change often ends in total mental rejection. It is with this knowledge that I have made all of the information easily applicable for the performer. The subject of psychology, from a performing aspect, could have easily taken up a 15 volume set of books; my main aim was to pick out the most relevant information to get the performer that powerful reaction that they deserve. We have all been in a situation where we have performed a killer effect, only to receive a disappointing reaction. A lot of the professionals that I speak with simply take this as a matter of fact, that some people really are just not interested. I like to take the viewpoint that every person can have a very powerful personal moment, and every reaction can be miraculous. What makes mentalism attractive to you as a performance art form? For me, personally, I like the fact that Mentalism has its roots firmly grounded in the realm of reality. The things that you see are improbable but still seem possible, and therefore, believable. Magic on the other hand, as a performing art, is about showing people the impossible, things that they know cannot physically be happening. This is not a knock at magic, as I love it with all of my heart; they are just two completely different existences. Modern day Mentalism, with its ever increasing psychological pseudo-explanations ends up exploiting the dreams and desires of the audience. Larry Becker and Lee Earle’s VERSADEX WALLET NOW 25% OFF! USE COUPON CODE: VERSA42008
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Wouldn’t it be great to know what a person is thinking from looking at their body language? Wouldn’t it be amazing to predict what a person is going to do? These then become modern fantasies of super powers that the audience lusts for. This especially becomes true with modern Mentalism as a lot of performers take on the role of the ‘everyman’; a person who has learned the specific skill. It is this escapism that I find most attractive about Mentalism. I'm sure you've had some memorable experiences performing mentalism that truly inspired, amazed, frustrated, embarrassed, terrified, and or/amused you. Can you share one or more of these experiences? This question could be the basis for a 15 volume series! I was really inspired by a guy who came up to me about two years after I had performed for him at a gig. I didn’t recognise him, but he recalled the event with clarity for me. He then explained that the month prior to the event his wife had left him and he had lost contact with his daughter as well. He told me that he was ‘on the edge’, and whilst I performed for him, it took his mind away from all of his troubles for 10 minutes. He told me that this really allowed him to see light at the end of his dark tunnel of depression; helping him to get through it. Looking me square in the eyes he said, “You helped to save my life!” I will never forget that moment; it really hit home to me how much a performance can mean to a person; and just how powerful it can be. Now for a moment of amazement, frustration, terror and amusement, rolled into one. Performing for some high-flying types, I had a guy who challenged me to read his mind without him having to write anything down. I was hit with a momentary panic. I tried to use some kind of psychological force, but he wouldn’t have any of it. He wanted to think of a subject and for me to read his mind. I was feeling and looking flustered, and he loved it, I explained that I was finding it hard to read his mind as he was being so confrontational. I then explained that if I could choose the subject matter it may help me to focus; he rebuked that he wanted specific information, no general stuff. I was scared, worried, my heart was beating; I was faced with the prospect of group humiliation in front of some important business men. At that moment I realised that I recognised this mans face; he had been in the year above me at school; and a real popular guy too. Good Vibrations is available at http://www.paulbrook.co.uk/01477410.htm
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Being ‘Mr. Popular’ his whole life was everyday gossip amongst the school yard geeks. I knew who his first girlfriend was, I knew details about her (being the lusted ‘older lady’ to us in the year below), as well as a whole host of other details. My opening gambit was, “Think of the first girl you were ever serious with!” Him: “Ok!” Me:
“I can see natural blonde hair, dark brown eyes and slender face, with predominant cheek bones.”
Him: “Hmm, vague.” Me:
“Think of her name. I am getting an S sound, Sarah. Yes, Sarah, Sarah Hanson!”
Him: “How the hell did you know that?” Me:
“She is saying, ‘Do you love me Spider?’, why is she calling you Spider? Is this making sense to you?”
This chap’s nickname at school was Spider, and he flipped out when I mentioned this. He not only turned white, but couldn’t speak; a welcome and extremely unexpected victory on my part. Who or what inspired your mentalism when you began your exploration of the craft of mentalism? At the age of 12, I was taking private one-to-one tuition with a professional stage hypnotist. I wasn’t only learning the art of hypnosis, but also a number of ideas such as pre-show work, and basic Mentalism that is part of any professional stage hypnotist’s repertoire. This really gave me a good grounding in the field of creating illusions that were seemingly real. However, after becoming a psychotherapist I did not find much time to devote to this aspect of my interest. As with a lot of people, my professional life took precedence over my hobby. It wasn’t until some years later, after I had come into contact with a number of magicians, that I had my interest rekindled for this art. I started to play around with some classics of mentalism and magic and applied a different viewpoint, or to present them in a different psychological way. The effects went down better than I could have ever expected.
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I knew that this beautiful moment of wonderment that is created at the apex of the effect was what I wanted to harvest for the rest of my life. With that in mind, I started to enter the world of the semiprofessional, and then professional performer, until I finally closed down my therapy practice entirely. It was the ability of being able to combine my love, knowledge, and education in the field of psychology that really excited me in to action. The fact that I could apply this knowledge into an entirely different field ignited my passions for psychology. These days, both the psychology and Mentalism fuel each other in a symbiotic relationship. Who or what has inspired you recently? The laity really inspire me so much, every reaction that I get, every moment of wonder that is created, fuels a passionate fire that burns within me. As far as Mentalists who inspire me; Phill Smith, Iain Dunford, Drew McAdam, Jon Thompson, Steve Shaw, to name but a few. There is so much talent out there in the field of Mentalism, and it seems that every week there is a new guy appearing with a fresh viewpoint or idea. I love to read as many ideas as I can, and I spend nearly half of my income on magic/mentalism books, effects, and DVDs. It is so easy to rebuke new ideas, but I applaud all of those brave enough to share their ideas. What advice would you give to those starting out in mentalism? Make sure that you only perform effects that you have a passion for. Throw away the presentation that you get with the effect and create a presentation that means something to you, one that honestly moves and motivates you. Put the presentation of effects at the front of your mind and make sure that these presentations are strong and well scripted. Oh, yeah, and ignore Magicians who cannot appreciate the true beauty of presentation, and can only see methods; listen to yourself, as hard as it may be. What advice would you give to those experienced in mentalism? It is easy to feel as though you ‘know it all’ when you have been performing for some time. We all feel this way from time to time. When you realise that you feel like a ‘know it all’, try to humble yourself and realise that there is so much to learn in the world; not just in the field on Mentalism. Whenever, you encounter a person that is starting out in our art form, take your time to inspire them. It is so easy to say negative things to people, but it is equally as easy to inspire a person with encouragement. Trust me; a positive word can make the world of difference. Also, listen to your audience; they are mirrors of how you present yourself. The Gift is available at http://www.paulbrook.co.uk/01477410.htm
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Oh, and one last thing, if an effect does not go to plan, the fault belongs with you, never the volunteer! What do you see as the biggest problem facing mentalists today and how do you think it can be solved? There are a few problems that I encounter.
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The first one is that of disrespecting peers. I am forever "I wonder how fast our hearing about how bad ‘so and so’ is, and how bad an effect craft would evolve if people is.
felt comfortable sharing This is akin to a civil war of Mentalism; surely it is better to ideas with peers in a nonwork together rather than bitch about each other. The easy judgmental atmosphere." solution is to say something about the performance, or performer, that you enjoyed or liked.
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I wonder how fast our craft would evolve if people felt comfortable sharing ideas with peers in a nonjudgmental atmosphere. The second issue that I encounter a great deal is that of Magicians destroying the passion of Mentalists. We have all been there, we show a magician an effect with a wonderful presentation, only for the magician to turn around and say, “Oh, but that was just a force.” Therefore, completely disregarding the work that has gone into the presentation and scripting. This boils down to one essential rule, the magician will only see the trick, whereas the laity do not even realise that there is a trick. I have a great effect with a haunted key; the presentation is thoroughly scripted and presented as a psychological idea; rather than a PK presentation. When I perform it for the laity, it receives such a powerful reaction. When I perform for magicians they say, “But that was just a haunted key, why waste all of that time talking, just perform it!” The solution is to disregard the magicians, they are different style of performer altogether. Yes we have crossovers, but the style is different, very different. Listen to yourself and the people that you perform for; if they enjoy the effect, as do you, who cares about anything else? Lastly, I have a serious problem with people shouting “Derren Brown Wannabe”. I utterly respect Derren and everything he has done for our craft. He has changed the way that people perceive mentalism and mystery performances. During this process he has covered a massive array of style and presentations. I would say that a performer would be hard pressed to not have something in his/her repertoire that a person could not attribute to something that Derren has performed. These crossovers should be expected to some degree, and therefore, accepted. Steve Cohen’s WIN THE CROWD! NOW 20% OFF! USE COUPON CODE: VERSA42008
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I am not saying that Derren clones should pop-up all over the place; but if a person uses a similar pseudo-explanation or effect, don’t just shout them down. Derren has set the tone, and people will follow on from here, but crossovers are inevitable.
