CT 3_2

Center Tear

the thinking persons journal

Volume 3 Issue 2

March 2004

This month's edition of CT has a distinctly European flavour. Our whirlwind tour of the
continent begins in England, where Bob Pearce shows us the dubious delights of the
London Underground.

Next, we channel-hop to France, for a truly angelic contribution from Didier Chantôme
(translated by our resident polyglot Lesault), before crossing the border to Germany to
meet our good friend Nir Dahan once again.  As you will recall, Nir contributed two fine
effects last year. This time around, Nir shares his cunning variation on a great Phil
Goldstein routine, which will transport your audience to yet another exotic destination...

If that's not enough to make you dizzy, we have the usual roundup of reviews, and another
juicy offering from Luke Jermay, in which he reveals the secrets of surefire pre-show work.

But before all that, let’s kick off with the second installment of our exclusive Cold Reading
series by that nice Mr Kross. Ford’s column is generating a great deal of excitement in the
CT community, and it looks set to become the stuff of legend. Enjoy!

Gardinski -

Chilling with Ford............................................................................................................................. 2

London Underground.................................................................................................................... 3

Angel and Demon............................................................................................................................ 5

Scott Kim meets Phil Goldstein at “Sunset”......................................................................13

The Cheeky Pre-Show Scoundrel’s Script......................................................................16

Review - Heirloom by 'The Underground Collective'......................................................19

Review - Making Real Magic (ebook) by Richard Osterlind..........................................21

Review – Skullduggery by Luke Jermay ..............................................................................24

Chilling with Ford

by Ford Kross

Where I left off last time, was doing strolling readings as
entertainment. I stated, there was a percentage of folks who
won't be happy with a reading that's too positive. So, how do you
make them satisfied without making them happy? Usually, this
type will give you an indication that they're looking for something
other than the panglossian reading you've been purveying.
They'll say something like, "Don't hold back, tell me the truth".
How do you handle this?

My method is: I say, in a conspiratorial tone, "Look, I understand, you're a very
special person, with a unique life. I can't possibly be fair to you in a situation like this.
Give me a call, tomorrow, and we'll set up an appointment to give you the treatment
you deserve…" In twenty years no one has called!

Let's discuss persona and modality. It's become fashionable in recent years to avoid
calling yourself psychic. Many now claim they use psychological skills or do
character analysis. Perhaps it's my memory, but I don't recall seeing commercials
touting 900 line character readings. So it's not a leap of faith to say there's not a
great demand. And, where I live, doing psychological analysis requires a State
license. It's also probable that if you don't have the skills to carry off the persona as
psychic, you shouldn't do readings.

Now, let's get to the meat. You've got to decide what reading or divination method
you're going to use. Palmistry, cards, crystal scrying, rune stones. I'd stay away from
chicken entrails and the gorier methods. Rune Stones achieved some popularity a
few years back. But it's faded. Cards require a surface or table. Palmistry is easy
to do strolling. A magnifier, and flash light and you're good to go. I use the new mini
lights, that work of an LED source.

If you're going to use cards, I'd stick to traditional ones. Rider/Waite, Thoth,
Prague. I'd stay away from Mickey Mouse, Looney Toons or other non-traditional
decks. Now Ian Rowland seems to feel you don't need to know anything about the
modality  you're  using.    To  me,  this  lacks respect for those you'll be reading. I've
seen Joe Riding's course and it seems a bit superficial to me.

On palmistry, both Richard Webster and John Riggs have written books on
palmistry for the general public. Have respect for the people you're going to
entertain. I'm not saying you need to believe in fortune telling, but respect the right
of those who do. I'd assume, if you were hired to entertain at a Church, you wouldn't
mock it's theology. At least I'd hope you wouldn't.

Now you should decide on a persona for your reading dates. Herb Dewey was
avuncular. I try to get them laughing as much as I can. Richard Webster is the
neighbor from next door who's made a study  of  palmistry.    Look  carefully  in  the
mirror and see who you are. My cousin Mal, jokes about the chubby, pimply faced
teens, trying to copy Lance Burton. I'd stay away from scary.

Next month we'll talk about costumes and body language.

London Underground

by Bob Pearce

This is a nice little routine that I enjoy – unfortunately its
incredibly London centric, but I’m sure it can be adapted to
suit any large metropolitan city.

