Desert Island Tricks
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Desert Island Tricks
Terry Tyson
What if magic could be more than just tricks and illusions, but rather a journey into the mystical and the personal? Terry shares his fascinating experiences with seances and narrative-driven magic, illustrating how deeply personal stories can create unforgettable moments for the audience. Discover how the power of psychometry and the return of personal items can forge emotional connections that far surpass the mere spectacle of the trick.
From ancient ceremonies to modern-day performances, bizarre magic has undergone a remarkable evolution, and Terry Tyson is here to guide us through its rich history. We get a glimpse into his favourite routines, including Bob Cassidy's ‘Fourth-Dimensional Telepathy’, and learn how ghost tours and haunted venues continue to ignite the public's imagination. Terry also reveals how tools like pendulums and utility items such as wallets can elevate mentalism to new heights, creating immersive and impactful performances.
In addition to sharing some of his personal magical journeys, Terry provides invaluable book recommendations that every aspiring mentalist should add to their collection. From Mark Strivings' insightful works to Caleb Strange's unique narrative-driven approach, these resources offer a deep dive into the world of magic and mentalism. We wrap up this enchanting episode with a heartfelt reflection on the importance of storytelling in magic. Don’t miss out on this opportunity to deepen your appreciation for the art of bizarre magic.
Terry's Desert Island Tricks:
- Fourth Dimensional Telepathy by Bob Cassidy
- B'Wave by Max Maven
- Pseudo Psychometry
- Will to Read by Steve Dela
- Q&A Act
- Pendulums
- Sight Unseen Case by Mark Strivings
- Desire by Max Maven
Book
- Garden of the Strange by Caleb Strange
Item
- Poetry Book
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And I wasn't prepared. I said, well, I didn't bring the right things to do this. And they say, oh, we don't care. And they immediately took their rings off or took off the earrings and handed it to me. What they were wanting, of course, Jamie, was to learn something about themselves. They didn't care that I could return their ring to them in a mysterious fashion. And that lesson is not just mine to learn. This kind of story has been related by other mentalists like, oh, you got to do the personalization of this thing to make it very meaningful. It is something that you have to learn. Or someone has to tell you, a mentor, that that is even more important than the returning of the item to the proper person.
Speaker 2:Hello and welcome to another episode of Desert Island Tricks. We've got an interesting guest today, maybe not your typical performer, which I'm very excited about, because this gentleman is again. I'm talking like you haven't read the title of this podcast, so you're going to know who. This person is certainly in the bizarre fields and has rubbed shoulders with pretty much all of the greats and also been published in many of the great bizarre books. All you need to do, rather, is take a couple of seconds to Google Terry online and you'll find his name linked to lots of incredible books and different people. He typically plays with mentalism and bizarre magic. He has an excellent seance which I hope one day I get to see in person. Um, and I've had the pleasure of him being on an alakazam related product a few years ago, um, which is our yearly terrifying taboo series, which is an evening dedicated to bizarre magic. Terry came over from America and, fortunate for us, we all got to experience one of his seances that night. So, of course, this is the wonderful Terry Tyson. Hello, terry.
Speaker 1:Hello Jamie. Do you know how wonderful it is to be able to talk to you? It's been a while and we'll try to rectify that with a face-to-face meeting in 2025. But yeah, it'll be wonderful and thank you so much for the invitation. I'm delighted and honoured.
Speaker 2:Thank you for coming on. I'm very excited to hear your list because I feel like it's going to be a step away from the norm, which is going to be lovely for me as a host, but also for listeners, because, you know, magic's a very diverse and sophisticated field of different genres and I think sometimes we overlook some genres because we feel like maybe they're not as commercial and not as well, you know, sought after. But I think we both would agree that Bizarre Magic in particular is sort of a dying art which has its roots in magic quite firmly. Certainly, if you go to the Magic Circle and you look around at some of the great performers of the past, nearly you know I would say maybe 80% of those posters have some sort of spiritual or bizarre element to them a renaissance as of late, with increased performers wanting to perform a seance and a few great books coming out that could be labeled bizarre.
Speaker 1:And I think that the definition of what bizarre magic is has changed and come to what it means now, at least for myself, in that it is primarily a narrative driven or storytelling type of magic. And so, with that definition, one could say that David Copperfield, when he does some of his illusions that have a strong narrative thread going through it, is bizarre magic. Narrative thread going through it is is bizarre magic.
Speaker 1:And that is the direction that I have been going on for quite some time because, as as Jamie knows, I love to talk and I love to tell stories, and if you could weave in any magician who can weave in a interesting storyline to their magic, you can say that yes, I perform bizarre magic and I, and also to preface or put a foundation, I I've always bristled at the, the moniker that it has taken on, of bizarre magic, because you know, as in the early days it really did look like a Druid ceremony or a black magic mass, and then we, a lot of performers, realize that that's really cool and really fun, but not too many people want to see it or they think it's silly.
Speaker 1:So if you can make it more meaningful and make it matter through your storyline, you get the same result as for a bizarre magician that you can qualify yourself as a bizarre magician, and that's why I love stories and tell. I do mentalism routines, primarily with a storyline, and we'll talk about that as we go along, but I just wanted to say that at the outset.
Speaker 2:Jamie yeah, I agree, uh, entirely. Um, I've feel like people are overlooking the fact that bizarre elements are in pretty much all of our lives. Certainly in the uk we've had a big surge of these ghost hunts. So the idea is that there's a haunted venue and they take you around. In fact, me and myself peter nardi and jenny nardi did one last year at a haunted priory. Um, and certainly down by me, we've recently had a theater down by me which is called the barn theater in oxford. They've just started ghost tours there. There seems to be sort of a big surge on them. In London certainly you can go on ghost walks. You can go on Jack the Ripper tours, which are quite popular. There's quite a big surge in them. Obviously, horror films and ghost stories are a big thing anywhere in the world. It's a big market to tap into.
Speaker 1:Indeed, indeed. Yes, in the States as well. Anything old in the United States is only like 200 years old, as opposed to centuries. We're quite a young country in comparison to the rest of the world, and anything that's kind of old, or if there's a town that is old, folks will jump to the conclusion that, oh, this place must be haunted. So any older town or older city in America also has. Through Google you can find the ghost tours. They're very, very popular over here too, and some towns, for instance Salem, massachusetts, where the witch trials took place. It's almost like turf wars, like street gangs fighting for territory to say, no, we're the best one, no, we're the best. And some of them get kind of at times nasty to one another. But you know, it's interesting to see that. But yeah, lots of ghost tours out here too.