(Continued from page 12)
ILL-ogical (part two) Exploit Their Ignorance We are all ignorant about something, unless of course you know it all, and the chances are that you might; there seems to be a lot of Magicians who do! Often in society these days, ignorance is perceived as a derogatory word with the implication of stupidity. When I use the word ‘ignorance’, I am asserting not to this notion but that of the original definition; a lack of knowledge. This gap in knowledge known as ignorance, by its very nature, breads uncertainty as well as conformity. If I told you that my uncle is called James, then you are almost forced to believe me; unless of course you know my uncle is not called James. The reason that you are forced to believe me is that you have a lack of knowledge in this area. How do you even know that I have an uncle, let alone one called James? Information is all around us and if you could be fully aware of it, you would realise that it is surprisingly vast. In this immeasurable web of information there are common themes of ignorance as well as ways in which you can create the ignorance that you require. The first thing to realise, and I am sure that you will if you are a Magician, is that just because you know something, do not assume that other people do. If you know a fact about something, why should you assume that other people will? If I look at the amount of pages in a particular book that you have never seen before, should I expect that you would know how many pages it contains? Once you have become confident and proficient at being able to lie to people you may then enter into this bold arena. However, if you still have trouble ‘over selling’ a double lift because you feel guilty, perhaps you need to become more comfortable with deception first. On Mephisto’s Shoulder is available at http://www.paulbrook.co.uk/01477410.htm
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The reason that I say this is because you will need to be confident in the face of adversity. I once gave a pseudo-scientific explanation of an effect to a professor of physics. If I would have hesitated during the performance would have been ruined and I would have had egg all over my face. If I performed the effect I risked having an expert in the field disprove me. What did I do in this predicament? Well, if the truth be known, I didn’t care as I understood two important things. Even the best expert in a given field is ignorant in some other aspect of that field. Secondly, every human being feels insure about their abilities from time to time. With this information I steamed ahead; any discrepancy in my information would be perceived as something that he had never come across before. Even if he had, would he risk looking foolish in front of his friends and family? The answer is “no”; experts have more to loose if they are wrong, this makes then very careful about committing to anything as their reputation could be at stake. Everyone enjoyed the performance; the professor even commended me on my thorough research into a field that he held close to his heart. You see, he in fact respected me for knowing something about his field that he did not. This meant that when I was delivering my pseudo spiel, he was nodding with interest. The dual reality happened to be that everyone else perceived this as a conformation that what I was saying was correct; I had expert testimonial as far as they were concerned. Now, the chances that you will end up performing for an expert of whatever your pseudo explanation may be, is quite slim. But just incase you do end up in that situation you must make your explanation as plausible as possible. The next section in this chapter, ‘False Logic’, will deal with this in greater detail. If I would have made outlandish claims that the Professor knew were total crap, he would have exposed me. It would be an insult to him that I would falsely explain the field that he holds dear to him. Therefore, a little research on your part will go a long way; it will also impress any laymen that look up some information that you have mentioned. This can add a real air of authenticity to your persona; especially as your effects should reflect the abilities of your persona. Besides professional ignorance, we tend to, as a species, be ignorant about certain areas of information. Wonderful examples of this are found in single unit numbers of large quantities. If you have ever played that game where you guess the amount of marbles/sweets in a jar, you will know just how ignorant we are at this. At a fete I once had the privilege of looking at the slips of paper Larry Becker and Lee Earle’s VERSADEX WALLET NOW 25% OFF! USE COUPON CODE: VERSA42008
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containing the estimations that people had made in order to help find the closest person. I was shocked at the range that was represented within the answers, some were ridiculously low, most were unbelievably high; very few were close to the answer, the actual winner was off by nearly 100 sweets. We find it hard to accurately perceive large amounts of information due to a lack of experience. We rarely come into contact with more than 50 or so individual objects. Even if we do, it isn’t just the amount that makes an accurate estimation but also the size and shape of the individual units. Now that you feel confident that people are inept at truly perceiving a large quantity of items, it is time to exploit this information. Anytime that you have more than 50 objects always say that it is at least three to four times as large. I have a routine that uses a transparent forcing bag. In that bag there are about 250 pieces of paper; this includes both the forcing and non-forcing sections. As I display the bag I claim that the bag contains approximately 1000 pieces of paper, each with a unique number; I have never had anyone question this. The effect is made immensely more improbable than it really appears. If you can make any effect seem extremely improbably (not impossible, never allow an effect to be impossible) it will be considered a miracle in its own right. If I were to guess your name from a list of four names, it may be impressive, but it is only a one in four chance. However, if I were to guess your name from a list of 100 people then it appears far more impressive. A simple book test can be made more impressive if after the word is selected you say, “Now, this book contains 358 pages, what made you choose the page that you have?” Since the book only contained 197 pages you have almost doubled the improbability of the effect; all by simply lying. When I explained this approach to one chap he seemed really excited about it. Unfortunately, the next time that I saw him performing a book test he didn’t use it. When I asked him why he didn’t he said, “Books are really common objects, I am sure that people will know how many pages are in a book from its size.” Put simply, he was incorrect; books come in all shapes and sizes as well as page thickness. Grab a copy of the bible, and a thick paged book from the early 18th century the same thickness and you will see a massive discrepancy. The bible will contain around 2000-3000 pages (depending on the version), whilst the 20th century book may contain between 100-150 pages. Again, the main point that I stated was that whilst books are regular objects, less that 32% of people read a book after their compulsory educations ends. That 32% diminishes greatly when we look at people who read so regularly as to question the amount of pages in a given book. So all in all, this guy had nothing to worry about. After I gave him a ‘pep talk’ her decided to give it a go, and noticed an improved reaction the very first time he used this subtlety. (Continued on page 22)
The Brook Test is available at http://www.paulbrook.co.uk/01477410.htm
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THE BROOK TEST A powerful brand new book test from the mental workings of Paul Brook. Imagine turning up to an event, borrowing any book of the spectators choice (from their own collection), they turn to a page and then they mentally select any word they want. Then you reveal the thought of word to them!