The Effe t (Blow by Blow):

The mysterious genius takes out his London Underground
travel pass. From the back of the pass wallet he takes out a

business card and draws a blank London Underground sign.
He then asks one of his enthralled spectators to write the name of any London
underground station in the blank space. The performer averts his gaze, and once
he’s sure the participant has fulfilled the task he opens the photo pass and asks the
participant to show the writing to his photograph ( this would be a good place to
drop in a few remarks about how a photograph can be a material link to the soul and
how some cultures believe that having their photo taken weakens or even steals their
soul).

The spectator is then asked to place the card, writing-side down, under the travel
ticket for safe keeping and to avoid any possibility of it being seen in any way. The
performer now takes out another business card from the back of his pass and writes
the name of a tube station. When this is compared with the spectator’s writing they
turn out to be completely different! (No only joking they match perfectly of course.)

Method:

Well, it should be obvious. The side of a London underground pass which has the
pass in it also has a pocket on the back outside of the pass. Simply cut a really large
square hole in the back bit - you’ll need to get a modelling knife under one of the
clear windows and I suggest putting a few cards in the opposite pocket so you don’t
cut right through. Then get some clear, one-sided clear sticky plastic (check your
local art shop or the Viking catalogue – every mentalist should get a Viking
catalogue or make friends with someone who has one), and place this over the hole
on both sides, this is a little fiddly but achievable – (if you get easily annoyed then
get a grown up to help you.)

Place your photo card and travel pass back in the wallet, and three business cards
face down in the back window section – on the bottom one draw a little doodle ( this
is explained below). When it comes to removing your card for writing on simply pull
both cards out, replacing the bottom one as if it came out by mistake. (You can do
this as well when you take out the card for the spectator – it will give the impression
that the cards are tight in the wallet and will make the peek more natural).

After that just reveal the station in your normal inventive and charismatic way. One
final thing – I have had people be suspicious of the travel card wallet and this is where
the little doodle comes in, simply get an ordinary travel card and put one card in the

back pocket with an identical doodle also make sure you use an identical photo on
the photo card. If you actually use a London Underground pass then make sure
this one has the up-to-date ticket in it – and in the name section on both of them fill
in your stage name if different from your regular moniker. When you take out the
spectator’s original drawing, just drop the gaffed wallet into a pocket with the
ungaffed one and if they asked to see the wallet then just switch them. Empty photo
card wallets are available for free from anywhere that sells London Underground
tickets. And the new digital photo booths will do you four identical passport size
photographs. If you really can’t be assed to make your own pass then email me and
I’ll sell you one! (bobajip@yahoo.co.uk). I’d also be really glad to hear from anybody
who performs this effect.

Angel and Demon

by Didier Chantôme

(Translated by Lesault, from the original French)

In these times of new-age thinking and angelology, this
experiment asks two participants to choose to play the role of
an angel or a demon…. It’s a divination routine which enables
you to tell each participant:

- the character they chose to play
- which object they chose

Also, one of the two witnesses takes a banknote placed on the table before the
beginning of the experiment… You divine who has it…

Materials:

Two scarves of different colours. Avoid ‘magic’ silks… I use two bandanas, one black and one blue.

Four light envelopes, sized 110X220 mm labelled ANGEL

Four dark envelopes, sized 110X220 mm labelled DEMON

Eight white business-card sized envelopes.

Don’t use self-adhesive envelopes; they must have a pointed flap with a gummed edge.

Eight small business cards

Eight objects. I use a pen, a ring, a key, a watch, a lighter, a crucifix, a tin owl, and a key ring.

A bank note.

E planation:

Several principles are necessary to carry out this experiment… You won’t be doing it
all on your own, I invite you to follow the process… This isn’t very simple and I would
have been able to write a whole booklet with nothing but this routine. Take the time
to read it all… ☺

There are three effects in the routine:

Effect 1: I divine who is the angel, and who is the demon
Effect 2: I divine the chosen object
Effect 3: I divine who has taken the banknote.

The origin of the experiment is the effect «Saint or Devil» by Charles Cameron in
«Macabre and Mental Mysteries». There, two spectators were given the choice
between two personalities, but it didn’t allow the precise and direct identification of
the two choices. It is, however, well adapted to the genre, and I highly recommend
reading the works of Charles Cameron (the Godfather of Bizarre Magick) to give
birth to many bizarre ideas in your magic!

