Most of you know Ralph Read. He authored the Calostro Mind Reading Act and other books. He was the "daddy" of the Induction Mind Reading System, the Talking Tea Kettle, and lately produced the newly perfected Mental Masterpiece, an improved version of my original effect. In connection with this latter, I referred to him as the "anonymous Ralph Read" but was wrong. His name appears on the instruction sheets as the copyright owner. The surprising thing about his Animal Magnetism routine is the fact that very few of the present generation have ever seen it presented completely. There is one…
This is the attempt to force a cane or billiard cue to the floor across the open palm of the performer. The experimenter grasps the cue A B (in illustration #2) at the spots marked E and F. The performer places her open palm flat against the underside and between his hands as shown in the picture at C. His hands at E and F, with the weight of his body and all of his muscular force exerted at these points, attempt to push the object A B in the direction shown, to the floor. The performer's hand at C…
This is always considered very remarkable because of the enormous amount of weight lifted clear of the floor by a slender and small of stature woman. It is accomplished merely by placing the palms of the hands against the back of the rear upright posts of the chair in which the weight rests. It's a true example of the "force" acting in conjunction with other animate beings - men and women. Get clear in your mind the exact position of the parties sitting in the chair (Figure 3), and your position (the lady) in making the lift. The first person…
To get the positions of the parties to this test clearly outlined in the mind, see illustration #4. The man A is requested to grasp the chair B firmly, press it to his breast and keep it there. He is instructed to attempt to put his chair to the floor when the performer places her hands upon it, as shown in illustration. Her right palm is against the back, about four inches from the seat, and her left hand is pressed against the center surface of the seat. The manner in which the subject holds this object causes his whole…
An umbrella is opened as shown in illustration #5. The subject and performer stand under it, and the former grasps the handle firmly at A and B, while the performer places her hand firmly against it at C. He is requested to stand firmly and steadily and hold the umbrella still. The result of the performer's hand being placed at C is always remarkable and extremely ludicrous. Within a few moments after the contact at C, the experimenter loses his balance, and then totters around trying to regain it. He soon begins to gyrate about at a terrible rate The…
This test, as well as the next, are so closely allied to "The Umbrella Test" that the same observations made with reference to that apply to these. These are controlled by the same mechanical principles as was that test. The positions of the parties in making these two tests are shown in illustrations #6 and #7. The positions in holding the cane or cue are shown in #6. And in holding the chair in #7. In these positions the experimenter (or experimenters, for several may take part in the tests) is required to maintain himself firmly on his feet, keep…
The chair test, illustration #7, is accomplished on the same principles, only the positions in holding the chair are a bit different. The subject is told to hold the chair against his body firmly, grasping it at A and B. He is to maintain his position and keep himself steadily on his feet when the performer places her hands upon the chair at C and D. The modus operandi of overcoming the subject and keeping the process going, is exactly the same as detailed in the last two experiments. In making these tests, the performer exerts what little pressure is…
(Note by Annemann: When my first year of magical "cramming" had passed I found myself intrigued mostly by escapes, spiritualistic phenomena, occult and psychic effects, and mindreading mysteries. This was probably because such performances seemed to have a "call" on the supernatural, moreso than than other magical phenomena which was so dependent upon "the quickness of the hand". Next to the publicity possibilities of "muscle-reading" I was "sold" on the type of scientific trickery made famous in her day by Lulu Hurst. After checking a number of yellowed newspaper files for astonishing accounts of her work as seen through the…
The demonstrator stands perfectly erect and holds a billiard cue, or cane, before her chest as signified by B A in Figure 1. It is grasped at C D, with the elbows bent at almost right angles. The subject is requested to stand directly in front and grasp the cue with both hands OUTSIDE the operator's hands. The illustration shows only one person pushing against the lady but more than one may exert their combined strength. They are requested to push as hard as they please directly against the lady, as shown by line E F, and not upward toward…
Handwriting is something which may or may not identify one person from another. It's a moot question and therefore leaves the path open for a magician to make the most of things. From a newspaper clipping reproduced here we have seen that the effect might be of use to many readers. What we reveal here is an effort to give a method so that all may accomplish the same thing, if not genuinely, as per the English newspaper man, by underhanded trickery as per nearly all magicians. In a room from 10 to 20 people the performer passes out a…