Speaker 2:And so there should be, because they are fascinating, um, but with that being said, let's let you in on the concept of the podcast, in case this is the first time you've joined us. So the idea is that we are going to maroon Terry on a desert island. When he's there, he's only allowed to take eight tricks one book and one non-magic item which he uses for magic, the particulars where it is, how many people there, how big it is, who he's performing to, etc. The island is built in Terry's imagination, so it can be whatever he wants. It's not really about that. It's pretty much the tricks that, if you can only perform them for the rest of your life, those are the tricks that you perform. So, with that being said, let's whisk you away, terry, to your desert island and find out what's in your first position.
Speaker 1:Well, number one on my list. It was interesting. I listened to Peter Nardi's list yesterday and he mentions fourth dimensional telepathy as it was presented by Bob Cassidy. Now, I knew Bob when he was the pre-biker bar days, when he looked like an insurance salesman and he was a. He was legal counsel and then met him later. We weren't pals, we talked many times but, uh, we all know that his influence on mentalism was quite um remarkable and I think that he should be one of those giants in which we stand on their shoulders, you know, in addition to Max Maven and a few others.
Speaker 1:But I think that fourth dimensional telepathy or I think better put is the three envelope test is so versatile and there are half a dozen ways of doing it. But I think that is so versatile that you could and I have done an entire, say 12 minute set during a, during a gala show, to do fourth dimensional telepathy and I like it because I can incorporate design duplication, I can do direct telepathy and then do a shared visualization, all using the three envelope test plot line that Bob did. It was outstanding. I do it. It's sort of an amalgam of other methods using envelopes and most recently I've been playing around with a product put out by Looch called Propelopes my version.
Speaker 1:I do some prep work before I go on stage and with Lucha's product it can be done Just walk out and just do it. I do need to work on this because it is not always that I can get to the audience before the curtain goes up. It is my favorite one. I've been doing it since the 1980s. So you know you go with what's comfortable and what has worked. But I'm going to be looking more closely at at Lucha's product. You know I have it and watch the instructions. I thought, oh gosh, I gotta, I gotta learn this and break some old habits. But that said, the three-envelope test, or fourth-dimensional telepathy, is number one on my hit parade.
Speaker 2:And what a brilliant choice that is as well. In fact, it was only yesterday we were doing some filming at Alakazam and I showed Harry Bob Cassidy's name and place two-billet test essentially, and just how clever that is. I still think it's I mean arguably, depending on whether you agree with me or not I still think it's probably one of the strongest billet routines that there is. Just with two billets, nothing else. Well, within reason, two billets and the routine just feels so clean and fair. And a lot of the times that you see bob cassidy, he can perform these tricks to a small group or even one or two people, and then suddenly he's on a tv set and he's doing it in front of tv cameras or in a theater somewhere. So these billet tests for just a couple of little pieces of paper and some envelopes. He really gets everything out of performing them.
Speaker 1:Yeah, he does get quite a bit out of it and I think, because he has laid the foundation, the performer can then take that basic uh premise and build on it and put a narrative to it, and it's so versatile. You know, like I said, the the three envelope test but name in place. Both are extremely versatile. To uh create your own uh very easily, very easily.
Speaker 2:Yeah, it's a superb first choice. And one again if you haven't discovered Bob Cassidy's work because people could be listening to this years in the future and they're just getting into magic and mentalism do check it out. I know his books are hard to get by, but we're very fortunate that a lot of this is taught elsewhere, certainly his Penguin lectures. He has a great billet. Get by, but we're very fortunate that a lot of this is taught elsewhere, certainly his penguin lectures. He has a great uh billet I think it's called billet killers uh on penguin magic as well, which is really worth checking out because there's some superb material on all of those. And that brings us to your second position. So what are you kicking off in your second place?
Speaker 1:the second place was, I think, the very best packet trick ever developed in the history of magic, and that is Wave by Max Maven.
Speaker 1:I don't think there's anything that gets as clean and as pure for a packet trick than that one, and magicians can do it, mentalists can do it. If I want to spin a tail with it, I could, but wave is just, it's just perfect and that's that's it. That is the thing that you can say about that packet trick, and I often carry it with me and I know it seems kind of odd when somebody says, well, can you do something? And I pull out a little uh folder or my wallet and I've got a few cards in it and I explain that I take this with me because it demonstrates some really interesting things about how people think and use that premise to present it, and it kills. Every single time I want that buried with me in my breast pocket as like what's it going to take to meet St Peter? It's got to be this one and he'll say, oh, that one. Yeah, we've seen that about a billion times, because every magician that comes up here brings that, that silly thing, out.
Speaker 2:Maybe that could be a future podcast. Death and other other tricks, the tricks that you're going to take to the grave, um, but yeah, I agree, max maven has some, some great tricks. There's another uh trick, I think it's called. Is it called pocket nightmare? Um, it's the one where they he places his hand behind his back, they break somewhere in the deck, which again is a phenomenal premise. Um, but what's interesting about packet tricks and one thing that I don't think people think about necessarily with magic is it's the perfect place, if you want to get into storytelling, to to begin in a close-up situation, because why do you only have a couple of cards? What happened to the rest of the deck of cards, those particular cards? Why did you have those four or five cards, or however many there are, and not the rest of the deck? It's the perfect way to start justifying a prop in a story format in a close-up situation.
Speaker 1:Amen, that's great, that's a good idea, and I often tell stories, no matter what trick I'm doing. I probably maybe tell too many stories because I'm an old man. Old men like to chat. He's shaking his head. Well, thank you, brother. But yeah, pocket tricks lend themselves to short little stories. That make it more interesting. And what's nice about wave is that you don't come off as a finger flinger or talented with slight of hand or anything it's. It's purely psychological or it's or it's telepathy or something of that nature, and there's no funny moves. It's purely psychological, or it's telepathy or something of that nature, and there's no funny moves. It's clean. Most of the work happens Well, all of the work happens directly onto the tabletop, with just four cards. And to create this little minor miracle in front of them with just these cards, I think uh, speaks volumes about how good that that thing is yeah, phenomenal trick, and I mean in just your first two tricks, bob cassidy and max maven.