To identify the second spectator, I needed to make him carry out an action, and to
camouflage the principle, on the advice of Alain Gesbert, I have increased the
number of possible choices...

Here’s how the routine goes:

To make it simple, we will call the spectators A and B.

I give a scarf containing four envelopes to each spectator: two ANGEL, two
DEMON (eight envelopes in all)

I put eight objects, one for each of the eight envelopes, on the table. I then turn my
back during all the choices which are about to be made.

I also put a banknote between the spectators.

I explain to the spectators that they must choose to be an Angel or a Demon, with
many possible combinations of angels or demons, and that next I will ask some
questions... IF the person is an ANGEL, they MUST tell the TRUTH when
replying to me, but IF the person is a DEMON, they MUST LIE when
replying...

Then I turn my back and they begin making choices.

A or B takes the banknote from the table.

A and B choose one envelope each and refold their scarf over the three remaining
envelopes.

I ask a single question of A (after I have pointed out that he must lie or tell the truth
according to which character he chose):

- Does B have an envelope the same colour as yours?

A answers and then opens his envelope, inside he finds a second envelope which
contains a business card. On the card is written the name of one of the eight
objects. He picks up the object, shows it and replaces it.

I ask a single question of B (after I have pointed out that he must lie or tell the truth
according to which character he chose):

- Did you take the banknote?

After he has answered, B opens his envelope; inside he finds a second envelope
which contains a business card. Written on the card is the name of one of the eight
objects. B takes the object, shows it and replaces it.

I ask them to hide the scarves and the objects, and then I turn to face them again. I
have no visible crib.

I announce to A and B their chosen personalities, then their objects and I ask for
the banknote from the person who has it in their possession.

The Secrets:

1. Following the question which I ask A, I know instantly if B is an Angel or a
Demon

2. The sound of A opening his envelope tells me if he is and Angel or a Demon

3. Although there are eight envelopes and eight objects, A and B only have one
choice per personality (the two Angel envelopes held by A contain the word ‘Ring’,
the two Angel envelopes held by B have the word ‘lighter’. The two Demon
envelopes held by A have the word ‘watch’ and B’s have the word ‘pen’, that is to
say only four objects can be chosen from the eight shown...

4. As I know who is lying and who is telling the truth, I know who has taken the
banknote.

5. When I turn my back, I consult a palmed crib which gives me all the necessary
information. This takes the pressure off memorising and allows me to concentrate on
the presentation.

Preparation:

Of course, you can change the names of the people and the objects to suit your
presentation of the effect.

For Spectator A :

The scarf (black) contains :
- two light ANGEL envelopes
- two dark DEMON envelopes

Each ANGEL envelope contains :

- one business card sized envelope inside which is a small card with the word RING written on it.

The ANGEL envelopes are not sealed ! They are closed by tucking the flap inside the envelope.

Each DEMON envelope contains :

- one business card sized envelope inside which is a small card with the word WATCH written on it.

The DEMON envelopes are always sealed ! The noise of them opening allows you to know if A is
an Angel or a Demon !

For Spectator B :

The scarf (blue for B...) contains :
- two light ANGEL envelopes
- two dark DEMON envelopes

Each ANGEL envelope contains :

- one business card sized envelope inside which is a small card with the word LIGHTER written on
it.

The ANGEL envelopes are not sealed ! They are closed by tucking the flap inside the envelope.

Each DEMON envelope contains :

- one business card sized envelope inside which is a small card with the word PEN written on it.

The DEMON envelopes are always sealed !

One spectator takes the banknote....

The questions:

For A:

question

Personality of A answer

Personality of B

Yes (truth)

Angel

No (truth)

Demon

Yes (lie)

Angel

Does B have an
envelope the same
colour as yours?

Demon

No (lie)

Demon

In short:

- if A answers YES, B is an Angel

- if A answers NO, B is a Demon

For B:

question

Personality of B answer

Who has the
Banknote?

Yes (truth)

Angel

No (truth)

Yes (lie)

Do you have the
banknote?

Demon

No (lie)

Knowing the personality of B indicates who has the banknote

The objects:

Personality of A Chosen Object
Angel Ring
Demon Watch
Personality of B Chosen Object
Angel Lighter
Demon Pen

The crib:

On one side:

A : YES / B=ANGEL

A : NO / B=DEMON

And for the banknote

B : ANGEL / yes= B, no= A

B : DEMON / yes= A, no= B

On the other side :

A : ANGEL / ring

A : DEMON / watch

B : ANGEL / lighter

B : DEMON / pen

To summarise, here’s an example:

Let’s take two spectators: Alain and Bruno.

