Mark Strivings - Annemann for the 90's.pdf - Mark Strivings - jacksai

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A collection of updatedmaterial for th

PsychicEntertai

&u^. * fo". &o 90t

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6^ n""-t* E"n frl* 90',

W ,lh",L S,t"iwr^gt

Prefaceto the First Edition

Like there are going to be any other editions! Don't

hold your breath. Thislittlecollectionrepresents some

chanceinspirations,somecasesof the necessitybeing

themotherof invention, some farflungideas, andsome

time spent studyingone the true mastercof our art.

Hopefullyyou wilifind it worthwhile.

A counleof thank vou's are in order beforethe

testivities

idea

The xuff gou s

in these sidebarsa

just a collection

(arioas 4uol

bg Anneman

Someof them a

actuallq rclated

the effect at han

Others are jt

things that struck t

fancg at the tin,

ln ang etlent, it

hoped gou eaj

them for uthateo

theA are ulorl

in this project and in general. To the

convention committee of the 1994 MeetinqOf The

Mindsfor lhe invitation

perform as 'Ted' one la$ time. And finally.to my dear

friendandconfidantBascomJones.You wilibe missed

morethananyoneI canthinkof. Your encouragement

and counselover the yearshave been of inestimable

value. Your contributionto the art isof overwhelminq

proportions. andindeedits'continuationwillbe missedl

But even more, Bascomthe man and friend will be

missed. Say hi to Ted for me. This is for you, my

fnend.

and

If you haveany questionsor comments,or just

things to talk about, please feel free to contact me at:

3309N. Grandview

Flagstaff,Az. 86004

1602l,774-OaO4

Your commentsaremostwelcome. I hooe vou

enjoythestuff in thesenotes.Let meknowif yoücome

up with any ideason anythingin thiscoliection.

All righisreserved.

No portion of thiscollectionmay be reproduced

in any

Pdnted in the United Statesof Amenca

begin.To DoccHiltordfor the original

and invitationto be 'Ted' at WeerdWeekendll. lt has

expandedmy own thinking more than you know. To

Brian and Jan Flora for their friendshin and

encouragement

to makethisnreseniation

form without written permission of the author.

&.ma^* [ol.. I1*, 90t.

-1,

Welcomeand thank you for your attentionand

interestin this presentation. The mentalism of Ted

Annemann is one of the main cornerstonesof our

business.And yet, very few of our number actua\ do

any of the vastamountof materialthatAnnemannieft

behindfor us. The poiential reasonsfor thisaremany.

Of coursea great number of {ascinatingeffectshave

comedowntheroadsincethattime. Thosethatarethe

most recent do tend to dominate our attention.

Anoiher possible reasonis the availabilityof the

materialin the firsi place. Well, of course,with

Annemann'smaterial that isn't a problem. His

publications may be difficultto locatein firstediiions,

but reprintsand new formatsabound. So, just what is

the problem? [ suspect

'go for' the ment,

tupe of tricker

morethan euer

Annemar

factthat the materialis Derceivedas 'old'. While it is true

thatAnnemannwasi[ his pdme morethan sixty years

ago, the materialis just as commerciallyviable and

entertainingnow asit wasthen.

Why thissetof notesand the lecturethey derive

from, then? Certainlytimes have changedsince

Annemann'sday and there have been numerous

technologicaland societalchanges.Somethingsthat

were commonplacethen are very much out of place

todayand asa resuittend comeacrossthat way. The

reasonfor thislectureis the beginningof a numberof

'updates' to some of Annemann'smaterial,either in

handling,effect,materialsused,or someotherchange.

Someof the variationsareminor,othersaresomewhat

of a drasticdeparturefrom what Ted may havehad in

mind originaliy- ln any event,it is hopedthatyou will

findsomethingyou canuseand enjoy.

There are someothers'work you should check

out if the material contained in this collection is of

interestto you, most notably that of my very good

friend, Docc Hilford. Docc has published some

wonderful variationson Annemannmaterialthrough

hiscontributionsto Mcrgickand hisown work aseditor

of the Neu.r

Inuocation. The work that Docchasdone

with Annemannmaterial isverystrongand worth your

attention.

I don'i purportto be on that samelevelwith this

collection,but hopefullyit is a startin getting someoJ

this material resurrected.Thank you, again,for your

inter€st in this work. I hope it 'plays' as well for you asit

naslor me.

Enoughsaid. Let's get down to it.

"Audiences todt

ihat it probably stemsfrom the

6",ut ll.^* [* tfu, Wt.

7 Keys...etc... etc...erc...

Talk about an effectthat has generated variationafter

vadation! There have been some pretty amazing

versions of this effectover the years. Methodsabound

ranging from gaffed to ihe hiit types to the openly

brazen. The version you will read about here falls

somewhere

"The effect is tl

thing and dou

forget it for

The mentaliststatesthat he hasdiscoveredsuch

a force as metallic sympathy which arisesbetweenany

metalobjectsthatmustof necessitycomeinto repeated

contact with each other. With rapidly moving parts, this

has beenmore or less catalogued as static electricity and

produced through friction. B]rt with articles that merely

comeinto closecontactthrough handlingthereexistsa

sympathy,even though they be inanimate. In this case,

the experimentshallbeillustratedby a padlockandkey.