Speaker 2:So it shows you where you're going to go if you're listening, and the influences behind them, um, these are big, big influences, huge influences in fact well, I've got.
Speaker 1:The next influence is going to be strong as well oh, that's a nice segue.
Speaker 2:So let's go straight into your third item. What's in the third position?
Speaker 1:the third position is pseudopsychometry, by anaman at least he's the one, I think that sort of named it that and that's what we call it and he describes it in his book as being one of the strongest feats of mentalism possibly. To perform, and I happen to agree. The plot line of being able to pick up vibrations or emanations from an object, from another person, is so, so powerful to an audience when it's done right. I have seen it done poorly, I've performed it poorly in the past, but when it's done well it looks again like a miracle. It was also interesting about that. That premise is a lesson that I learned early on.
Speaker 1:I was performing for a lot of fraternal groups. This was back in the eighties. I was performing for fraternal groups where I would be the entertainment for the ladies auxiliary and they had, like the odd fellows club, the lions and the Elks and and such, and they would have a small dinner the ladies, because that was before they were allowed to be proper members While the husbands and the boyfriends would go off into their ceremony room, probably to smoke cigars, drink whiskey and Lord knows what, and I would be the entertainment and what I really loved. And I had a circuit in Southern California, extending several counties, and I would get to each of those venues, those meeting places, at least twice a year, unless they asked me to come in for a special show in for a special show and I had done psychometry for during that first round of of um uh meetings. When I returned I of course had to have another set to perform them and it was a great learning opportunity for me to really learn new stuff and to improve. And I was finished and this is the second round and I was packing up my things getting ready to leave. Oh, I will also mention this is a nice story in that, if I could, at that time they often had proper caterers that would bring the food in to feed the ladies. Sometimes I had a kitchen staff, depending on how rich that particular club was, and I would do something for them in the back and they would fill the leftovers into Tupperware containers and I could eat for another week. And at that time that was important, you know, because I wasn't making a lot of money doing this, but I was still doing it a lot. So I always appreciated doing something for the ladies and it ended up being a lot of spaghetti meals during that time and it's a bit of salad perhaps, but anyway, that's sort of a sidebar to I was I was putting things together and a couple of ladies that I had met during the last trip in came up and they said do that thing where you hold our rings and tell us about ourselves.
Speaker 1:And I wasn't prepared. I said I didn't bring the right things to do this. And they say, oh, we don't care. And they immediately took their rings off or took off the earrings and handed it to me. What they were wanting, of course, jamie, was to learn something about themselves. They didn't care that I could return their ring to them in a mysterious fashion. And that lesson is not just mine to learn. It has been.
Speaker 1:This kind of story has been related by other mentalists who perform pseudo-psychometry. Like, oh, you got to do the personalization of this thing to make it very meaningful, and Anaman didn't necessarily talk about that. So it is something that you have to learn. Or someone has to tell you, a mentor, that that is even more important than the returning of the item to the proper person, to the extent that you don't have to return it at all. You can simply hold on to the item. Talk about that person, then ask who it belongs to. So that is just as powerful.
Speaker 1:Now there's multiple methods to execute this. Most recently I saw some products, uh, by the 1914 d christopher, uh called pure psychometry. Luca volpe, alan wong and paul mccraig have come out with a product called multisensory bags that execute the pseudopsychometry methodology and plot line in an interesting way, and I don't remember the name of the trick but it's in Kennedy's book Baron, and it uses clipboards and drawings and I thought that was very clever. And then most recently in the last year or so, looch came out with a product called the lineup that basically uses again that foundation of pseudopsychometry as a basis for doing a really nice standing chair test. A really nice standing chair test. That is really cool. So suicide commentary is number three and I love performing it. I'll be lecturing on it in a workshop in Dallas, texas, in September, I believe it is, and it's going to be a kind of an interesting thing. We've got three different lectures, all concentrating on the psychometry routine or the presentation of psychometry. So I'm excited about that.
Speaker 1:When I begin my introduction to that routine, I mentioned the fact that, or the phenomenon that when you the room are emanating. Or when you go into an antique shop, sometimes maybe it's just my imagination, Jamie, I don't know feel strangely drawn to a particular object or like repelled by it, because it's odd to me and anyone else looking at it. Oh, this is, this is a beautiful little figurine. I'm thinking to myself. No, I don't want that in my house and actually I make it personal in that I often carry a pocket knife that was carried by my father for a very long time and seriously, jamie, when I pull that pocket knife out, I can sense my dad's spirit or his feeling or the love that he gave me and my brother and sister. That comes from that knife and again comes from that knife, and and and again. It's as real as the sun coming up for me.
Speaker 1:When that happens and it could be certainly just my the memories of my father and I I started imagining things that he's doing or saying and that he's now going to help me open up this, this package, and cut this twine with this pocket knife. Or it's really my dad and I don't try to analyze it too much and just accept it and feel it and enjoy that moment. So, yeah, I often bring this little pocket knife. I have to very careful to pack it in the proper luggage so that it doesn't get taken by some security agent at the airport. And it's not on my carry-on but it's packed. But that said, and I've done that almost a couple of times, where I'm just about ready to leave the airport and I realize, oh damn, that pocket knife is in my briefcase or my backpack or it's in my carry-on and I've got to move it over, and I breathe a sigh of relief and I think what that is is my dad saying don't be a dummy, fix it Terry.
Speaker 2:Yeah, very true, it's great. It's a great plot and it's certainly one that people should look into if they've not looked into it. But that does bring us on to your halfway point. So what's in your fourth position?
Speaker 1:I think that one of the at least fun for me and fun for an audience and again lends itself to storytelling, is the free will plot.
Speaker 1:And we can certainly look at Will to Read by Steve Della, which I think is absolutely brilliant and it's lovely, I can carry it in my wallet and I can tell a story with that. But the basic plot line of saying you have three objects, one is going to be over here, you're going to be holding one of them and I'm going to be holding the third, based on decisions that you make, it's quite remarkable. Most recently I read a book by Gabriel Wharton and I had no idea what it was about. It's called A Double Tour. It's a small booklet but he takes the free will concept and develops it and has some really nice observations and subtleties as well as handling of the reveals that I think are really quite brilliant. But the free will plot again, it's great. It could be performed straight telepathy or precognition, but also easy to weave a tail into it quite easily. So the free will plot, bingo, that's it.