I put the blue scarf in front of Bruno, the black in front of Alain, and in the middle of
the table a small bag containing the objects.

I open the scarves and I explain to the spectators that in a moment they are going to
choose to be either an angel or a demon, showing them the envelopes so they can
see they have a free choice of different angels and demons.

I lay out the objects while saying that there are a number of possible choices of
object. Once the rules of the game are well established, I place the banknote
between the two spectators and turn my back.

I say: One of you is to take the money... (Often they hesitate and the audience
laughs!) Then I tell them to choose one envelope, refold the scarf over the three
remaining envelopes and hand the scarves to a third person...

I have already taken the crib from my pocket...

I ask the questions, starting with Alain, He answers ‘no’. I can then deduce that
Bruno is a demon and he will choose the PEN.

Bruno answers ‘yes’. I know that Alain has the money.

Now I listen carefully to the sound of the second envelope being opened by Alain.
I hear a tear, so Alain is a DEMON and he will take the WATCH.

I invite Bruno to open his envelope and show the object.

I ask them to replace the objects in the bag, and to give it to the person who already
has the scarves.

I turn back to reveal:
- That Alain has chosen to be a Demon and has taken the watch
- That Bruno has also chosen to be a Demon and has taken the pen

I extend my hand to Alain and ask him for the banknote.

Final comments:

The objects attributed to each personality are arbitrary... It’s easy to remember the
objects because of the crib I have in my hand!

The objects chosen are the most innocent... The spectators are glad not to pick a
symbolically charged object such as the crucifix or owl...

Very often, the two spectators choose the same personality.

While explaining the rules of the game, I insist that they will have to lie if they choose
to be the demon, making it clear that it’s complicated... The ‘accommodating’
participants often choose to both be angels...

Go slowly, talk precisely, and repeat your instructions... Directing the operation with
your back turned is difficult! The spectators sometimes act faster than you speak,

especially when B understands that he must do the same thing as A, the actions
accelerate while your flow of speech remains regular!

You are perhaps thinking that four envelopes (2x2) and two objects (one per
participant) are enough to conduct the experiment.
Theoretically, you are right! In reality, it’s the large number of objects and envelopes
which prevents the participants from finding a solution and from seeing that the
corresponding number of objects / number of envelopes is false...

In order for the effect to work correctly, you must be able to hear the envelope being
opened! (It’s very difficult to do this in a disco!)

Feel free to use the principles described here to make your own routine...

Bon succès !

Scott Kim meets Phil Goldstein at “Sunset”

by Nir Dahan (written September 2003)

In Paul Hallas’ wonderful publication “Mindful
Mentalism” volume 2 there is a very nice routine
by Phil Goldstein called “Sunset” (page 59). In
the original routine some cards (postcards) with
country names were displayed and one was
chosen. The process of selection was such that
the spectator could only pick either the Ireland
or the England postcards. Then, a prediction

was showed to match the choice. The specific method used, which is not different
than the one used in this effect, required that the “England” writing on the
prediction will look fairly suspicious. Maybe I would be suspected in being a
perfectionist but that fact troubled me a lot, and I tried to find a solution for it.

What you will read in the following lines is my improvement. I feel it is better than the
original solution as the two possible outcomes are not even closely related.

The limitation of this newer version is that it would be harder to apply to larger
audiences because of the nature of the prediction itself.

Effect (in a nutshell):

A prediction is set aside in a small envelope or face down on the table, and is in full
view all the time. A set of 10 (?) postcards of different European countries are
shown all to be different. The packet of postcards is then shuffled (?), and a number
between 1 and 10 is asked to be called. The corresponding postcard is shown,
followed by the prediction. They both match.

Method:

The 10/11 force is being employed here, with a very clever out. In the 10/11 force,
two outcomes can be eventually reached to. In our case they will be “Russia” and
“Spain”. Arrange 11 (!) different postcards in any order, the only limitation being
that the 3

and 5

postcards from the top will be the “Russia” and “Spain”

postcards. The stack of 11 postcards is always being referred to as having 10
postcards and not 11.
Any number is being called between 1 – 10 (which limits the possibilities to the
numbers 2 – 9).