• • • • • •
No gimmicked book No writing down The word is chosen in the spectators mind Can be done with any book Free choice of any book (no equivoque used) Very Strong Reactions
The 'Brook Test' book contains 10 powerful variations and tried and tested subtleties. 104 page, perfect bound soft cover book. All first printing books will be signed by the author. "It's really elegant." - Andy Nyman, Professional Mentalist, UK "I love it. I sat down and read straight through it. There's a lot of genius psychological subtleties within this book. This is fine piece of impromptu mentalism that should last for the ages." - Scott Wells, Associate of the Inner Magic Circle and S.A.M Magician of the Year 2002, USA "There is a lot of really good psychology in its pages and your thoroughness is to be commended. I will definitely be using some of these fine ideas." - Richard Osterlind, Professional Mentalist, USA "You have taken the Hoy book test one step forward by making it possible to go beyond 'look at the first word on that page' to what will LOOK like 'think of any word on that page'. This is a nice evolution from the Hoy original." - Ian Rowland, Professional Mindreader, UK
$60/£25 Available at: http://www.paulbrook.co.uk/brooktest.htm Don’t Forget! Marketplace Members Get an Additional 5% Discount! www.marketplaceofthemind.com
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(Continued from page 20)
Literally anything that has a large enough quantity can be used. Things to avoid should be things that people are aware of; such as the amount of playing cards. There is yet another way to exploit the ignorance of your audience and it comes in the form of statistical information. If I perform an effect for you in real life, the chances are that I will lie to you in a statistical manner. This emerges from being a therapist and having to provide statistics to make people feel motivated, better or just to understand a concept. The power that statistics have over people is truly amazing, considering that they can be bent and twisted to prove almost anything. They are all around us, on the TV, in the newspapers, and in the books that we (32% of us anyway, of which you must belong to as you a reading this book) read. They are perceived as originating from a reliable source; which in most cases is a false presumption. The reason that people believe in the reliability of a statistic is that of a presumed chain of events. The chain that is presumed is that: The research is commissioned (normally perceived as being a governing body) The research is performed (by professionals) The information is collected and analysed (by professionals) This resulting data is distributed via a medium such as TV, books or newspapers (by established authorities of power) The media passes on the statistic to an individual (the person who is informing them of the statistic) The person hears the information This chain of events is the presumed process that has taken place; when in fact there the chain looks more like this: Sitting in Study Create/read about an amazing effect A presentational angle is required and pseudo-explanation is required The Alchemical Tools is available at http://www.paulbrook.co.uk/01477410.htm
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You create a believable statistic that appears to validate the outcome of the experiment You have a cup of coffee/tea You know that you have made up the statistic but they have no idea. As you can see from the perceived chain of events, a statistic is believed because of the apparent governmental and professional connections associated with it. This is where the real power of statistical information lies. The apparent authority will not only give credibility to your effect it will also give you credibility. The illusory authority will also stop people from questioning the validity of the statistic. This is especially true if you give more details about the statistic such as the study and where it was conducted; of course this can also be fictitious An example, “A recent psychological study at Brown University in America has shown that nearly 93% of people…” is far more credible than just, “Did you know nearly 93% of people…” The reason why it appears to be more credible in the minds of the subject is that it confirms the idea that they have about the chain of events that has occurred. If you use statistical information with an expert in that particular field, they again have too much to risk by speaking out and being incorrect. The easiest way to get around this issue is to place a single word at the beginning of your statistical falsehood; the word is ‘recently’. This implies that the information is new; the logical process that follows is that the information may be so new that they haven’t had chance to see it. If anything, this will spark an interest in your effect from the expert as they will want to see a new area of their field in action. If you are feeling especially bold you can always turn to the expert and say, “Have you come across this new study?” here are three outcomes that occur: Yes – the expert is lying to ‘save face’, thus giving credibility to your entire presentation. Yes – the expert has come across a similar study and believes that you are talking about it. This again gives full credibility to your presentation. No – You say, “Wonderful, you are going to find this amazing!” As I mentioned earlier, the chances of coming across an expert in a field that you are lying about are very slim. However, this is the main reason for people refusing or being scared to use this powerful technique. Now that you realise that statistics can be used to prove any idea that you wish to prove; you must now make this information believable. Steve Cohen’s WIN THE CROWD! NOW 20% OFF! USE COUPON CODE: VERSA42008
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You do have a tabula rasa to say anything that you like, but it must be closer to the truth than mere is fantasy. If I were to suggest that 90% of people’s eye colour changes at least 5 times in their adult life, would you believe me? I should hope not, and for good reason, you have used inductive reasoning; you have never seen it happen and at 90% you should have noticed something. Please make sure that you ask yourself this one question, “If I were told this statistic, would I doubt it or do I think it could be accurate?” It can be difficult to remove all bias from a statistic that you have created but try and be as hard on yourself as you can be. It is an odd thing but statistical information has shown to be more believable when the figure does not end in a 0, 5, or a 9. These numbers are common in statistical information, 0 and 5 are especially seen as numbers that tend to be rounded up or down; therefore, not as accurate. The reason that the number 9 is suspicious is that it is an amazingly over used statistical number. I am sure you have used the phrase, “I am 99.9% sure that…” It is for this reason that your percentage will not end in a number 9; it is far too common place. Statistics are not only more believable when you use a last digit other than 0, 5, or 9, but they appear to be more accurate. This reinforces the idea that they the ‘study’ was particularly accurate and careful in the assembly of the data. This concept can be compounded even more by presenting the data to one decimal place; such as 34.8%. However, I tend to find that people perceived me as being anally retentive if I do this; so it will depend on how anal you want to get! If you want to go a step further, and I always recommend that you do, you should create a completely fictional study or story. As I have a psychological persona I use studies rather than stories; I tend to find real psychological studies into a particular field and then alter them to my own ends. There is always a chance that someone who may have done a psychology course, or read a popular psychology book, will be watching and listening to you. If they can mentally recall a certain study then they will feel intellectual for remembering the study as well as believe you more. Say that the effect you are about to perform is an ‘add a number’ style effect, the story could be: “A few months ago a psychological research team at Yale University discovered an interesting pattern in the way that people choose numbers. A group of 10 people were asked to sit in a circle and the research team gave the first person a number. That person was to then name a number out loud after hearing the initial number; whilst trying not to be influenced by it. The next person in the circle would do the same based on the number that the first person had called out. This process carried on with the entire table. The Gift is available at http://www.paulbrook.co.uk/01477410.htm
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Even though the subjects felt that they had free choice, they were always influenced by the initial number that they were given by the research team. The team worked on the pattern so precisely that they could predict the numbers that were going to be chosen by all ten subjects. At the start of the experiment they would hand the last person in the chain an envelope with what they predicted the end result of adding the chosen numbers together would be. Their success rate is currently round 91%, but obviously when we try this in a moment I will not have such a high success rate as this is not a controlled laboratory atmosphere. Right, change the order that you are sitting in, if you so wish, and then decide who will be the final person to call out a number and to hold this envelope…” Obviously from here you would begin your add a number effect. This is just one example of the kind of fictional study that you can create to suit your effect. It can be as long or as short as you prefer; personally I like the preamble to be longer than the effect. For me the effect is just proof or a demonstration of what I have been talking about; the effect simply supports the story. This is not the usual manner of magic where, more often than not, the story is supporting the effect. The final area where you can exploit the ignorance of the subject is that of probability. It really follows on from the statistical falsehoods that have just been discussed. Mathematics must be high up on the list of hated school subjects. This can be beneficial to our cause; if people do not fully understand how to calculate probability then why not do the calculation for them? A good percentage of the populous will have to use mathematics of some kind in their work place; therefore, only rarely encounter probabilities over a 1 in 25 chance. Once you start to get into large figures of any kind, people tend to go on autopilot and will believe what you are saying. The last thing that they want to do is to calculate large numbers in their minds. The best probability exploitation, however, takes place when you multiply probabilities together. This area is one where a lot of people worry about getting the formula correct; so they will never feel as though they can challenge you. Let me give you an example of both. (Continued on page 27)
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GOOD VIBRATIONS A spectator chooses a card randomly out of a deck of cards that has just been shuffled and inspected by one or more spectators. Without looking at the card and also making sure that no-one else can see the card it is placed into one envelope and sealed, and then placed into a second envelope and sealed. After feeling the "energy" of the card through the envelopes (without ever touching them) the mentalist asks the audience members to think of a card and lock it into their minds. The mentalist walks through the audience with a hand stretched out and attempts to pick up the same vibrations emanating from the audience members minds as that of the selected card. A few people are asked to reveal the card that they were thinking of, their cards not only match each others but when the card in the envelopes is removed it also matches the audience’s selection.
• • • • • • • •
Contains expert psychological principles and techniques. No Stacked Deck/Memorised Deck. No Gimmicked Envelopes. The cards can be thoroughly shuffled, time and time again. The cards and envelopes can be fully inspected. The volunteer has complete freedom of card selection and handles the cards when selecting. No Stooges are used. Very Strong & a 'Magician Fooler'.
This effect is best suited to stage work, and can be performed with groups. 104 page, perfect bound soft cover book. All first printing books will be signed by the author.