Speaker 2:Yep, I agree, I remember growing up there's a wonderful version by Jimmy Strange called Free Will of Order, which is very it feels very well. It's just an impromptu little miracle, showed a or taught a version in in his online lecture, which was people going on holiday, which I loved. And you place all of these different places into an envelope and then he says to you right, we're gonna go, you're gonna go somewhere, I'm gonna go somewhere, and one place we're gonna leave for another time, which which I really liked. And then when you turn it over, it says I really hope you enjoy your stay in Paris, I'm having a great time in Australia and I can't wait till you join me and we go to Africa or wherever.
Speaker 2:That third place is, which, again, the concept. I love that it's such an adaptable concept and it really can go. It can be a bizarre routine. It can be a really fun routine if you're working for some businesses. It's a really easy one to adapt for a corporate setting or even a trade show, and you need minimal props and it feels incredibly fair in every aspect yeah, no, I think it's very Like you said.
Speaker 1:It's just a really smart way of doing it and it's difficult to reverse engineer if you do it correctly, and that's why I like it so much.
Speaker 1:But the idea of using it in a page of a book, for instance, as in what Mr Della has created, in a page of a book, for instance, as in what mr della has created, that's carried in your wallet and it can be threadbare, you know, and just be crinkly and just barely able to, and falling apart but still execute this wonderful reveal, I think is is really fun, very versatile.
Speaker 1:And that's interesting that you say use the word versatile, because I think, with the exception just of a few items on my list, I tried to be OK, I'm on a desert island, I've got to make the most of what I can with what I'm allowed to bring on to my case, because I'm going to be stranded for a bit bit and it's like, okay, what routines can I do? Um, and modify more readily than something that is very straight, one way to do it and that's it. Um, of course, wave is one of those. It's basically it's kind of one way, but uh, yeah, free will is very versatile it's also a plot that you could make it as complex or as simple.
Speaker 2:I mean not that I would recommend performing it this way, but even just one word would do the same thing. You know, mine, yours, theirs, yeah, that that's all you need and it will still make sense. Um, yeah, so, yeah, it's just an incredibly versatile plot and effect hello guys.
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Speaker 2:And that takes us over your halfway point to your fifth position. What's in your fifth position, Terry?
Speaker 1:I'm going to be extremely versatile here and I'm going to label this fifth one as Q&A, the question and answer act. I love doing it. You always can get better, no matter how many times you do it. There are multiple ways to execute it and but it's extremely powerful, okay, and I try to do the best I can with the information that I've got at the time to give the respondent a meaningful answer to my question, to their question, as well as reveal something about themselves.
Speaker 1:As most mentalists learn, and even magicians can learn, that the audience really likes hearing something about themselves. And when the performer incorporates their personality, their interest, their future, their past into a response during Q&A, they're going to love you and just think, oh, that's a nice chap, or I want to have drinks with this fellow because he's so great, or he made me feel really good. And, as a mentalist, if you can impart a good feeling, a powerful and positive intention to an audience, I think there's no loftier goal. I often hear magicians like I want to give them a sense of wonder and I think that's a little highfalutin and, yeah, good luck with that. But if I can give my audience a sense of belonging and a sense of positive feelings. That is my goal.
Speaker 1:So when they leave, they feel good about life and they you know, even if it was just for the hour or if it's a 20 minute set, that they felt good by the end. And if I fooled them, great. If I didn't did they still feel good and receive that physical or psychic pat on the back saying, yeah, you've got it going on, you're doing okay, you have accomplished a great deal. And that is always my, my aim when I'm performing even seance. If I can give them a positive feeling at the end excuse me, a resolution to the issue at hand or through the experience, they had something unique and they felt good about it. Hey, job done. Give you my check. So, yeah, q&a, q&a that's a big, broad umbrella, but it is definitely something I would add to my desert island list, but it is definitely something I would add to my desert island list.
Speaker 2:So I did warn you at the very outset of this that I would be devil's advocate. And now is one of those moments, terry. So if I had to push you for a certain Q&A or maybe I know Q&A is a slightly more complex version because a lot of it is about maybe structural routining rather than methods all the time but if you were to take a certain Q&A with you and you can only do that certain Q&A, what would it be, or what influences have made that Q&A?
Speaker 1:I currently I'm using the Burling Hall method and the Burling Hall created this, this method, which uses different pieces of folded card and I have had those specially printed, and there's seven. There's seven different questions that are asked on the cards that I'm using currently and I can use all of them, or I can say for this audience I'm going to use just these. For instance, on some of the cards it says what is something about you, what is a fun fact about you? And you get some really good stuff and you learn something about that individual. In other words, others would be who do you miss most in life? Another one would say what do you want to know about your future? What is your strongest wish or desire? Another one would say what do you want to know about your future? What is your strongest wish or desire? I'm trying to go through. All the questions are on the cards here when would you like to travel to next? And there's a couple more and I've got easily. It depends on how that's going.
Speaker 1:I can go a good strong, 15, maybe 20. After a while people can become a little bored with it. You have to be. You have to be very good at keeping the entire audience engaged when you're just talking to one person and that's not easy. And again, sometimes I hit the mark, sometimes I miss it. I am very self-aware in that regard and when I see that this is not hitting with the rest of the audience, it's really wonderful for the first five people that I've interacted with. But the rest of the audience like OK, mra, moving right along, I switch up to something else. But I also like Q&A in that you can the reveal can be done multiple ways. Again, a visualization it can be let's share a dream, let me get reach into your mind and pluck a thought, etc. Etc.
Speaker 1:But right now the burling Hall method is the one that I'm using. I like it because it's sort of built in with a change, a different potential responses built in and I can just mix up the cards. They're picked up, they get a pen and often I have my own logoed pens and they get to keep the pen so they remember who I am. But I also say that another method I've been interacting quite a bit with Looch lately. He's got a new product out it's actually been out for a while called Frameworks product out. It's actually been out for a while, called frameworks, and it uses multiple methods to achieve um, you knowing what they want to know about themselves. I don't want to give too much away. It's not mine to give away Um, but yeah, I would. I would say both of those have a lot of potential. Another one is as simple as you can do it on the back of business cards and just do a one ahead and go from there.