If 2 or 4 are called, count from top, taking the next card after count.
If 3 or 5 are called, count from top, taking the very card you reached with the count.
If 6 or 8 are called, count from face, taking next card after count.
If 7 or 9 are called, count from face, taking the very card you reached with the count.

In that way all possibilities between 2 and 9 (including) are covered.

Now what? We have reached one of the two possibilities, either Russia or Spain.
How can there be only one prediction?

The prediction – as in the original routine, a dry-erase marker is used in combination
with a permanent marker. Take a look at the following picture. Ignore for the time

being the blue markings, as they will not really be drawn on the prediction and will
only be used for clarification. The parts made in red, are made with a permanent
marker, the green parts are written using a dry erase pen.

Notice that if your thumb will wipe to the left, from the point where the blue arrow
starts, the word “russia” will appear. If on the other hand the prediction is wiped to
the right from the same spot, and the prediction is turned over, the word “spain” will
appear.

This concept is based on the works pioneered by Scott Kim for graphic and logo
design. It enables the two possible outcomes to look very different, thus eliminating
the possibility of back engineering.

The end part is now clear, all you have to do is wipe out from the very same spot
either to the left or to the right, and either revolve the prediction over the short axis
(like a book), or over the long axis (like a writing pad). Some practice with the gimmick
will enable you to do it without too much difficulty.

I found this routine to be devastating in close-up situation. Even to people familiar
with the principle of dry-erase pens (magicians), this looks impossible, as the list of all
possible countries to choose from are not even remotely close.

Afterthoughts

This was just the barebones of the method. Naturally a complete story can be built
behind this effect to make it more entertaining (and that is the real secret).

The Cheeky Pre-Show Scoundrel’s Script

by Luke Jermay

What follows is the script have used for some time in order to
bring about the desired response from a member who has been
subjected to ‘pre show’ work.

For those unfamiliar with pre show work it is as simple as the title
suggests. It is work that is done before the show. The result of
this work is then presented on stage. The audience are led to

believe that the actions they are witnessing taking place on stage are happening for
the very first time.

With such work, miracles can happen.

However there are several tricky problems that need to be addressed in order for
your pre-show work to be successful.

The most basic is ensuring that the people you ‘work’ before your show are actually
staying for it. The last thing you want is to go to the effort of working a person
before the show only for them to have left by the time your performance begins.

Another concern is that often the ambiguous language used in order to achieve the
desired response is almost too ambiguous. The assisting pre-showed spectator is
not clear that they are to respond according to the work done before the show.
Each of these problems are overcome in the following scripting:

Before the show begins:

Let’s imagine you are (rather mundanely for the sake of explanation) wishing to
discover a secret word to be fed back to the spectators as a revelation during your
show. We won’t go into the details of how you find out the word as many are
possible: a peek wallet, an impression, a centre tear, a billet peek or even a force.
There are methods aplenty.

However, let’s assume the spectator is to write down their word on a billet.

Here is how I frame it:

”Now I want you to imagine a blackboard in front of you. In fact imagine you are
back at school. You are standing with you two best friends. What are their names?”

Await the answer and make a mental note of it, as it will become very useful later in
your show. But lets not get ahead of ourselves.

”OK, so you’re at school in front of a black board with your two best friends,
Ford and Chan”

In my explanation, we will assume that your spectator was at school with possibly the
two most important mentalists of all time, in which case it might be best just to go
home. But anyway, you continue:

”I want you to imagine you are writing a word on that blackboard: see it? Make it as
large as possible. It can be 90 feet wide and 60 feet high or anything, just make it as
large as you can in your mind. Now I want you to see yourself writing that word on
the black board.”

You remove a blank business card.

” Now we all think in many ways, so I want you to actually write down the word on this
card, keep it well away from me. But stare intently at it, kind of locking it into your
mind. Then actually say the word to yourself in your head, say it over and over
again. Now that word should really be locked in there. I would like you to keep that
card for later. We will get back to the word later in the show. You are sticking
around right? You are going to get some of the spot light and have a great time.”

We will assume you have some how peeked what is written. Personally I would use
either Acidus or at the moment I am rather fond of Richard Busch’s ‘Enlightened
Peek’ as I seem to be finding myself in the perfect locations for it very regularly.
Regardless of how, you know the written word and the spectator has keep the card
with it on.

Now comes the fun part.