$60/£25 Available at: http://www.paulbrook.co.uk/goodvibrations.htm Good Vibrations is available at http://www.paulbrook.co.uk/01477410.htm
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(Continued from page 25)
High Probability Recently I have purchased the ‘Masters Time Machine’; it is a wonderful everyday watch that you can use to accurately predict the time that a subject thinks of. It is very clean and fair as well as looking terrifyingly normal; I highly recommend buying one. I will not give you my full presentation of my effect here but only the relevant probably element of it. Just prior to revealing the time that I have preset my watch I say to the subject: “Now before I show you the time that I thought you would choose, I want you to know, to really understand the nature of what I am about to show you. There are 1440, just under one and a half thousand minutes in a day; therefore, there is a 1 in 1440 chance of accurately knowing what time that you would choose. The odds were stacked against me and that is why you will tell people about this day for years to come.” Now, for those that have not seen the ‘Masters Time Machine’ let me clarify that it has a twelve hour display; not a twenty four hour display. What I said was accurate, there are 1440 minutes in a day; however, with a twelve hour display 720 minutes are displayed twice. Therefore, the probability was only ever a 1 in 720 chance, yes impressive, but only half as impressive as 1440. It is the difference from saying the word ‘hundred’ and the word ‘thousand’ that really makes the difference here. As this is just an example I do not want to go into too much depth concerning this presentation, but I must mention one thing. People are great at remembering useless facts; one of these facts tends to be the amount of minutes in a day. I guess when people are board at work they have time to figure out these things. I performed a small gig at an accountancy firm not long after buying this wonderful device. When I said that there are 1440 minutes in a day, nearly all of them were mouthing along with what I was saying. They were so busy feeling smug that they could ‘appreciate the effect on a deeper level’ that the 12 hour display never came into question. When using high probabilities, try to see where they can be manipulated to suit your needs. There are others areas that you can stretch the true nature of the probability. For example you can say that there are 30,000 or so names in the world; therefore, a 1 in 30,000 chance of knowing that persons name. Don’t Forget! Marketplace Members Get an Additional 5% Discount! www.marketplaceofthemind.com
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In reality, as you are dealing with just a specific geographical location it will greatly reduce this figure. If for example you were dealing with the UK alone, there are only about 150 common names. I have used this probability slant with a person writing down a friends name on an impression pad. I have used both figures 150 and 30,000 at different time, and the later always receives an amazing reaction. Now the 30,000 is a searchable figure, so anyone who is curious will be able to look it up. However, most people will settle with that figure and not realise that other variables reduce the statistical figures.
Multiple Probabilities Even the most studious of mathematicians can have trouble catching you out with this methodology. Essentially, if you are dealing with multiple objects then you can apparently work out the probability of success right there and then. Obviously, you have pre-scripted what you will say; the apparently impromptu nature is just an ‘out’ if you are caught cheating. If you ask a person to select a card, the chances of you guessing what that card is will be 1/52. If once they place the card back, their friend takes a card the chances are then: 1 / 52 x 1 / 52 By multiplying the appropriate side we get: 1 / 2,704
Very few people could mentally work out 52 x 52, so you simply lie to them by saying: “Ok, so both have you have selected a card which is a 1/52 probability. Fifty two times fifty two is 1/4704; so I have a one in just less than five thousand chance of knowing your two cards.” Obviously, by changing only one of the numbers it can easily appear as an honest mistake to any mathematicians out there. This method can be used with any form of effect where you can incorporate probability. As mathematic mistakes are common it will be tolerated by mathematicians and accepted by people who may know the real answer. Remember that you will apparently be working out the probability in that very moment and, therefore, will be allowed some leeway. On Mephisto’s Shoulder is available at http://www.paulbrook.co.uk/01477410.htm
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One of the things that people seem to remember from an effect is how impossible it was. They really latch onto figures and statistics when they are mentioned, so make sure you leave a lasting impression. You really have nothing to worry about, just be bold and confident when delivering the probability and no one will doubt you.
False Logic When we construct reality on an initial level we do so by using a process known as inductive reasoning. This is knowledge through experience; if every time you burn your finger on a flame, you understand that flames burn you. Other forms of inductive reasoning are; definition, circumstance, evidence and comparison. The next step in a logical construction of reality is that of deductive reasoning; usually in the form of syllogistic reasoning. Essentially, this form of logic combines two or more observations together to create new conclusions about reality. A syllogism consists of three parts: the major premise, the minor premise, and the conclusion. A famous example of a syllogistic statement is:
Major Premise: Minor Premise: Conclusion:
All humans are mortal Paul is human Paul is mortal
Both major and minor premises have a shared attribute, in this instance it is ‘human’; this is known as the ‘middle term’. Here are a few more examples of genuine syllogisms:
Major Premise: Minor Premise: Conclusion:
All informative things are useful Some books are not useful Some books are not informative
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Major Premise: Minor Premise: Conclusion:
Some cups are beautiful All cups are useful Some useful things are beautiful
Major Premise:
Some illnesses are curable I have an illness My illness could be curable
Minor Premise: Conclusion:
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In order for a conclusion to be true, both premises must be true, and have the proper relationship to each other. Everyday existence sees us using a lot of deductive reasoning; however, that does not necessarily follow that we are being logical. In fact it is very simple to create false logic whilst using a syllogistic argument. Take a look at the following examples of false logic:
Major Premise: Minor Premise: Conclusion:
Some cats are black Some black things are wigs Some cats are wigs
Major Premise: Minor Premise: Conclusion:
All pine trees are green This is green This is a pine tree
The Brook Test is available at http://www.paulbrook.co.uk/01477410.htm
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Ebola virus destroys cells Cancer is an unlimited creation of cells in the body Ebola virus destroys cancer
The first two syllogisms were a somewhat silly; however, the third is an example of how false logic can create serious problems. Ebola may destroy cells in the body, but the statement neglects to mention is that the Ebola virus has a mortality rate of around 89%. If destroying the host correlates to a cure for cancer then I can start marketing a 100% successful cancer cure; this would be in the form of an atomic bomb. Sadly the side effects are mainly death; however, all malignant tumors will be destroyed. Obviously, when stated in a different way the nature of the argument becomes absurd. Sadly, it is this kind of false logic that keeps the new age healing market thriving; giving false hope to many very sick people. A real bug bear of mine is that the new age community often uses false logical statements to debunk the success rate or efficiency of conventional medicines and healing techniques. The reason why it is so easy to create and believe false syllogisms is that both premises can be true whilst still resulting in a false conclusion. In the ‘Ebola destroys Cancer’ syllogism above, both of the premises were 100% true; however, the resulting conclusion was not true. The reason for the conclusion being false in this instance was an assumptive link between the premises. This link can be found by taking a looking at the middle term; in this instance that would be ‘cells’. It is assumed that the cells that we are describing in both premises are the same kind; this is not the case. Of the many ways that a syllogistic process can become illogical this presumptive link between the premises is one of the most common; this is often referred to as the ‘fallacy of the undistributed middle’. This is one of the most deceptive forms of false logic as it is very simple to assume that the premises are linked. Another common mistake made when creating deductive reasoning is that of assuming either the major or minor premise to be true. This is not as clean as the ‘fallacy of the undistributed middle’ as the false premise may be pointed out by a listener. (Continued on page 33)
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THE GIFT: The 14th Step of Mentalism This book represents a fundamental method that should belong in the arsenal of any mentalist. The method is described in full detail with powerful psychological subtleties included. A number of effects demonstrating this wonderful method are fully described. These include:
• Changing Minds: Appear to bestow a volunteer with the ability to read your mind with extraordinary detail and accuracy: • More than Freud: Simulate being able to predict human behaviour and movements, clearly demonstrating an astounding knowledge of psychology.:
• Hand of Glory: Predict the number of fingers a person is holding up on their hand while it is hidden from view. They then strangely have the ability to predict whatever number of fingers that you hold up without being able to see your fingers.
• Reading Minds: Parallel the ability to know intimate details and personal information from any audience member. This information is so personal that no amount of pre-show snooping into the background of the individual could possibly be the answer.