Speaker 2:Absolutely. And what I think is lovely about Looch's frameworks I mean arguably Q&A is jazz mentalism right, because there typically isn't really a structure. You're sort of going with what's happening in the room. Looch's approach makes it, gives it structure, hence frameworks all the way through his. There is structure. But I know that Jimmy talks in one of his dvd sets quite a bit about q a and he has a wonderful book that um, you can still find it.
Speaker 2:It's called passages and uh, that's a great way of looking at q a as well, because it's that is a method that you keep in your head that isn't a physical, structured, prop based q a system it's really difficult to talk about without giving things away, but essentially, by mixing a magical method as well as the knowledge from books like that, it allows you to intersperse between different methods and maybe feel a little bit more confident at the prospect of going into a Q&A, because it's quite a scary thing to do for the first time. So, yeah, finding those structured methods there are some really clever ones out there, but certainly Looch's is really worth an invested look, and so is Luke Germain's approaches as well. They're both really really good, but I'm not actually familiar with the Burling Hall method. So, thank you, terry, I will be looking at that myself going forward.
Speaker 1:I will also mention. There's passages by Gail Sheehy thatermaine does reference and it is a brilliant book. It should be required reading of every mentalist or anybody who's doing palmistry, tarot or any oracle. You have to have that book and have read it multiple times and reread it every so often. The other source of that kind of information and it's a name that's going to be familiar with a lot of magicians are the publications by Richard Webster from New Zealand, and his psychometry from A to Z is also brilliant in that regard. So I would definitely recommend that, if you're doing I should have mentioned it when I was talking about pseudopsychometry but if you're doing any kind of Oracle type of effect, that you definitely need Richard Webster's books and indeed look at Jermay's approach and I would also say and backtrack just a little bit when it comes to psychometry, jermay has a wonderful publication, a stage presentation for psychometry in his book or his release Vibrations, and it's not so good in a parlor situation, but it is really good on stage. So I will mention that.
Speaker 2:Great choice. And that brings us on to number six. What's in your sixth position?
Speaker 1:Again, large umbrella, because I'm going to cover a lot of things here and it's going to be pendulums or bottle pendulums. If I could only pack one of those, I would have to pick a bottle pendulum. Ah, there you are. That looks familiar. He's showing me. For those who just are listening, he showed me a bottle pendulum I believe I gave to you.
Speaker 2:Yeah, you did give to me and it stays on my bookshelf. So I have lots of directly next to me. I have a bookshelf and I have lots of sort of weird things on it from you know, spirit bells. I've got two spirit bells over here. I've got two Ouija boards over here. So, yeah, lots of strange things, but I always, ever since you gave it to me, I actually have several of your bottle pendulums. Um, so I have bottle pendulums which we actually used in a show last year. Um, but I keep my little jar pendulum next to I've got a haunted doll down there as well and a ouija board. So I keep everything sort of together. Um, and one night if I wake up and that little jar is banging on the edge of the other jar, I know that I need to move house quickly.
Speaker 1:Yes, or call me in. To quote clean your house of spirits. There you go. Yeah, You'll get the friends and family discount.
Speaker 2:Oh, perfect yeah, Bring sage, thanks yeah.
Speaker 1:So, but bottle pendulums you can use a bottle pendulum as a proper pendulum for divination, for dousing things of that nature. You could use it to reveal a selected thing by an audience member, whether it's a card, or reveal their signature that exists on one of several cards. But bottle pendulums can also be used as, potentially, an oracle device. But it's also very I like it for spirit contact and evidence that spirits are in the room. It's very powerful and especially if you demonstrate the pendulum as it is being held by a person in their hands and then you place that same pendulum inside a bottle where no human hands can touch it and it starts to move. Hands can touch it and it starts to move, we can say that could be an energy that we don't completely understand. Spirits may be interacting with the little bob that's at the end of the chain inside that bottle. And I think it's very versatile. And again, since my list was only eight, I had to think what can I do, what's the most I can do with this list, and so I had to use pendulums and pendulums. Good night, nurse. We could talk for three days solid on that very topic. I use it to teach workshops to the metaphysical community. I've written short booklets for the lay public on how to use their recently purchased pendulum from me to do spiritual work or to do revelations to their psyche and maybe tap into their intuitions. In fact, the method that I call it is called the CSI method the cognitive, subconscious and intuitive and that's a journey that someone takes with a pendulum, using both of those three pendulum, using both of those three precepts in mind, to get more and more out of their recently purchased pendulum.
Speaker 1:So yeah, pendulum work. I mean again, I know there are books written on it, just on pendulums there are DVDs. I think Mark Salem was one of the first DVDs that I saw on the topic. I hope it's still available because it's quite remarkable and Mark is a little quiet these days, but the work he did with pendulums early on it's great. And if a performer, especially a mentalist or a bizarrest, is not using pendulums, get on the train and punch that ticket and do it because an audience really lives it. I actually used it when I was doing more and more public speaking engagements for corporate audiences as a demonstration of a positive corporate culture and used it to illustrate how we can create this positive culture using a pendulum on stage, then that is then transferred to pendulums that are held by members of the audience, and when you get an entire audience with a pendulum in their hands and they're dancing about, it's quite powerful, it's quite remarkable to see and I get delight out of it because I know that they're enjoying it as well yeah, superb.
Speaker 2:Uh, last year I very much try to make these podcasts not about me and always the guests, but when me and terry talk it's always really nice, just to shoot different ideas between us. So last year I did a. I basically wrote a play is the answer. It was a two hour play with magic throughout, but it's a ghost story with several twists throughout, um, and during that there's this wonderful scene where I ask the audience if there is someone who has had a paranormal experience. Now, when you ask that to an audience, that's a great way to get those people up onto stage and know that you're going to get a reaction right because you're canvassing your audience. Essentially, for people who have already suggestible, put it that way, much like in hypnotism, people use the finger test with an audience. That's a great way to automatically know that people are going to respond Well, if they think they've had a paranormal experience, things are more likely to happen on stage. Paranormal experience, things are more likely to happen on stage, um, but the theatric, the theatrics of it was uh, there's some choral music which comes over the sound system and a stained glass window, so it almost feels very church-like and I go up to those people and I have a shoelace and on the shoelace is a large bolt. Uh, because the bolt is actually part of the story.