During the Show:

You have asked the ‘pre showed’ spectator to join you on stage. You begin:

”OK now we are going to try something that I think you will be very good at. It’s all a
game of imagination. I want you to imagine that you are at school. In fact imagine you
are in a class room standing with your best friends. Look at them, look them up and
down.”

You are about to make use of the names you learnt earlier very much in the way that
Dunninger would use a spectators name as a revelation.

”OK so there’s no way I have met these people right. There’s no way I know
Ford and Chan?”

At this point the audience will be impressed. Notice this reaction you respond:

”Oh no, that was nothing.”

Shrugging your shoulders as you do. This makes the spectator helping think you
were no claiming any credit for it. However they now fully understand this is the time
you were refine to before the show. This is due to the memory hook of the
blackboard and their friends. You continue:

”Ok, I want you to imagine yourself writing a word on that blackboard see it. Make it
as large as possible it can be 90 feet wide and 60 feet high or anything, just make it
as large as you can in your mind. Now I want you to see yourself writing that word on
the black board. See it?”

”Ok hopefully we locked into your mind enough. I will see if I can see the first letter
of it...”

And follows your amazing revelation.

The scripting gives you two amazing hits, then the final revelation. It also ensures

that the spectator understands what they are to think of due to the wording being
repeated and the memory hooks of the blackboard etc.

This is a small point, however it is these small points that make for a big impression.

Try it! You might just find it works.

Review - Heirloom by 'The Underground
Collective'

Reviewed by Doug Segal

published by Alakazam and available from www.underground-
collective.com

For those who don't already know, this is the first non-ebook release from Jamie Badman &
Colin Miller and is the only marketed effect based on the Kolossal Killer methodology
which has been authorised by Kenton Knepper.

Kenton claims "this is the effect KK should have been". High praise indeed but have they
actually moved things on?

Well, actually I believe they have. Certainly Heirloom is a much more powerful effect than
the basic KK as described in Kenton's original manuscript, but, in creating what is now an
extremely strong 'emotional' routine, I feel they may have actually made it slightly more
limited.

To explain what I mean I need to give a more detailed explanation of what you get for your
money - this in itself is difficult without giving away the KK methodology so I'll assume gentle
reader that you already understand how this works.

The package, as well as containing a well written and thought out 'storytelling' presentation,
contains a number of high quality 'period' sepia photographs of a Victorian couple. In
addition to this is a letter printed on 'aged' paper which acts both as a nice prop and also as

part of the mechanics . Also if you buy it direct from The Underground Collection you get
some interesting 'bonus' materials.

The tri-part combination of the story, the photo and the letter give a cogent and germane
rationale for an aspect of KK that by some was perceived as a weakness (in fact that's
probably the best possible outcome for this version). In addition, unlike KK, the props in
Heirloom can always be examined by the spectator after the effect which means they can be
freely handled.

The fact that these are only 'perceived' weaknesses in the original is where my sole
reservation with Heirloom lies.

The original KK gave you the possibility to present the effect in many different ways - for
example Kenton's document suggests using it as a 'challenge' & I have seen others use it as a
prediction/precognition effect.

I personally use it as a demonstration of suggestion or mind control & I love it when I get an
indirect hit on the card - it means I get to use a presentation I really like for the effect.

Now Heirloom is a stronger effect than this, particularly emotionally, but you can really only
present it the one way and for my Psychological Illusionist show it just doesn't fit - at least
with the original KK you could present it anyway you saw fit which could sometimes make
the 'weaknesses' a strength.

That said I still like it very, very much indeed (I just wish I could make it fit my act).

If you are a bizarrist, a more eclectic mentalist than me or a magician looking for one killer
mental effect for your show you could do an awful lot worse than this for the money.

Review - Making Real Magic (ebook) by Richard Osterlind

Reviewed by John W LeBlanc

I don't often review things I get. I'm not a staff reviewer for any
magazine and, frankly, not much tickles my fancy to the extent
that I actually feel moved to write about it. I don't expect anyone
to hold my opinions to any lofty heights, still I occasionally put
them forth in hopes they are at least useful in some small way to
others. Here's one of those cases.

Before I start, you should know I like Richard Osterlind quite a
bit, and for many reasons. In part, he's been both kind and
generous to me, answering questions I've asked and providing me
great advice, and I believe he's contributed some of the most

amazing, useable, and practical tricks to the world of magic and mentalism. (If you haven't yet
gotten his 4 DVD set, you'd do well to purchase the set while he's still offering the
incredible price of $100 postpaid: http://www.osterlindmysteries.com/storevid.htm That's
less than $25 per DVD shipping included for stuff you can actually use.)

