What exactly am I doing that is selfish? Do you even know what that word means? Or am I just a dick because I'm not kowtowing to your lazy demands?
As for hard times, I'm out there performing paying shows. I was a busker for 2 years. I've only just started working in the convention circuit. I've taken my lumps and they're an essential part of the learning process. I understand and accept this. You have not shown that understanding. You expect everything to be easy. You want the best, you want it now and you want it with no strings attached, free if you can get it.
But you don't learn that way. Learning a skill means successes and mistakes alike. There are hours of boredom involved that you must embrace. You must learn to love the grind. You must appreciate the hard work that no one will ever see. There is no shortcut. There is no magic pill. Even a hobbyist takes this more seriously than you do. You don't lift a finger to do actual research. You just hear about an idea you like and ask us for stuff to buy.
So yes, I do want you to experience hard times. Because the only way to learn a skill is taking the good with the bad, the hits and the misses. Sooner or later, you have to take your lumps.
Whilst the DVD's may teach you some material that is very strong it will not help you in the long run as I and many others have pointed out. People don't understand that to present mentalism there are many fundamental differences that need to be addressed, and understood. If you take one of the corner stones of mentalism the billet switch, to this day some of the strongest effects that I perform. The brilliant thing is that for the most part the routine has remained unchanged from the Annemann original, (A Question and the Answer.) There are improvements to the handling like Cassidy's Name / Place routine and the new 100% impromptu handling that Docc Hilford just released.
The method basically is that you switch the hot billet for a dummy and read the information. I know that this seems simple and it is for the most part. However if you want people to believe you (the whole point of mentalism) it is the small things that make the difference. Whilst you can learn these in the context of an effect from a DVD most of the DVD's assume that you know the basics and see them demonstrated in a real world environment is that last 10% to the solid foundation that you should already have.
Whilst the mechanics of a billet switch is well underneath the skill level of a standard coin magician, very few coin magicians can pull it off. Case in point Bob Cassidy Remote Viewing whilst this effect only requires one billet switch and a whole lot of psychology. The real question that Craig, Steerpike and I are asking and you have answered is are you willing to put in the real work, to make this effect a true miracle. Otherwise start riffle forcing a card onto someone and just fake it.
(I want to say there is nothing wrong with forcing a card on someone and revealing it but you have to do it every every well.)
Selfish people like you who wants others to experience the hard times you experienced?
It should be noted, there is a psychological difference in the appeal, the manner of presentation, between what we call the two branches of the mystic arts: "magicians" and "mentalists". While both accomplish their their effects by trickery , the mentalist rarely admits it. There is an important reason for this attitude of the mentalist. His mysteries of the mind are impressive only when cloaked in an atmosphere of genuine phenomena. Long experience has taught the wisdom of this serious and earnest presentation. Ample proof of these statements will be found by observance of the leading professional artists - those occupying the topmost rung being accepted as genuine by a great majority.
Performers of mental and psychic mysteries usually preface their demonstrations with a statement to the effect that they make no
claims to possession of supernatural powers, and that the presentation is solely for the entertainment and amusement those present, who may draw their own conclusions as to the means or methods by which it is accomplished. However, the performer proceeds to do his act as though it were a genuine example of unusual powers: - which, in fact, it is! If presented as mere tricks, the act would not command anywhere near the same interest and spellbound attention – if indeed, it didn’t fall flat.
- Harlan Tarbell, The Tarbell Course in Magic, Volume IV.