Speaker 2:It happens in a fairground and I literally just give each person one of the pendulums and they stand up on stage where they are bottom lip, so there are small led spotlights shining up on them and I'm nowhere to be seen. So I'm not on the stage. I simply instruct them from the audience. So it's all about them. But there's this just beautiful moment where these three people are on the stage with this stained glass window, with this beautiful choral music, and suddenly these things just start moving on their own. And it's all about their reaction. And every single night their reaction was amazed, shocked, bewildered, overwhelmed. On some nights it was always so incredible. And that's just from a pendulum. You know something on a piece of string?
Speaker 1:Yeah, and truly, if we're honest with ourselves, there's very few visual things that a mentalist can do. Things that a mentalist can do, a lot of it is just focused on the performer or focused on the participant and getting physical or mental reactions from them. But actual manifestation of something from a mentalist, maybe a key bend, a haunted key that moves but a pendulum is. So God, I hate to say this, packed small, plays big, because it can be seen, you know, across a stadium brings us on to the tail end of your tricks.
Speaker 2:So we've had some incredible ones straight away. You know fourth dimensional telepathy, pseudo psychometry, q a, all big hitters. So I'm intrigued to see where you're going to go at the tail end. Uh, what's in your seventh position?
Speaker 1:again one of those utility things. So I can do a lot with a little and in the broad category I'm just going to say wallets, cases and envelopes with the word peak before all of those words. And you can do so much with with different wallets, such as the sight unseen case by Mark strivings. It has been around for quite some time but it's still one of my favorites to use in performance to gaining information. I will mention and I, like I said, I listened to Peter Nardi's podcast the other day and he mentioned fourth dimensional telepathy and I made this list before I listened to Nardi's interview and the and the stealth assassin wallet. Oh, my goodness, it is so brutally good, it really really is, and you can do so much with it. And my mate, looch, came out with the Blink-1 and Blink-2. And, again, very easy to use. You can do multiple plot lines with it to gain information that you need from a participant. And I will tell you that during lockdown I had purchased Blink One from Looch and myself and some friends had scheduled a whitewater rafting trip down the Colorado river in the Grand Canyon.
Speaker 1:And we did. We went down the river basically from the Phantom Ranch area and Americans who are familiar with the river. We went from Phantom Ranch all the way to the end and it lasted. The trip was about six days and it lasted. The trip was about six days and we were going through some very, very dangerous rapids. Our float group was the first one down the river since the beginning of the pandemic. They got permission from the national parks and as well as the local authorities to do this because it was primarily outdoor activity and it was a very, very difficult trip in that extreme heat. It was for Americans. I'm going to use the Fahrenheit. It was 115 degrees Fahrenheit on the river, on the surface of the water, and we're going. It was a relief to go through a rapid where you get inundated and almost drowned from the water, uh splashing over the edges of the raft, and it was hot. It was miserable. We had scorpions that were sleeping under and on. It was pretty brutal.
Speaker 1:One campfire. Somebody, one of my friends said you know Terry's, he's a magician. Well, he's a, he's a mind reader. And the river guides said oh yeah, well, do something. And I happened to have lucha's uh, blink one with me and I did a reveal of some very personal information, with permission I always get consent on this to one of the river guides and she was blown away. It wasn't till about every few months she'll send a note saying that was really good, terry, and hey, when you're coming back to the river, and all of that. And then it was two years later that she, she came back and said you know what? It still blows me away. I don't know how you knew this about me and my friends. You knew this about me and my friends.
Speaker 1:So it was very versatile and I was able to use it in pretty dim light, as a matter of fact, because we're just around a campfire and I pulled it off. So I'm a fan of that particular piece of kit. I love it much. So, anyway, in that category of wallets, cases or envelopes and you can certainly do the same thing with a piece of paper and an envelope but I do like the physical and tactile feeling and just the presentation of a proper leather wallet or case. That makes me look fancy. I suppose wallet or case that makes me look fancy, I suppose, and I would definitely say that's got to be number seven as something I'm going to bring on my my ironing, because I can use it for so many, many things. I've actually used those in the presentation of seance as well.
Speaker 2:So, being devil's advocate, because we've had quite a few people say this item, if you could only perform one routine with your wallet, what would it be?
Speaker 1:A memory.
Speaker 1:A memory, share a memory. That's one of your favorite memories, right? It's very personal, it can become visual. I can be next to that person, for instance, and say let's relive that memory together and I will bring up things. You know, sites, sounds, smells, the. The sounds smells, um, the, the. What that memory looked like and felt like, smelled like, and it becomes a very strong piece of mentalism, just with very little information, and it is again going back to q. A sort of jazz mentalism is that you could, you go down a track and you follow one rail, spur off to the right. If that doesn't work, you go back to the left, but at the end you reach your journey in which the revelation is more meaningful than just saying, oh, your favorite bicycle when you were four years old. Now, that's to me that you've wasted a wonderful opportunity to create a personal, meaningful experience for that person that you're working with.
Speaker 2:Absolutely Great choice again, and the idea of a memory reveal superb. But that takes us on to your last effect. So what's in the last position?
Speaker 1:The last one is again one of those umbrellas, I'm going to say Desire, by Max Maven, which is also in a sense a living and dead test, and the same plot line could be used with Ned Rutledge's voice print. That is long unavailable but you can learn it. But the basic plot line, as we know, is that you have multiple choices available to your participant and they choose one and you reveal it, or you use that to create an entire framework of or foundation for this interesting revelation. And it could be done through touch, it could be done through multiple means so that at the end it's like it's it's. It's more than the sum of its parts. You know it's easy to gain a piece of information from an audience member, but how you share that is remarkable.
Speaker 1:But a living in dead test plot line um is very, very versatile. And it came to mind like where did I remember where this basic premise is available and, of course, desire by max maven. It was the very first effect in the very first book that he released, in the Blue Book of Mentalism when he did his color series. It's now available, of course, collected in Prism, a collection of all of those books slightly updated, but also there's a Ross Johnson DVD and if Alakazam doesn't carry it, see if you can get it because it's great. It's called Simply Psychic and the methods are very, very plain and straightforward. But he basically and he calls it voice print because he uses that as a foundation for doing what in essence is a living and dead test.