A genuineYale, Corbin, or olher well known

make of padlock is shown and a reward offered if

anyonecan proveor show that the lock is not just asit

left the factory or hasever beentampercd with. With the

lock is a key on which hasbeentied a pieceof colored

ribbon to idetrtify it from siK other keys that are lying at

hand. Announcingthat the taggedkey is the only one

that can openthe lock, the other six being odd keys, a

spectator is askedto take the lock and try them one by

one. As he tries eachkey and it fails to work, he drops it

into a small baganduponthelastoneactuallyfittingand

opening the lock, the bbon is removed and that

dropped in also among the others.

Shakingthebagandmixing thekeyswell inside,

the performer stepsto eachof seven people and they

rcach in and take one key from the bag in their closed

fist. Absolutely no one seesthe key rcmoved by each

unlilallsevenareout.

Taking the wdst of the party who is still holdirg

the padlocl, the performetpassesto eachclosedfist in

tum andmerelyholdshis freehandnearit. Suddei yhe

stopsat one outstretchedhand. "This handholds the key

that fits the lock," he exclaims. The spectätorhands the

key directly to the party witü the lock andholding the

lock in full view the key is tried. The lock snapsopen!

And immediately the performer reoffers his rewaid if

any of the other keys which are still being held, will

ooen thelock-

minute. Theet

justifies tl

means

Almemar

- This can be built into a real astonishing effect for

aoy audience ard it is far from being hard,

The necessariesare one lock, six odd keys that

will not fit and seve[ that will. The bagis a changing

bag,andthe illustration is of the new P andL Spirit Bag

in between.My versionliterallyoccurredto

me one afternoon while I was pulling weeds in the

backyard- But, before getiing into it, here is Ted's

originalversion.

SevenKeysTo BaWpate...

&, u^..* fer' II'e.90r

-3-

which is the daintiest and nicest bit of suchwork ever

produced. I havefound no bag betterfor this effect. lt

looks rather silly to drop seven keys into a bag big

enoughto changea nbbit andthis newtypejust fills the

bill.

Now follow this routine closely: prepare by

dropping six of the duplicatesinto one side of the bag

and thenchangeover sothe bagis now empty. You are

ready. Have a ribbon tied to the other conect key to

preventits beingmixed amongthe six odd ones. Show

the lock and explain about the keys. The spectator

comesup. Ask him to try the six odd keys one by ofle

and as he finds they won't work he dropsthem singly

into the emptysideof the bag you areholding. He now

triesthe seventhandthelock opens.Just at the moment

the lock opens you change halds with the bag and

switch sides bringing the six düplicates up. The

spectatorthenremovesthe ribbon anddrops the key in

among the others. As he dropsit in, ask him to scoop

themout andcouatthemaloudagain. Seven. And one

of themfits thelock- Reallyall sevendo thatvery thing:

The pedormernow passesamongthe spectatoß

and asksa man to reachin and take any one he wishes

andkeepit in his closedfist. Your telling thisfirst man

lvhat to do serves as a slight pause and the bag is

switchedsidefor sideagain. Now the performerpasses

to six other peoplein tum and eachremove a key until

the last is taken.

I advise doing this haphazardly ard not in a

straightrow. This is simply because the first selected

key is alwaysthe right one and you should be able to

eventuallypassone or two duds beforestoppingat the

corTec[one.

The selecting done,the tricky work is doneand

the finish is playedup asstronglyasdesiredto a climax

as of course,the right party is known and the othersix

won't fit thelock.

Thusyou startwith sevenunpreparedkeysanda

lock andendthe sameway. The nseof thebagis merely

incidental andis nevermentionedbutjust usedandthafs

all.

"Doinq a trrl

urellbefore qoi

tt. t .

frlenAs Of lU l/Or

room

enouqh.

must kaoul

better tht

this to put

orrerulell

public

Alnema:

It might be a goodplan whenpassingfrorn hand

to hand at the finish in searchof the key, to pass two

duds and hit it the third time- Too much play is

boresome. When you touch the first hand,shake your

head andsay,"No, thereisn'ta thing here. It can't bethe

key. Try it.' The partywith the lock tries andit doesnt

fit. This occurswith the second in the samemanner.

But with the third one the performer becomeselated and

declaresthat this must be the key itself. It is tried and

works.

Various st.otrg presentationpoints aaein this and

will be worked üp by the enterprising Performer. One is

that during the entire effect from start to hoish you need

never so much as touch a key or the lock. They are lying

in full view and are first picked up by the spectator'

Throughoutthe rouline you only carD them and mix

them.Thetrying of thekeysandlheopening of Lhe

locL

is done by your audienceand what could be more fair?

ts tlr

Mark Strivings - Annemann for the 90's.pdf

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