For years his "Surrounded Slow-Motion Center Tear" has
been, in my estimation, the best around and his clarification of
the technique in "The Perfected Center Tear" is well worth
your attention. And I believe "The Osterlind Breakthrough
Card System" is the best $15 you’ll spend on learning a totally
mind-blowing technique for handling a stacked deck of cards.

So yeah, I'm something of a fan of Richard's, which makes the
following somewhat...well, just continue reading.

A couple of months ago I got his latest e-book, "Making Magic Real." I can't recall if I
shouted from the rooftops why this was an excellent book to read, but if not, this is an
EXCELLENT book to read. It's a series of essays on being a magician. BEING a
magician. It's $10, which is one-fourth the amount you were going to spend on another book
on card tricks you'll never perform and probably won't be totally jazzed about anyway, but
feel you have to have anyway. This book, however, will pay dividends for the rest of your
performing life. (Divide the number of years you intend to continue performing by $10 and
you'll find it's one heck of a deal. Or, at least, I hope so.)

So, this morning, I downloaded the latest Osterlind e-book called "Making Real Magic".
I've read it twice now and, while my impressions are still clear in my head, I have a few things to
say about it you may find useful before you go to download your own copy.

After the usual preface, the opening volley of this book is found in this paragraph:

"I firmly believe magic is an art. It is a fine art. It is due all the respect and study that any art deserves. I
also believe the obligation of a magician is to create a sense of mystery, wonder and excitement that
takes his audience to a special place where the impossible becomes possible and dreams become
reality. It is a place where feelings of joy, happiness and innocence, rivaling that of childhood, are
born."

Now, if you'd disagree that the paragraph above is profoundly and eloquently definitive of
what we, as magical performers, are about -- and I really don't think you would disagree --
then you may as well forget the rest of this review, because that paragraph lays the
foundation for the rest of this wonderful book.

Tommy Wonder's "Books of Wonder", lots of stuff by Bob Neale, stuff by Derren
Brown, and just about anything by Eugene Burger -- these are works that come
immediately to mind when I think about interesting, useful and relevant essays about the
performance of, and "making real", magic for live people. These e-books comfortably fit in
that group and I am glad to have them in my collection.

In one of the chapters, Richard refers to something I've often pointed to: the beginning of
the Tarbell Course. In volume one you'll find a fascinating bit of history of magic and is (or
should be) wildly relevant to what we do. Yet, you won't find many performing magicians who
embrace our history in context with our performances, which is a plain shame to not only
magic in general, but especially to their audiences. When you do find someone who does,
though, you'll notice he's nearly deified by either his audience, fellow magicians, or both. I
don't think that's a coincidence, by the way.

"You suck" is not the worst thing your audience can say about you when you've performed
for them. I think the worst thing they can say is, "Who cares?" "You suck" at least suggests
you've done something relevant that doesn't measure up to some expectation they have.
"Who cares?", however, suggests you and what you've done for them is irrelevant. Your
magic performance is so dead at that point you can't even hear the death bell ringing.

"Making Real Magic" helps you define (or redefine) what it is you are doing in your act to
make it -- and you -- relevant to your audience. It helps you focus on audience expectations
and how to meet or exceed them in a magical way. To me, that's where real magic lies.
Practicing "The Golden Rule" when performing magic is a sure-fire way to fail with an

audience. Focusing on what _they_ want from our performances seems obvious, but
evidently most performers don't give it consideration.

There are twelve chapters in this book, the titles of which are perfectly chosen:

1. Magic as an Art
2. The Nature of Magic
3. Personalizing Magic
4. How Can Magic Be Real?
5. Tom Bombadil
6. Making Real Magic
7. Drama
8. The Power of Simplicity
9. Seeing Through the Eyes of the Audience
10. The Magician in the Physical World
11. Osterlind's Amazing Memory Demonstration
12. Making Magic Your Own

(Chapter 11 is a trick you can use.)

Now, you can _spend_ money on magic tricks and books, or you can _invest_ your money.
Spending money is akin to gambling it away, or supporting a hobby, or just buying
something because you want to; none of which is inherently a bad thing. (Just a couple of
days ago I visited H&R Magic Books in Humble, TX and spent far more than I invested.
Not that I regret doing so, but I do know to make the distinction between the two.)

