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I disagree. I use billets all the time in parlor as papers for people to write information on. I usually just don’t reveal the information using the billet, but some kind of pad or board. Like in Cassidy’s 4Dt for example.

I’m working on a billet routine and on one of the phases, I send a number to someone else. I don’t perform in closeup, so when I reveal the number I sent on the billet, I’m afraid it will be too small. I could write it big on a pad but then I can’t do any of the “technical” stuff that’s...

I always find myself coming back to Bob Cassidy’s amazing Fundamentals book, and in it he says that you should focus on having one single ability as a mentalist. However, in one of his cornerstone effects, the name and place routine, two abilities are exhibited: clairvoyance (he figures out...

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Does anyone know where I can find a large list of commonly named words? I remember Turner put out something with names, but does anything exist with just words?

I see what you mean, and I agree that everyone starts copying at first. What I’m wondering is how can he set himself apart from other mentalists? In other words, how can you be unique? All the well known mentalists usually are unique in someway, so how can you differentiate yourself from that trend?

Personally, I have always presented mentalism from a psychic angle. However, my friend who is getting started in mentalism wants to present it through “reading body language and voice tone”. Any advice I can give him to not copy all the psychological mentalists out there, and be unique? I’m...

Get the Artful Mentalism of Bob Cassidy Volume 2: Fundamentals. Don’t let the title throw you off, it’s the fundamentals of PROFESSIONAL mentalism. Not only does it teach powerful effects, but it’s teachings are essential to the mentalist. It even has a list (the thirty nine steps) of books that...

Thanks guys, this really helped

Huh, that defintely clears things up a bit. Still when people like Cassidy say the one-ahead is crude, he means the part where you "verify" the slip after figuring out what it is. Like if you eventually say "bacon and eggs" why do you have to open the slip to say "there you go, bacon and eggs"...

After doing the “a Day of Your Life” effect by Annemann, which utilizes the one ahead principle, I was worried that people would be able to figure out the method. I know Cassidy recommends to commit an answer to writing to solve the one ahead issue but it wouldn’t really be appropriate in this...

You are going to have to be more specific with your question. If you want to get started in mentalism, I would recommend to read Artful mentalism volume 2: fundamentals (bob Cassidy) PME and or The Jinx by Annemann, and 13 Steps. These are essential to any mentalist. After reading these books...

Does anyone know if Bend by Menny Lidenfeild is an instant download or dvd? Thank you

I do perform in a parlor environment, although I occasionally do close-up. As for miracles, I consider that a presentation where the effect is clear and completely inexplicable would be a miracle.

Thanks a lot! This helped

Derren Brown’s version, in The Devil’s Picturebook, is great. I also like Lenard Green’s version.

Sorry. It’s the original names in the first post

L Edit: the names are George Washington, Michael Jordan, Elvis Presley, and William Shakespeare

If I have a list of names (George Washington, Stephen Hawking, Elvis Presley, and Edgar Allen Poe) how could I fish to find the one someone is thinking of. My only requirements are that it doesn’t seem too obvious that I’m fishing, and I never mention any name except the one they are thinking of.

I see your points. Does Prism help with context, or does it deal with improving on original methods? I also hear it deals with a lot of cards. As for billets, it would be hard to create a separate justification for every effect. I will try to though, for the effects that are really good. Thanks...