There are other effects included within this book and also focused strategies to create other equally or even increasingly powerful effects using this technique. The effects presented in the book have a presentation best suited to stage/group work. However, that is just the presentation; it it possible to use this method with a smaller numbers of people. 110 page, perfect bound soft cover book. All first printing books will be signed by the author. "I've always loved one particular "sneaky move" for really wowing audiences. Like most mentalists I've known about this method, but been nervous each time I put it into action, even though it garners the most powerful reactions from participant and audience. In his book, Paul has taken the bull by the horns, taken the hard work out of it, and produced something that - used properly - has the potential to turn the average mentalist into somebody who works miracles. You may just find yourself starting a cult after reading this!" - Drew McAdam, Professional Mentalist, UK
$70/£35 Available at: http://www.paulbrook.co.uk/thegift.htm
The Alchemical Tools is available at http://www.paulbrook.co.uk/01477410.htm
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(Continued from page 31)
Here is an example;
Major Premise: Minor Premise: Conclusion:
If the windows have water droplets on it, it has rained The window has water droplets on it It has been raining
In this example the major premise has been assumed. It would appear to be an accurate representation of logic if the major premise were accepted. However, the more perceptive of you will realise that there could be more variables at play here. Perhaps the neighbour accidentally sprayed your window whilst watering the garden with his hosepipe? The assumption in this process was that the windows can only be wet if it has rained. Some people will not notice this and will accept the premise as being valid; however, it can be pointed out by an observant subject. The real power in using deductive logic is that it appears very fair and the subject can follow the process in their head. This allows the subject to understand why they should think that what you are doing is fair instead of asking them to trust you. Allowing people to make up their own mind about something is far more powerful than telling them what to think. You are in fact only creating the illusion of free thinking; by controlling the premises you are controlling exactly what they are thinking. When presenting a person with deductive reasoning you do not present it in the way that it has been written here; you will have to construct a sentence out of the information. For example:
Major Premise: Minor Premise: Conclusion:
Ebola virus destroys cells Cancer is an unlimited creation of cells in the body Ebola virus destroys cancer
Will become:
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“Scientists have recently undertaken research into the cell destroying properties of the Ebola virus. This is in an attempt to slow down or erase the over productivity of cells that form cancerous tumours. If they can apply the virus to specific locations it may be possible to destroy cancer.” It is quite easy to create a sentence or premise from the information in the syllogism. As you can see it follows the same formula of major premise first, then minor premise, followed by conclusion. In the example above I also use the ‘power word’ of science; this will be covered in a few chapters time. Now, let’s take a look at how we can apply this false logic to our magic. I will give you four examples, two from the psychological arena and two from the mystic one. This next syllogism is one of my favorites, and if you have purchased any of my books before you will know already about it. Basically, I love making the dirtiest part of any effect appear to be the cleanest; by doing so the subject will never be able to back engineer the modus operandi. I will use the following syllogism when I perform pre show work, or any effect using a clear forcing bag. For some of my handlings of clear forcing bags please refer to my book, The Gift; the 14th step to mentalism.
Major Premise: Minor Premise: Conclusion:
Scientists isolate objects in order to be fair These objects are isolated Therefore this process is scientifically fair
This turns into: “I want to be as fair and scientific as possible in this moment, and I want you to realise this. One of the major procedures that scientists use in order to be fair is that of isolation. It is for this reason that I have isolated these pieces of paper inside of this transparent bag. Please, grab a handful and satisfy yourself that they are in fact all different…” If I am performing an effect that utilises a forcing bag, the only ‘dirty’ aspect of the effect will be that specific force. As long as I can establish that the forcing bag is the fairest way of proceeding, it will be perceived as being fairer than if the bag were not in use. How beautiful is that? The only deceptive aspect to the effect is viewed as the extremely fair and honest. The Gift is available at http://www.paulbrook.co.uk/01477410.htm
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The presumption used in the syllogism is that scientists actually isolate objects in order to be fair; while this may be the case, it is only a small aspect of being scientifically fair. Of itself, isolation only helps to reduce the amount of variables affecting a certain object. However, we all remember from school that isolation is important in science; so this idea is accepted. Despite these logical discrepancies this syllogism is often accepted with open arms. I enjoy walking around after an event (with the permission of the patron of course) as an opportunity to give out any more of my literature; but mainly to listen to what people have to say. Not many people will, by some people try to figure out how it is possible to create the effects, but they always talk themselves out of the solution. How? Well, they get to the point of, “he must have known what was chosen”, and then they kindly remind themselves of having an utterly free choice as far as they are concerned. Another syllogism that I employ when I use a force bag is:
Human choice is not truly random We are removing choice Therefore your selection will be truly random
Major Premise: Minor Premise: Conclusion:
In real time this becomes: “As much as we like to believe it, we humans find it nearly impossible to make a random choice. We are influenced so much by our past and present that our choices can become calculated. In this bag there are around five hundred randomly generated words that you can choose from. The choice that you will make cannot be influenced by your past or present and can truly be called random.” This really fools them; it also took me a while to maintain a straight face when first saying it. I remove their choice and tell them it is more random than their thoughts. It has never, and I doubt will ever, be questioned; it simply appears that I am giving them such a fair chance.
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This reasoning also assumes that I could actually predict a person’s thoughts if they were to merely think of a word; it is never stated, but the implication is definitely understood. This obviously says a lot about the abilities of your persona. As soon as a handful of papers out of the non-forcing section are taken and the person sees that they are all different it will appear as if you are being as fair as possible. The assumption with this syllogism is that human choice cannot be random; as this is a simple false premise rather than a ‘distributed middle’, I actually justify why the premise is valid. In this instance, I explain that our past and present bias our choices. We have all had experiences where we realise we are biased by past events in our lives. For this reason the premise is assumed true, if this single premise is allowed then the syllogism is validated. If you occultists have a mystical effect presented as telepathy, psychometry, or any other explanation, you can use false syllogisms to increase the believability of the effect. I find that by reading new age books you will have a lot of the work done for you. These books, if written by a scientific person or doctor (of which there are a lot) will have some wonderful reasoning in them. You even find yourself falling for it until you realise it is based on an ‘undistributed middle’ term or other false premise. One of these wonderful books presented such an argument for telepathic knowledge between individuals:
Major Premise: Minor Premise: Conclusion:
DNA emits electromagnetic photons Electromagnetic photons are used in wireless communication Therefore our DNA communicates with each other
The argument is clearly invalid when it is represented in this syllogistic format; however, I have to admit that when I first read it in standard prose it really had me thinking. It is a wonderful justification for telepathic ability: “Science has revealed that our DNA, the very source of our being emits constant electromagnetic waves. These same waves are used by us to transmit wireless communications. In light of this Good Vibrations is available at http://www.paulbrook.co.uk/01477410.htm
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discovery studies into a global intelligence and even telepathy have started to take place at prominent universities in the USA, UK and Germany.” With the majority of the western world becoming more and more secular, it has become almost taboo to perform Mentalism in an occult or mystical way. It is very possible to perform with an occult presentation, and I have a number of effects that are presented that way. However, these presentations are far more effective if you can have a ‘scientific’ explanation to support any claim.. Books on quantum physics are wonderful places to find pseudo-science; the quantum world is a bizarre one, and one that we do not fully understand. Bridging the gap between our lack of understanding and the ‘truth’ are those wonderful new age people again.
Major Premise: Minor Premise: Conclusion:
Particles that are split apart maintain a connection Your electromagnetic field shares electrons with anything it touches You have a connection to everything you have ever touched
Essentially the ‘new agers’ use a stable experiment from quantum string theory and a biological fact to create absolute stool water of the highest order; still, it makes a good coffee, err I mean pseudoexplanation: “A study into particle physics demonstrated that two particles from the same source, if separated, maintain a link between themselves. Scientists took one particle and placed it in a lab in Africa and when they rotated the other particle in the USA. The particle in Africa instantly rotated. As wonderful as this seems this is now a valid scientific theory, you may have heard of it; it’s know as string theory. This theory sheds light on what was once believed to be supernatural; psychometry. Psychometry is reading the energy of an object to discover more about it’s past.
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All objects have an electromagnetic field, and when they interact they share electronic particles. According to string theory there will always be a connection with these shared electrons; no matter how great the distance is between them. Obviously, a ring has no mind or memory, so it cannot store thoughts, feeling, or emotions. However, the research demonstrated that it is the memories of the wearer that are received through the shared particles.” That was a more involved and lengthy form of deductive reasoning. In fact the full argument, of which this is only a small snippet, also explains that the shared electrons can be ‘read’ as they are shared with the reader’s electromagnetic field. Also that electromagnetic waves act as an invisible transmission of information, just like a television set. I will let you work out the presumptions for yourself on this last one; otherwise there will be less space for other methods. It may seem as though the link is tenuous, however, I have used this explanation with scientific individuals. What it tends to do is stimulate thinking on the subject; this can lead to more ‘theories’ on the specific subject area. Of course, new theories can bolster your demonstration, and if they sound good you can add them to your future presentations. As a final word on false logic, I would suggest that you make the false premise or middle as believable as possible. Outlandish claims often raise suspicion; if you find that you cannot find a believable syllogism for your presentation, then I would suggest changing the presentation. A bit drastic maybe, but the power of a false syllogism is rather powerful. If it is not used you really will be missing out on a method that allows the person think that they have made the conclusion themselves. Just a quick note on that last point; the human mind adores order, especially in thought. If you present a syllogism correctly, after the first two premises have been mentioned the subject will automatically come to the conclusion. When you mention the conclusion you will be solidifying what they concluded themselves. Remember, you can lead a horse to water, but you cannot make it drink. There is never any need to force your ideas onto people now; especially when you create this illusion of freedom. Very sneaky and extremely manipulative; that is exactly why it is a favorite tool of politicians.