Investing money on magic, however, means you intend and expect to get back several dollars
for every dollar you spend. How on earth anyone can argue that for every one of the twenty
dollars this book costs will fail to return multiples of it is beyond my comprehension.

I find this, like Osterlind's other offerings, is a drop dead bargain. Unless you number
yourself among those performers who really don't care about how your act is perceived, or
how to make it better (and earn more money more often), I believe you belong to the group of
people for whom this book will be helpful and worthy of investment.

It's laid out well, and it's not a small book but neither is it difficult to read. It's available for
instant download for just $20 at:

http://www.osterlindmysteries.com/storemrm.htm

I don't praise many books or tricks, but Richard is batting a thousand for me, and I think this
e-book is worth a look for you. And if the sales and comments from his most previous e-
book, "Making Magic Real" is any indication, I'm not alone.

Review – Skullduggery by Luke Jermay

Reviewed by Sean Boon

Available from Alakazam (£28.99) Format : DVD

Luke has finally put out a DVD of his effects to
accompany his books

‘7 Deceptions’ and ‘Building

Blocks’. It is great to see these miracles in action, and a
great convincer for those that doubted that the effects
would not work in the real world. The following is a step
by step review of the contents in all their gory detail.

RGM : A spectator simply looks at a playing card and you cause them to actually
forget this card-they can't remember it! Luke demonstrates that this really does
work and goes in to great depth as to how you can achieve the outcome in more and
more of your performances.

For Andruzzi : Stop your own pulse...with no gimmicks! And - stop a spectator's
pulse without even touching them! No stooges. Possibly one of the most
devastating and intriguing effects from Luke’s previous work. I know that I initially
read it in

‘7 Deceptions’ and was a little reluctant to believe that this could possibly

work. However I know that once you watch this DVD you will begin to gain the
confidence and experiment for yourself. A reputation maker I am sure.

And if I fall.. : A coin disappears from the performer’s hand, reappearing in the
closed fist of a spectator. Devious, but perfectly demonstrates Luke’s knowledge
of the use of language to frame and create an effect in a participants mind.

The Burst Bubble Suggestion : A wonderful idea from ‘Building Blocks’ where a
participant actually feels a thought leave their mind. When you watch this in action I
am sure that you will be putting it into practice almost immediately and creating your
own interpretations of this principle.

Synchronized : A spectator thinks of a time; another spectator amazingly sets the
hands of a face down watch to the very time thought of by the first spectator. This

uses a principle that is becoming increasingly popular at the moment. Personally,
despite this being a very clean looking effect with a great result, I don’t think that I
would be comfortable performing this myself.

A Darker Dai : Five objects are displayed a spectator is asked to simply cast a
shadow over one of the five. While the performers back is turned. Upon turning back
around the performer correctly senses which of the objects was selected.
This effect first came to our attention in 7 deceptions and used playing cards,
however Luke has taken this a great step further and began using objects as a
substitute. This is going straight into my repertoire, I can see many applications for
this and am sure that bizarrists/storytellers will enjoy this.

The 7

Deception : A spectator's actual phobia is seen to go away through a

magical, psychological event. The spectator takes home a special paper to remind
them of this dramatic change. Is it real magic?   Devilishly simple in execution but
perhaps a profound impact on the participant. Not something for stage performers
in my opinion but a nice closer to a dinner party or reading.

Twisted Palm : During a palm reading, the lines on the spectator's palm apparently
move and twist on their own.   Yes it is true! Another one of Luke’s effects actually
works in the real world.  I have been using this for quite some time and it is a pleasure
to see Luke perform it. This is one of my favourite routines from all of Luke’s work
as it really does affect the participant in a strange way. If you only perform

For

Andruzzi and Twisted Palm, I am sure that people will remain talking about you for
long after your performance.

As a whole, this dvd has been a long time coming. Simply because of those that did
not believe that Luke’s routines worked. For the price you are getting a bargain,
brilliant magic and mentalism effects and a fantastic insight into Luke’s thinking which
will no doubt spur you on to thinking alike. Production-wise this could have been a
little better, only a tiny niggle but the venue really didn’t do Luke justice. Other than
that minor criticism, this DVD really should be in your collection.

Document Outline