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Bob Cassidy’s

Theories and Methods for the Practical Psychic

“Why do I call myself a practical psychic?”

“I cheat.”

Sacred Chao Productions

Federal Way, Washington

The contents of this book may not be reproduced or resold in any form without the express permission of the

piracy by reporting violations to the author and/or publisher.

Performance rights to the material contained herein are granted to original purchasers only.

“Original purchasers” are defined as those who have purchased new copies from the author, the publisher, or their

authorized distributors.

Bob Cassidy

Table of Contents

Introduction

The Difference between Mentalism and Mental Magic

On Creativity and Originality

Effects, Techniques and Devices

Any card at any number

The Moleskine Divination

The Pocket Watch Premonition

Pre-show clipboard technique

The Secret Language

The Billet Switch

The Open Switch and Read

Simplified Baker Switch

The Eye of the White Dwarf

Brain Busting

The Magazine Challenge

Real PK

The Disconnect in Action

In Defense of the Dead

Syd’s Mystery Restored

A Magical Parable

The Thirty Second Rule

Gimmicks, Sleights and Devices

The Watch

The Prediction Chest

The Clipboard Index

The Billet Holder

The Billet Case

The Cassidy Crossover

The Basic Switch

The Mechanics of the Move

The Invisible Read and Holdout

Proper Placement and Use of the Holdout

The Godfather of All Billet Tests

The Quarter Bend

Eternally yours . . .

Find the Dead Guy!

The Boys of October

Or, How to Capitalize on a

Baseball Strike

An Invitation to You

The Elemental Disks

Theories and Methods for the Practical Psychic

Introduction

And my startling, yet mostly true, biography

he present volume is a compilation of ideas, routines, theories and practical tips of the trade for the working

psychic entertainer. It is also the first completely new work I have released in seven years.

Since my first book, Pseudomentally Yours, was released in 1977 much has changed in my approach to the art as

well as in my life. At the time I already had three years of work as a cruise ship entertainer under my belt and,

having finally finished my education by obtaining a law degree, was about to embark on what was to be a ten-year

career as a trial attorney.

My activities as a mentalist became limited to appearances for local comedy clubs and organizations, co-founding

the Psychic Entertainers Association , and serving as editor of its official publication, the Psychic Entertainers

News and Information Service- referred to by the founders as P.E.N.I.S., an acronym we later were forced to

discard when the newsletter was renamed Vibrations, reflecting the increasingly respectable and mainstream

qualities of the organization.

Actually, everything in my life was slowly becoming respectable and mainstream. Given my nature, this was a

frightening course. What many would view as growth and developing maturity, I saw as stagnation and decay. And

so, in 1988, I began anew as a full-time performer. Having made the brilliant decision to leave my home in New

Jersey (where all of my contacts in show business were) for the Entertainment Mecca of Washington State (chosen

because it was farthest distant from the life I sought to leave behind) I essentially found myself in the middle of

nowhere with not much more than a change of clothes, a briefcase of equipment and great expectations. [Note: It

has been suggested that my abrupt departure was due to a fractured marriage, excessive use of alcohol and mind

altering substances, trouble with the Internal Revenue Service and a general mental breakdown as evidenced by the

emergence of an alter ego known as the Rt. Rev. Dr. Bob. This may or may not have a basis in fact, but do you

expect me to remember everything?]

Of course, in the beginning there is no such thing as a full-time performer. I discovered that a source of immediate

income was required and quickly became proficient at the three essential skills of the aspiring actor and entertainer-

waiting tables, cooking and bartending. The latter quickly became my forte as it offered me a constant audience

upon which to practice my art.

In a matter of a few years my performances were much in demand at four star biker bars and other notable

establishments. This was where I developed many of my more eloquent patter lines such as, ”I'll bet you thought this

was all bullshit” and other clever witticisms.

The performance I described in the Art of Mentalism 2 evolved during these years. That volume, in turn, led to

several lectures for magical groups and very successful appearances at The Magic Castle , where I was shocked to

discover that I had become rather well known in magicians circles.

This was followed by a philosophical period, which resulted in The Principia Mentalia, the successful series I wrote

just prior to the release of Quintessence, my ill-fated attempt at a bi-monthly publication for mentalists.

The lesson I learned from Quintessence was that it is impossible to create quality material within rigid deadlines.

For me, at least, creativity doesn’t happen on schedule. It is something that cannot be forced.

The effects and presentations contained herein were developed over the last several years. “Theories and Methods,”

itself, was originally released as a limited edition three-part e-book. Here, for the first time, it is released in printed

form with minor modifications. Gratuitous profanity, x-rated images and dirty limericks have been deleted, thus

assuring you of a wholesome reading experience. (for the most part)

Bob Cassidy

All of the material has been used in my performances, and since that’s the way I pay the bills these days, I know it is

all practical.