Speaker 1:And then I wish I could remember the DVD and the name of the effect by Mark Spellman in which he does a double lift. He does a couple of other things, a nail nick to reveal a piece of information from his participant. I think it was in a record shop. I don't have it at my fingertips. It's well worth looking into. Spellman is extremely creative, he's extremely talented and I'm one of his fanboys, like I am with Jermay. I think they are equally as creative, talented and dynamic a performer. But anyway, the living and dead test, but then expanded out to a broader presentational style. But the basic plot, the foundation for all of those, is in essence a living and dead test.
Speaker 2:Great choice. Big fan of living and dead tests as well. Funny enough, Isn't? That strange. Great choice. So fourth-dimensional telepathy, we've got Wave by Max Maven, psycho-psychometry, free Will, plot Q&A, pendulums, peak Wallet, desire, excellent, really interesting selection there, and the majority of them have a very sort of impromptu feel to them, really impromptu feel to them. Really it's almost like you could turn up somewhere, look like you have nothing on you and perform an incredible hour plus show.
Speaker 1:Yeah, I will say on the um, using the basic methodology that I changed considerably, however, uh, to voice print on the Simply Psychic DVD by Ross Johnson. I have done it during Christmas time and I have one person think about someone they wish were here for Christmas. I don't ask them have they died? That doesn't matter. That doesn't matter is just like I wish they were here, cause sometimes I do get someone who's perhaps their parent has passed or a favorite uncle or aunt, and other times it's just oh, my friend, he lives on the other coast and I wish they were here with me during Christmas time, and invariably, maybe it's the season. I'm going to say it's the season, rather than my incredible powers of presentation, but I get tears, you know, because people are there. It's a happy time, but also it's a time of reflection.
Speaker 1:For folks it's the end of the year, christmas is special and they have memories of christmas's past and it can become a very powerful piece of of mentalism all of your choices are right up my street, um, but I'm really interested to find out at this point what your book is I think before we started recording, I mentioned the fact, jamie, that I'm a bit of a disadvantage in that all of my books are currently in storage with, with the exception of a few that I've picked up since Susan and I moved from California to the East Coast and we are still awaiting our house to be finished being remodeled. The house actually was perfectly move-in ready, but it wasn't our style. It was more traditional and Susan and I have a more mid-century, modern and contemporary aesthetic. So we went through and every single room is being touched to reflect us and we have all of our possessions. Well, 79% of our possessions are in storage until the end of June and we're recording this in May, and they've been on those pods since November. So I'm going off of memory and some of the books that I bought since the move, and so I'm going to mention several and then zero in on one and the reason why.
Speaker 1:So the first one, or the first two, are by Mark Strivings. He has got an encyclopedia-like mind and he produces some really fine compilations of effects that have been previously released or now in public domain, are reprinted with permission and reworked, often with his aesthetic tossed in. But the first one is the Business Card Compendium by Mark Stribings, and then he does a book on living and dead tests called the Quick and the Dead, and he reaches back into history as well as more up-to-date things for both of these topics. And they're pretty thick there. They are hefty volumes. You could use it to, uh, wait down, um, you know, your car from blowing away, perhaps I don't know, it's, they're just, they're pretty hefty books and but just a wealth of information. I'm a big fan of strivings and I've known him for many, many years.
Speaker 1:The next one is the garden of the strange by caleb strange, and it got mixed reviews in that that it was a strange book, no pun intended, but it's magic and mentalism and perhaps even bizarre magic with ghostly things tossed in that have a strong narrative structure and that really appealed to me. The most recent book that I got that sort of in that same category it's not as thick, but I think it's just as delightful. It's called Tales from the Invisible Door by Vito Gatturio, and I apologize to Vito if I have garbled his last name. He's an Italian mentalist. I don't know the man. We've chatted online, but I picked up his book and I thought, oh, it's wonderful. It's a wonderful book, again, narrative driven mentalism primarily. I would say Prism by Max Maven, which is a collection of all of those color series books into one volume.
Speaker 1:A mate of mine, paul Prater, wrote some great books and again it's very narrative driven. So in his book is called Embryos and I looked online to see if it's still available and it's not. But I reached out to him. Oh yeah, just look me up on Facebook. I've got my back stock and if anybody's interested, he's uh, several of his books still available directly through him.
Speaker 1:And then the one that made me fall in love with luke germain, even with his typos, is 35 10 and it was a revelation into his thinking. And I was was sort of late to the game when it came to Jermay, but I read that on a flight, just as he indicated that he wrote it on a flight, flight 3510, either going home or heading to the States, I'm not sure which, heading to the States, I'm not sure which, but 3510, I think, is just a brilliant book and it goes into his approach to dual reality and other things, and I just fell in love with Jermay and his thinking. Fortunately I got to attend last May a workshop put on by Vanishing Ink in Tuscany at an old priory and got to spend some time with the man and found him to be engaging, enchanting, very, very generous with his information and we actually worked on some staging for a say commentary act. That was very helpful, but that's when you know. So I you know. They say you don't want to meet your heroes. Well, and I was a little afraid of that because I didn't know the man, but got to meet him and now I'm still enamored of the fellow but of those several books.
Speaker 1:I looked at my list and I will zero in on Garden of the Strange by Caleb Strange, because he provides you with different performing scenarios and position excuse me, venues from the outdoors. And he starts out when you're in the woods and you're doing something for a group of friends and weaving a tail and then others. That is a one-on-one situation and I just liked the way he thinks. I don't know if it's still available or not. You might be able to get it on eBay or something, but I think it's a brilliant book.
Speaker 1:The reason that it got, I think, mixed reviews is that it was not trick specific as much as presentation specific, and I know most magicians. They want to learn tricks, and that's important, of course but also to expand your imagination and to expand the style in which you can present that trick, I think is more valuable than learning the trick itself. So yeah, garden of the Strange by Caleb Strange, I hope I get to actually meet the person who wrote this. I don't think that's his real name, but I hope I get to meet him someday name, but I hope I get to meet him someday.