On Mephisto’s Schoulder is available at http://www.paulbrook.co.uk/01477410.htm
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JHEFFSMIND Pre-show work is a very controversial topic which I'd thought I'd explore briefly in this issue's column. Paul Brook's The Gift: the 14th Step, released last year, is one of the best books on the subject, if not the best, as he really knows the psychology of successfully pulling off this technique. This does not mean that it’s easy, though. He writes: "Many famous mentalists are using [pre-show work] these days. These people are the ones the general public will remember; not the guy who predicted that you would choose the right key to open the lock...You are not using stooges; you are orchestrating a good control of people and psychology. This is an art form, not merely using an actor. Any fool can hire a guy to act for them; not everyone has the high dedication to perfect high levels of mental control. For this reason alone, I abhor the categorisation of pre-show work as being akin to stooging." On the other hand, mentalists such as Richard Osterlind counter with the argument that there's too much risk involved in getting caught. There's also material that is just as strong, if not stronger, that doesn’t use pre-show work, so there's no reason to take that risk. Another point is that it's cheating the audience. They don't get to see the whole show. It would be like watching a movie that seems to make sense and not knowing that that there was fifteen minutes of it at the beginning that you didn’t see that would have given you a different perspective on the story. Each side presents valid points. What's right or what's wrong depends entirely on your needs and comfort level. I certainly don't like taking risks of exposure, nor do I like spending time before the show doing pre-show work. That’s because I much prefer spending my pre-show time getting everything set-up and psyching myself up emotionally for a great show. So I've been favoring the argument against pre-show work. However, I do recognize that many use pre-show work and they do so quite effectively. I can certainly see how it can be very effective, and so, liking a challenge, decided to try to come up with a solution that would make doing pre-show work attractive to most mentalists. Well, to be more specific, I’m making it more attractive for me. After carefully thinking about the key arguments for and against preshow work, I think I have found an intriguing approach to the two main issues that may solve those issues that some mentalists find in pre-show work. First, why take the risk? What's being risked is that the information being gathered is done secretly. The audience is supposed to be unaware of certain actions taken before the show. The performer must find someone suitable to work with and find time to ask that person to participate and to do what's asked. It must be done so that no one else sees this and can often prove to be problematic logistically. But what if one can do this hidden pre-show work without fear of being revealed? What if it’s entirely possible to openly admit doing this and yet it won’t seriously affect the power of the pre-show work? The answer is quite simple. The mentalist performs actions that don’t give away secrets, but lets the routine become somewhat of a dual reality. To the group that sees the pre-show work, one routine is going on. To the group that doesn’t, they see a slightly different routine. Both are effective. And the performer can openly admit to doing this on stage without being specific of the details. (Continued on page 41)
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(Continued from page 39)
As an example, you say, "Before the show, I was entertaining a few folks and asked one person to challenge me by thinking of a randomly thought-of five-digit number that I'd try to reveal during the show. Sir, could you please stand? Is the first number 1? Is the second number 9? Is the third number 3? Are the last two numbers 2 and 7?" Obviously, this is not the most dramatic reveal. This is just meant as an illustration. This is what the whole audience sees. Those who were witness to the pre-show work saw a slightly different effect. What they saw beforehand was this: The performer said, "I'd like to set up a challenge on stage. I have a bag with a bunch of five-digit numbers. I want you to choose a number completely at random, a number that has absolutely no meaning for you. During the show, I'll try to reveal the number. My goal is to try to get four of those five numbers. On average, I usually get three." The performer reaches into the bag, pulls out a few slips, and hands them to the participant. "Check these out. They're all different and random numbers. Now, reach in and pull one out. Hold on to it. Look at it when I leave and focus on that number. Thanks." Thus, we've now set up a dual reality. Those who saw the pre-show work saw one effect: the performer revealed a number randomly chosen from a bag. Those who only saw the stage performance saw a different effect: the performer revealed a thought-of number apparently created by the participant. Which effect is stronger? Obviously, when one is not aware of exactly what happened beforehand, it would be stronger, so the first situation is stronger. However, the other situation is still a strong effect. By doing this, one has also eliminated the problem of having the pre-show work revealed by the participants. Since it's announced on stage that it was done, audience members wouldn't and shouldn't feel the need to press others about the specific details of what happened. Should they do that, they'll only have their perception of the effect altered to the other one, that of a number being chosen from a bag. Either way, the effect would be successful. This brings us to the second question. Why do it at all? Why not have someone merely choose the number on stage? Why does it have to be done as pre-show? There should be a compelling reason to collect data before the show, rather than during the show. The obvious and most important reason is to save time. By cutting out some of the procedural activities, it keeps the show moving at a faster pace. In the example with the five digit number, look at the stage time we’ve eliminated. The audience doesn’t have to wait for someone to come up on stage. There is no introduction of the bag, giving instructions, and pulling a number out of the bag. Using this as pre-show has eliminated at least five minutes of stage time. Think about Q&A. Having people fill out the cards before the show saves quite a bit of time. You can just get right into collecting cards and revealing info. Plus, it allows you the time to steal some of that info as many Q&A routines require. I should note that you can certainly tell your audience that you did certain things beforehand to save time, but that isn’t a very dramatic or interesting reason to give them. One reason that is better to tell Steve Cohen’s WIN THE CROWD! NOW 20% OFF! USE COUPON CODE: VERSA42008
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them is that a challenge was set-up. Let's say the performer tells the audience that he can control someone over the phone. So, he asked someone in the audience before the show started to call someone at random they didn't know. The performer then briefly explained the situation to the callee -- doing some pre-show work, natch -- and later during that show the person is contacted to be part of the routine. To the audience, the pre-work was simply to get permission ahead of time. I'll mention that a routine I've come to really like is Jay Sankey's Alphamail (from Hemisphere). In this "non-headline" headline prediction, the performer has a participant do something over the phone which is later revealed to be predicted (or controlled, as I like to do it). That prediction is in a sealed envelope which is in possession of the participant who's on the phone and who later brings it to show. So, it doesn't matter if they know about the dirty work being done. The sealed envelope being in the participant’s possession the whole time, which is opened during the routine, negates any suspicions about the “dirty work”. Of course, this pre-show work is done a week or more before the show, but it’s still pre-show work. One good reason for doing work before the show that one can tell the audience is that there was a need to find people who wouldn't mind being on stage. Public speaking is the number one fear, more so than death, so it would seem very polite to find people in advance who are willing to come up on stage and be part of the act. In other words, the volunteers are being pre-screened for comfort. That sounds very nice on the part of the performer and, in truth, that’s partly being done. After all, if a participant that is approached shows a bit of discomfort in being asked to participate, it’s best not to use that person. Admittedly, I have not used any of these pre-show ideas yet (except for my few performances of Sankey’s Alphamail). So, will I start doing pre-show work? Perhaps. And that’s a very strong “perhaps.” At this point, if I do it this way and choose the right effects so that a dual reality will be setup, there will be no need to hide the pre-show work and assume a risk. And I know it will save quite a bit of stage time and really tighten up the show. My only remaining issue is that I like to spend the time before the show making sure everything is set-up and relaxing/meditating to give a great performance. That’s my personal style, though, and one that I’ll have to change if I want to use pre-show work. And it’s very, very tempting. Now, have I convinced Paul Brooks and others who use hidden pre-show work to start taking the less risky approach I’ve suggested? Have I convinced Richard Osterlind and others who will not take the risk that there is a significant advantage to use pre-show work using my suggestions? Probably not. After all, I’m trying to find a solution to issues that these gentlemen may not see as problems. If it ain’t broke, don’t fix it – to them, their working philosophies aren’t “broke.” What has been successfully working for these performers is what has been working. I’m not going to claim that the thoughts I’ve just provided are totally original. Great minds think alike and I’d be quite surprised if I was the first one to discuss these points. Regardless, I do hope that I’ve at least provided some intriguing ideas that will get mentalists on both sides of the issue re-examining their use of pre-show work. Let me know if they’ve proven useful to you.
