I think that most mentalists who spend any amount of time on the Internet have heard of Stuart Cumberland. His “Mental-List” site is frequented by many top names in the mentalism field as well as many interested mentalism enthusiasts (www.Mental-list.com). Ironically, the very element that has made Stuart so well-known has also been the source of his controversy. Stuart not only respects the great Ted Annemann, but advocates usin g Ted’s bril liant material t oday. The e- books he’s most well-known for (Annemann’s One Man Psychic Routine and the recent Annemann 666 trilogy) reintroduce Annemann’s material for the 21. In quite a few cases, Stuart explains how he made changes due to recent technology or handlings and discovered that the original techniques were just as effective, if not better. In other cases, there are hand lings and techniq ues that improve the original.
But, most often, the routine, as originally conceived by Annemann, needs no tweaking and is strong as is. The controversy stems over Stuart’s profiting on material that isn’t his, nor is terribly original.
You see, that’s the whole point. Stuart is reintroducing this material to a whole new generation of mentalists who can’t be bothered by reading the older, or c lassic, material. What this new generation doesn’t realize, or perhaps respect, is that there’s very little that’s new in mentalism and most of the new stuff is simply combinations of older principles or applications of those principles to newer technology. Annemann’s material s till is powerful. And here’s the oth er very important poi nt – Stuart Cumberland has performed all of this material numerous times and still performs this material.
He successfully entertains laymen with this material f or sure, but he also fools magician s and mentalists wit h material that’s close to a cent ury old! Those familiar with the brilliance of Annemann need no further introduction to the material inside t his issue. Those who are n ot as familiar w ill get a taste of the incredible material from each of the four Annemann e-books that Stuart has produced. And there’s a wond erful interview with Stuart along with m y regular column. I’ve fooled more than one magician with this effect over the years. What makes it so rewarding, though, is that it can be done almost impromptu and uses ungaffed or prepared materials. In fact, it’s about as close to real looking as you can get.
This effect is in the “dangerous” category as it is NOT foolproof. It doesn’t always work as I outline. It is my opinion, as stated many times, that you need to take risks as a mentalist. When this effect works (and my handling certainly ‘ups’ the chances), it enters the miracle class. There’s also a silly thinking that Living and Dead Tests are too emotional and shouldn’t be used.
What do you think a person is going to remember longer that you guessed they picked the seven of diamonds OR that you told them about their Great Aunty Gertrude? Effect: A pad of paper and a pencil are handed to a spectator. The mentalist turns his back and asks the spectator to write down the side from 1 to 6.
He is then asked to think of a person who has died that was important to them and put their first name in one of the numbered positions. The remaining five positions are filled by the spectator with living names of people important to him.
The mentalist asks if there is any way anyone could know which of the names would be the departed. The reply is no.
The mentalist takes the pad and pencil and starts immediately scratching off names until only one name is left. The spectator names the dead person and when the pad is turned around the dead name is the only name without a line scratched through it.
Annemann The Jinx
Method: Annemann came up with some terrific ideas for Living and Dead Tests. One of my favorites was with a chalkboard, getting the five living name first from a group of spectators and then asking a sixth to fill in the last space with a dead name. Reaching the hand around in a gesture to fill in the missing spot, you lightly dragged your finger from top to bottom putting a light line through all the living names! A quick glance for the only unmarked one gave you the hot name!
Annemann detailed two methods in his instructions, the second method being a “shiner” a small mirror for glimpsing the name. While I own several in my collection, I have never used a shiner more than a few times and find them too fiddly for my liking. The BEST method provided was the simplest and best. It’s exactly the one I use. Sound Reading!
That’s the secret. Sound reading is one of the most underused and best-kept secrets in our business. Think about it!
How many tricks do you know that are accomplished by sound reading?? In my updated version of Annemann’s Act—2005, I detailed how I use sound reading to “mirror” what the person is drawing on a pad to cr eate the very eerie ill usion of me duplicating almost exactly the same time—pen stroke by pen stroke—the drawing even though I’m turned away.
Annemann discovered that while fiddling around with methods for doing this effect that you could hear unique strokes when the person wrote the dead name. Upon looking at the list, it becomes “obvious” as to which name it is. Hard to believe, but once you try it a couple o f times, you’ll be amazed. It will just stand out to you like a sore thumb.
Tips: Annemann used a slate. I use a plain scratch pad, note pad or whatever.
And a pencil. I’ve done it with pen with goo d success, but a pencil makes much more “noise” and works better. I’ve done it at house parties with a sketchpad and a magic marker. When you are listening for it, the marker is deafening! There’s a saying that goes “don’t run when you don’t have to”. I follow that rule in Mentalism all the time, but I break the rule here. I bend over backwards to eliminate anyone thinking that I am listening for sounds.
So, I ask the person to think of a dead name and put it in any position I pause when I hear them writing and “log the telegraph sounds” even though I can hear they are done, I ask them “have you done that?” They answer “yes”, of course, and then I instruct them to fill in the remaining names. As they are writing the remaining names I continue talking and I really do ignore all other sound reading. I’ll keep the patter up with the crowd, or if just one person, I’ll just talk a bit with them and wait until they are done. I’ve personally never used this on stage, although there’s no reason why you couldn’t. I’ve only used this in seemingly impromptu settings. Does it fail? I have to be honest.
However, you can pretty much tell the moment you look at the page. If the name isn’t obvious, your hunch is likely very close.
In this case I emphasize that this doesn’t always work and I scratch off the names but one. Instead of asking for the name and then turning the pad, I just turn the pad and ask, “am I right?” If not, I call out the name that was my second guess saying I was torn between the two. If THAT fails I do the multiplying bunnies.
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