Speaker 2:Yep, it's a very out there book, um, certainly one that you will never come across again. Uh, I don't think in our, in our industry, um, but yeah, I think that one of the first ones as well. He's talking about sort of being outside with a lot of people, almost in a ceremonial um environment, which, yeah, it's. It's a very interesting book, it's a very good choice, but equally, lots of really heavy hitters in there 35, 10, yep, uh, incredible. I'll be looking up the um, the quick and the. I think that sounds really interesting as well. So, yeah, really really good choices. But it brings us onto your curveball item, the item that we never know where it's going to go. So what is the non-magic item that you use for magic?
Speaker 1:So I'm going to name three and choose one. That sounds like a plot line to a mentalism routine it actually does.
Speaker 2:Yeah, it's like the new patio force. There you go. Yeah, that's it.
Speaker 1:So in fact, I will give you the opportunity to guess which one. Okay, the first one is a small alcohol still. I mean, I'm going to be on a desert island and Mr Tyson likes to have his adult beverage at the end of the day, and I could probably use the resultant spirits that come out of that still to create magic in the minds of my friends. I could certainly start, you know, fires with it, things of that nature. But I thought, yeah, I'm going to be on a desert Island, yeah, small still might be fun. The next one is going to be. The next one is a different, it's a category and it's going to be poetry.
Speaker 1:I think poetry is not only if I'm going to be on that desert Island. I love poetry, I want to have it so I can read it and just feel good about it, feel good about thinking and reflect on life and things of that nature with poetry. And the poets would include Walt Whitman, shelley, edgar, allan Poe, woodsworth, tennyson and Wilford Owen. And also that poetry also can be used as in your script. I often use poetry in my scripts to recite a bit of a poem. You remember, jamie, when I do my seance, I start with a poem, reciting a poem and using that as the jumping off point for the rest of the seance.
Speaker 1:So poetry, and then the last one. It's again a category I would say it's not poetry, it's not fiction, but it is almost philosophical in nature. And in that category would be the autobiography of Mark Twain, the collected works of Emerson or Margaret Fuller. That category reflects a perspective on life that I happen to appreciate and try to live by. You know, emerson was an American transcendentalist writer. He was sort of like the first guy to write in America, to write a self-help book, and the advice that he gives of connecting with the universe and connecting with nature, I think is is, it's a philosophy that I live by and in the importance of the interconnectedness of all of those things with the universe.
Speaker 1:I think it makes a difference in a person's life to come to that realization. I tossed in the autobiography of Mark Twain because it's a fun read. I don't know if I could use it in magic or not, but it's certainly a fun read. But that's the three sections that I might choose and I'm going to give you the opportunity, my friend, to reveal which of those three do you think it is so I've seen many a picture of, uh, lovely cocktails and and glass, small tumbler glasses with liquid in um from yourself, um.
Speaker 2:so I understand that mark twain is interesting because it feels like you've just found a loophole in this podcast in that no one has ever said that they want another book in that position. But theoretically that is a non-magic item that you could use for magic, so fair play. However, I would probably select poetry for a couple of different reasons. Number one poetry is great for reflection in yourself. Two it's great and enjoyable to read. But three, it's also enjoyable for other people to listen to and to read themselves. So it feels like you would get a lot more from poetry over the other two in my eyes, but I'm interested to see which one you're going to pick.
Speaker 1:Poetry. I love the poets and if I had to pick just one of those, I'd probably get the biggest, damn thickest book of poetry that I could to get onto the desert island. So I have a lot of fodder for thought. And again there's. You could use it for your scripts, you could use it for a book test, you could use it just for enjoyment, and on and on.
Speaker 2:So yeah, yeah, it's poetry, absolutely it is very, very good choice, um, and overall, a really, really excellent list, I think, a bit different to other things that we've had, which is what we were expecting at the beginning, and I'm very thankful for, because it's a really intriguing look into your world of magic and bizarre explorations. And certainly there are a couple things on there that I'm definitely looking into. For example, I'm looking into the berlin hall method and I'm definitely looking into the quick and the dead book as well, so thank you for putting me onto those, um, but if anyone wants to find out more about you, terry, where can they go?
Speaker 1:I have a website, um, that's in multiple parts but it is T Tyson insightcom. That's my um sort of like business um uh website and I certainly will accept and you can. There's a contact form there. They can use my business email, which is Terry at T Tyson insight dot com, or just reach out to me via Facebook Easy to find there or an email I do not mind emails to ttysoninsight at gmailcom and I will definitely be responding.
Speaker 1:Now I will tell you that because of our travel schedule and our moving schedule and we stay busy Susan and I stay very, very busy so it may be a day or two before I can respond at any length and I tend not to take my computer with me when we travel. I like to write out things longhand. To write out things longhand, I think it's a more effective method for me to write down thoughts and things on a pad as opposed to fingers to keyboard. I translate that into the keyboard, of course, when after I get back to my computer, but I do use my phone for short messages and I'll respond as soon as I can. If you reach out, it'd be my absolute pleasure and again, I am hoping I'm praying to the magical gods that you and I and Peter and the rest of my mates that are in my beloved mates in the UK, that will see you in 2025.
Speaker 2:I very much hope so, and we were actually talking a few days ago myself, terry and Pete about potentially trying to find a venue for Terry to put on his show, his seance, whilst he's over here. So, if that is a case, jump on those tickets, because I think it's going to be something that you do not want to miss, especially if you're in the UK and you're UK based and you're unlikely to be able to experience it over in America. I know. Certainly I'm incredibly excited at the prospect of being able to be in an audience witnessing it. So I really hope so I really do. But, that being said, thank you so much, terry, for your time and for sharing your list with us all.
Speaker 1:Well, thank you for the honour and the pleasure of chatting with you at length. It has been some time and this was fun and, like I said, I miss you. I miss the whole gang at Alagazam and several of my friends in the UK and I can't wait to see you and embrace you and give you a longer than comfortable hug when we see each other. But thank you again, it was absolute pleasure, absolutely.
Speaker 2:Amazing. So thank you all for listening. Of course, please remember to review this if you can. If you're enjoying it, please let everyone know that you're enjoying it and, with that being said, we will see you again on another episode of desert island tricks.
Speaker 3:Goodbye hi peter nardi here and I really hope you enjoyed that podcast. I just wanted to make you know that alakazam have their own app. You can download it from the app store or the google play store. By downloading the app, it will make your shopping experience even slicker. At Alakazam, you'll also get exclusive in-app offers and in-app live streams. So go download it now and we'll see you on the next podcast.