The Alchemical Tools is available at http://www.paulbrook.co.uk/01477410.htm
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DEUTERIUM from The Alchemical Tools This effect is my baby. I wanted to keep this one my own for a long time; however, times change and I have a number of new ‘children’ these days. It is really time for this one to leave the nest. What I am about to share with you is a ‘thought of card’ effect that I devised a couple of years ago. The great thing about a ‘thought of card’ effect is that it really opens up a number of opportunities for presentational angles. Did you somehow make the person choose that cards? Were you able to somehow ‘steal’ that information from inside of the person’s mind? Are human beings so predictable that they cannot break away from mental urges when confronted with a choice? The list could go on and on. Take a look at what the spectator sees.
What They See
Mentalist:
“I would like you to get a playing card in your mind. Make sure that you choose a card that you do not feel is obvious. Please, do not say it out loud.”
Volunteer:
“OK, I’ve got one.”
Mentalist:
“The four of clubs?”
Volunteer:
“What the hell!”
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The volunteer has just had her mind read in the cleanest possible way; an experience that she will remember for an extremely long time.
Very clean, I am sure you would agree. This, however, is not the full picture. What you have just read will occur from time to time. There are other endings to this effect; the one that you have just read is the cleanest. Stick with this effect; it has some nice surprises to come.
Scenario II Mentalist:
“I would like you to get a playing card in your mind. Make sure that you choose a card that you do not feel is obvious. Please, do not say it out loud.”
Volunteer:
“OK, I’ve got one.”
Mentalist:
“The four of clubs?”
The Mentalist pauses for around half a second. In this time he looks for any signs of astonishment or excitement in the volunteer. If there are no perceivable signs then he continues. Only half a second has passed. Mentalist:
“…is a card that most people choose; what card were you thinking of?”
Volunteer:
“The eight of hearts.”
Mentalist:
“In my pocket I have one single playing card. Please reach in and remove it.”
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The volunteer reaches into the Mentalist’s pocket and removes the only card in there. Volunteer:
“No way! It’s the eight of hearts.”
The volunteer may proceed to check the Mentalists entire person in search for another single card; none will be found.
Scenario III Mentalist:
“I would like you to get a playing card in your mind. Make sure that you choose a card that you do not feel is obvious. Please, do not say it out loud.”
Volunteer:
“OK, I’ve got one.”
Mentalist:
“The four of clubs?”
The Mentalist pauses for around half a second. In this time he looks for any signs of astonishment or excitement in the volunteer. If there are no perceivable signs then he continues. Only half a second has passed. Mentalist:
“…is a card that most people choose; what card were you thinking of?”
Volunteer:
“The queen of spades.”
Mentalist:
“In my pocket I have a box of playing cards. As soon as I saw you I took out the cards and placed one of them the opposite way around.”
The Mentalist takes out the deck of cards and spreads them out. One, and only one, card is reversed. The spectator takes the card and is asked to turn it over. Don’t Forget! Marketplace Members Get an Additional 5% Discount! www.marketplaceofthemind.com
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“What! How did you do that?”
The Mentalist is successful and the volunteer shoots off for a rather stiff drink.
Deception Revealed You will have worked out some of the effect after reading the various possible outcomes. There is really a lot more to this effect than initially meets the eye. What makes this effect strong is that fact that we are not dealing with a 1/52 chance, not even a 1/26 chance; but a 1/6.5 chance of success. I shall go into greater detail about this in a short while; first I must fully reveal the method. For this effect you will need an Ultra Mental deck (also known as an Invisible deck); I rather prefer the term Ultra Mental deck. You will also need to have a single eight of hearts card from another deck. If you are performing this effect in smart attire, the eight of hearts will go into your outside breast pocket. If you happen to be performing as an ‘every man’, then this card is placed into one of your jeans pockets. The Ultra Mental deck is placed into any other free pocket of your choosing. All of the setup is done. Essentially, this effect is a dressed up Ultra Mental deck routine; however, the deck is used as an ‘out’, rather than the effect proper. It is also the last possible ‘out’ in the sequence of events. As amazing as the Ultra Mental deck is, with a few small alterations a far stronger effect is created. There is a good chance that you will be able to tell a volunteer the card that they are thinking of; without any props whatsoever. The other option is that you will be able to show the person just a single card that matches their mental selection. The way to achieve the thought of card is simple; you name a card that is commonly selected. The four of clubs is a very common selection for people to choose; I shall not hazard a guess at the frequency as it would be conjecture to do so. (Continued on page 48) (Continued from page 6)
Good Vibrations is available at http://www.paulbrook.co.uk/01477410.htm
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ON MEPHISTO’S SHOULDER A number of strong and eerie effects that will put your spectators on edge:
• •
• • • •
Dearly Departed: A volunteer is given a sealed envelope and a photograph of a dead person; they are to look at the photograph at any opportunity they can for a week. After the week has passed the volunteer makes a time prediction. Once the prediction is made the envelope is opened to reveal a death certificate showing a time of death for the person in the photograph that matches their prediction. Telepathic Touch: You explain that a single touch is enough to change destiny if we allow it to. A sealed envelope is handed to a person to keep safe. You look into the eyes of a volunteer and touch their shoulder. A deck of cards is then displayed openly and fairly and four cards are selected randomly by this person, without you touching the cards. Each card is placed into an envelope and numbered. Another person is asked to join the two of you. The first spectator touches the new spectator in the same way you touched them. The new spectator chooses any envelope they want, when the envelope is opened the card is displayed and eerily matches the card within the envelope that you handed out to a neutral party from the start. Fair is Fair Switch: A wonderfully fair and deceptive way of switching billets. "Your Word, Corinda!": An evolution of “My Word!” by Corinda, using the ‘Fair is Fair’ Switch and other astonishing methods. Serial, Killer!: You approach a person that you have never met before, you ask them to take out a bank note while you turn away. You never touch them, their belongings or the note, yet you can tell them the unique serial number on the bank note. On Stage Killing: A large scale variation of "Serial, Killer!" with a surprise revelation that proves the serial number prediction was made days before.
Unique psychological subtleties are included for each effect, to the in-depth standard now expected from Paul. BONUS: Interview with James Brown, the Magic Circle's close-up magician of the year 2006. "Paul Brook’s books blow my mind. They are filled with new presentations and brain-twisting methods! The mystical covers of the “Brook- Books”, burst open with fresh ideas and provocative applications. I am proud to have these volumes in my collection of arcane arts.... Reading them is an inspiration!" - Jeff McBride, Creator of The Magic & Mystery School, USA
signed by the author.
$60/£25 Available at: http://www.paulbrook.co.uk/oms.htm
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(Continued from page 46)
Obviously, even a card that is commonly selected cannot guarantee the performer a high success rate. It is for this reason that we must allow for a series of ‘outs’. After the volunteer has thought of a card you say, “The four of clubs”. It is very important that you are looking at the person’s eyes and face. You will be looking for changes such as a massive grin, or an expansion of the pupils. Such movements will indicate that you have indeed named the thought of card; or were very close. In the majority of cases you will know instantly if you have been successful. Obviously, if you have named their thought of card, you have a strong miracle on your hands; enjoy it! If not, do not despair, there is yet another chance for miraculous success. After naming, “The four of clubs”, you must only wait for about half a second, up to a second, before you continue with the following phrase, “Is a card that most people choose, what card were you thinking of?” This short pause, and it must be short, allows you to judge the person’s reaction. If they do not react in any way you must carry on with the rest of the sentence. This pause must appear as though you were taking a breath, or clearing your throat. I cannot stress the importance of keeping the pause as short as possible. As far as the volunteer is concerned you have simply stated a fact about ‘other people’ and are now asking them what they mentally selected. This is where the single eight of hearts comes in to play. If they say “the eight of hearts”, you will have another miracle on your hands. You ask the volunteer to reach into your pocket and take the card. This single card revelation is a very powerful moment. No trickery can be used as there is only one card. The only option is that you have an index of cards on your person, and it will often be suggested by the volunteer. The volunteer can freely search every inch of your body, all that she will find is a deck of cards. The deck will go completely unnoticed due to its congruency; I mean, where did you take the single card from? If the volunteer were to ask to see the cards (this has never happened to me) you could simply spread out the deck, making sure that the eight of hearts is facing the floor. These are the miracle revelations; see them as bonus material. If the volunteer names any of the other cards, you simply move into a standard Ultra Mental deck presentation. On Mephisto’s Shoulder is available at http://www.paulbrook.co.uk/01477410.htm
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The Ultra Mental deck alone is a very powerful effect, without any presentation you can really amaze people. I think that this is the main reason for it being such a popular prop. Whenever, you perform this effect always remember that the worst possible outcome is an amazing and powerful effect. “But Paul, you said that it was a 1/6.5 chance of getting a miracle; this surely is 1/26 with the two ‘outs’?” I agree, as presented it is simply a 1/26 chance of success. This is how this effect started out for me; just being a way to double the success rate of naming a card. The way to improve the odds came about as a byproduct of performing the effect. I noticed that people were reacting after I had mentioned the four of clubs, only to find out that they had selected cards that were just close to it. After reacting to the four of clubs, the cards that were mentally selected tended to be: • 3 of Clubs (one away) • 5 of Clubs (one away) 4 of Spades (partner card) The reactions that I received were very strong when people had selected these cards. The sheer improbable nature of the effect had created an acceptable margin of error. Seeing the success of this process I decided that I could apply the same rule to the eight of hearts. If the volunteer named any of the following cards, I would allow her to take out the single card from my pocket: • 7 of Hearts (one off) • 9 of Hearts (one off) 8 of Diamonds (partner card) Again, the reaction was as strong as a direct hit when I applied this strategy. The near hit reactions, when added to the direct hits, increased the chances of success to 8/52 cards; or 1/6.5 . What a dramatic change, the chances of getting a powerful miracle reaction are just slightly more than rolling a die. The odds are far better than a 1/52 chance, and even if you do not get a direct hit, you always succeed as you have the Ultra Mental deck to fall back on. The odds are only referring to the chance of getting a miracle.