Good thoughts to all of you.

Bob Cassidy

August 13, 2002

Seattle, Washington

The Difference between Mentalism and Mental Magic

oth mentalism and mental magic are forms of entertainment. Neither is more inherently entertaining than the

other.

Pure mentalism looks exactly the same as what I would call “pure magic” (best typified by the performances of

David Blaine,) that are very direct and seemingly impromptu. They tend to defy logical explanation and actually

appear to real magic. In both cases, many members of the audience may believe they just saw “the real thing.”

Mental magic and most theatrical magic are also indistinguishable. Both are obviously illusions or special effects,

which are visually or intellectually interesting, but nonetheless are generally perceived to be tricks by even

marginally intelligent audiences.

HOW TO TELL IF YOU ARE DOING MENTAL MAGIC OR MENTALISM:

Pay attention to what audiences generally ask after seeing you perform. Do they ask things like:

“How is that done?’

“Can you show me another trick?”

“My five year old has a birthday coming up, what do you charge?”

If your answer is “yes,” you are doing mental magic, which is best described as “effects with a mind reading theme,

which are, nonetheless, perceived to be magic tricks.” They do not create the illusion of the “real thing.”

If, on the other hand, you have succeeded in creating the illusion of mentalism, you will receive responses like these:

“Did you learn that somewhere, or is it something you were born with?”

“How did you know that?” (as opposed to “How did you DO that?”)

“Get away from me, man. Don’t be messin’ with my head!”

Mentalism and mental magic, then, are different forms of entertainment. Both elicit different perceptions and

reactions from an audience. The mentalist, therefore, has an ethical responsibility unknown to the conjuror or mental

magician, for he is in a position to make people believe in, and rely upon, to their detriment, his alleged powers.

Keep this in mind always -

“To run a successful con, you must first make yourself believe in it. But once you believe it, you, yourself,

have become the mark.”

- William Lindsey Gresham , Nightmare Alley

It is very important that you believe in your abilities while you are on stage, as we will see.

Theories and Methods for the Practical Psychic

But, in the end, we must remember that we are merely entertainers and storytellers.

On Creativity and Originality

Everything you do should be original or uniquely presented in an original way. If anyone watches you perform and

says later, “I saw a guy on TV do that,” you’ve failed. (Unless you are the one who invented the effect and the guy

on TV copied you; in which case you might say “Yeah, he does it almost the way I taught him to!”)

If you are the kind of performer who sees something on TV and immediately runs off to the magic shop to get the

props to do the same thing, you are reading the wrong book. If you should one day decide to take this art seriously,

please feel free to come back. But for now you may return to the faceless crowd of wannabees where you may all

gripe about not getting any breaks even though you can do the same things the guy on TV does.

You know what's funny? Go to ebay and look how the folding coin is advertised. First off, it is never

a half dollar- always a quarter. It is not advertised as a folding half, but as David Blaine’s “Biting a

Coin in Half.” (Or, most recently, and amusingly, “Bite and Spit”) Why anyone would want to

present it Blaine’s way, or to do any of the effects that Blaine does, is a mystery to me. Do they really

think that by doing so they will get their own shot at a television show? (Personally, I believe there is

a sound psychological reason behind this desire to imitate- the imitator secretly wants to BE the

person they are imitating. But stop and think- did you ever see an Elvis impersonator who you

mistook for the real thing?)

Are you an artist or a hack? Do you perform for money or for you own amusement? If you love the art and can act,

create, innovate, take risks, and work long hard hours, months and years, you may one day be known as [insert your

name here] If you just want to copy and let the artists do the creative work you will one day (soon, if not already) be

known as “that dude who thinks he’s David Blaine (or whoever it is you happen to be imitating.)

Is mentalism an art or a business? Is show business a show or business? These questions have the same answer:

BOTH. To succeed both artistically and financially you need to learn both ends. You can be a true artist who never

makes a dime or a well-off hack who’s never had an original thought. I sympathize with and love the former, but

while I may recognize the financial success of the latter I nonetheless realize that successful pirates and parasites are

equally well off.

Effects, Techniques and Devices

The Elemental Disks

The clever devices that exist for divination effects have always fascinated me. I am referring to commercially

available effects such as Chazpro’s DieCypher, Viking’s Transmental Gemsation , and Magic Wonder’s Super Sight .

Rarely, however, are these kinds of props useful to the practical mentalist. That is because, if they are presented as

described in their instructions, they are primarily puzzles. Additionally, the props are obviously specially

manufactured for the effects. They would best be described as “Mental Magic” as opposed to “Mentalism.”

That is not to say they are altogether useless. Their workings, in fact, are quite clever. With a bit of routining, a

theme, and a believable excuse for the prop, some excellent mentalism is possible.

Bob Cassidy - Theories And Methods For The Practical Psychic.pdf

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