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For a long time I carried on performing this effect with the changes as stated, until one evening I performed it for a very arrogant man. I didn’t realise it at the time, but apparently he had some type of metal cylinder lodged within his rectal arena. Better known as, a pole up his arse! Well, I performed the effect and he named the “3 of Clubs”. I waited for the reaction, sadly, it never came. He then proceeded to ridicule me in front of his friends for not being correct. No amount of explaining the improbable nature of being so close would placate him; in short, he was an arsehole. I did what I could do at the time and took it on the chin. After the gig I got home and I vowed that such a scenario would never happen again. A few days later I had created the perfect contingency plan. Scrutinising the script, I discovered the answer, it had been in my performance the entire time. The line, “The four of clubs is a card that most people choose; what card were you thinking of?” paved the way to an obvious solution. If the person happened to be close, this alone separates them from the rest of the population. For example, if they had chosen the three of clubs you could precede: “This tells me a lot about you. You were pulled in the direction that most people would be; however, you have that flare of originality to make up your mind.” For the eight of hearts: “You are unique enough to move away from what others would choose. I, therefore, made a selection based on your obvious mental agility. I thought that you would select the eight of hearts (remove it from your pocket as proof). You were pulled in the direction that I predicted; however, you still have that little something that makes you unique.”
That’s right; you turn it into a mini reading. Notice that the reading is turning the near hit into a positive attribute. The person is allowed to feel special and unique; a very common desire within humans. In the majority of cases, people will react strongly to the near hit; such people will feel extra special from the additional reading. The people who would not allow you to get away with a near hit, after hearing the reading, will be far more forgiving. You are playing to their ego and their wanting to be unique; as well as providing a reason for the failure. The reason for the failure is no longer about you being shit, but rather him being too good. This small piece of cold reading will really get those ego maniacs on your side. The Brook Test is available at http://www.paulbrook.co.uk/01477410.htm
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With the ego maniacs dealt with, the effect was finalised and I have been happily performing it ever since. It receives amazing reactions when you get one of the miracle revelations; and the miracles are frequent.
Subtleties I have always found the setup that comes with Ultra Mental decks tends to be rather cumbersome. All of this nonsense about paired cards adding up to thirteen. I know a few people that have, in the heat of the moment, miscalculated and ended up with the effect failing; these people are not ‘newbies’, but professionals. Since the first moment that I grabbed an Ultra Mental deck I decided that this process was not for me, and an idiot proof stacking was in order (excuse the pun). This order will allow you to find a card with extremely minimal thought on your part. First, separate all of your cards into single cards and place them all face up on the floor, or a table. Pick up all of the cards that are hearts and spades. When this is done spread them out and destroy any pattern or sequence that you can see; the card values and suits should appear to be very random. Look at the top card in your pile, locate the partner card (either a club or diamond) and place this card back to back with the top card. Follow this process for the entire deck, pairing up all of the cards with their partners. Upon completion you should have a deck that is hearts and spades on one side, clubs and diamonds on the other. As the cards are paired to their partner cards, you will be able to locate any card by simply finding its partner and pushing harder on it. For example, if you wish to locate the queen of spades, as you are looking for a spade you would hold the cards clubs and diamonds side up. Proceed to push through the cards until you get to the queen of clubs (partner card) and push hard enough to separate the card beneath it; the queen of spades. This process really is idiot proof; the only thing that could go wrong is removing the deck facing the incorrect side up. A simple mnemonic clears this up. Looking at the front of the card box, orientate the deck so that the clubs/diamonds side is face up, and then place the cards within the box. If you turn over the box and pull out the deck you should be looking at a card belonging to either the heart or spade suit.
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Turn the box over again so that you are looking at the front of the box. If you are using bikes then you will be looking at a large spade. This is your mnemonic link, if you want a spade (or heart) you pull out the deck with the front of the box facing upwards. Following on from this, if you need a club or diamond card you will simply turn over the box before removing the cards. This method will enable you to instantly find any selected card without the need of calculations. A few of you may be worried that only having two suites on displayed may be noticed. This is really not an issue; it has never been noticed as long as I have used the deck setup this way. No one ever mentions the fact that only 26 of the cards are present either. All people are looking for is a reversed card; that is where they focus. Right, I have a belief about this particular setup. What I am about to say cannot be proven, and I only have my own personal experience to go on. Saying this, I would like to share my belief with you. It is not born of ignorance but an educated guess based on the knowledge of psychology that I possess. The belief is that this setup will create a stronger reaction than the default setup. I base this opinion on the fact that our subconscious minds process everything that we sensual perceive. This information is processed in fractions of a second and a response is created just as swiftly. Just prior, literally one card before the reversed card is seen, the partner card is visible. I honestly think that this creates a moment of failure at a subconscious level. This is not consciously perceived; just a fleeting feeling. This failure is derived from seeing a card bearing the same number and value, just prior to seeing the reversed card. I believe that the mind accepts this as the selection and assumes failure. It is for this reason that I believe the reaction to be stronger; the mind has accepted that the card is not the reversed one. Obviously, creating a greater response once the reverse card is revealed. This is all theoretically possible in the realms of psychology; all I may suggest is that you try it out for yourselves. Oh and if anyone should mention that the reversed selection was next to the partner card, remember to act surprised. Keep a stock phrase handy for such an occasion, “Who can explain these things?”, “What a coincidence!” etc.
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__________________ A great subtlety that I have used for a number of years is that of cutting the Ultra Mental deck at the break. The break I am referring to is the point where the reversed card is removed from the deck. Once that the cards have been cut, the back of the bottom card will be visible. It is simply a case of turning over your hand (and the deck in it) as you gesticulate for the volunteer to turn over the reversed card. This gives a flash of the back of the cards and adds a nice convincer that the deck is indeed a normal one. This subtlety is not needed, but I find a little finesse is a nice thing to include in any effect. I have tried to find an originator to this subtlety and have not been able to. If anyone knows the originator, please get in contact with me through my website and I shall include full credit in subsequent printings. __________________ The cards that I have mentioned in this effect, the four of clubs, and the eight of hearts, are the cards that frequently appear for me. The things that I say and do, my persona, and my scripting, will all have an influence on the selections that people will make. You may find that when you perform this effect, that other cards are named far more frequently than others. If this is the case, then obviously adopt these selections. You can find out what cards people choose when you ask them by simply asking people. Try not to ask people over the internet, or the telephone, make sure that it is in person and in persona. This will enable you to gather far more reliable data. __________________ I will never perform this effect more than once for a group of people. If I were to do so then the ‘outs’ may be discovered. If people ask me to perform this again I state: “Sadly, this demonstration can only be performed once. After a person perceives the process they create a subconscious resistance that stops any future success.” It is very possible to perform the effect again as a simple Ultra Mental deck effect if a miracle has not occurred. If, on the other hand, a miracle has occurred, using just the Ultra Mental deck will appear suspicious as the method will be different.
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