I'd like to add this little bit due to some of the PM's I've recieved from some of you guys whom are beginners at billet work.

The filled out billet, is an "extension" of the person's thoughts, the billet itself, is an extension of the mentalist him/herself. The billet should also be an extension of your fingers, if you don't know how to move it, work it and manipulate it...you're lost. The best way to make that folded slip of paper a part of your fingers is to go through your everyday routine with a slip finger palmed.

Don't be afraid of anyone seeing it...if you remember your angles as you do certain tasks with people present, they will never see it in your hand, as well, it will automatically condition you so you will subconsciously make it angle proof.

Practice the 3rd and forth finger palm as well, it will allow you to do most anything with your hand. I've seen some guys with a finger palm load who looked like they were wearing finger casts. It will get to the point where it will feel funny if you don't have a slip palmed, if this is the case...trust me, nobody will ever see your billet.

Before a show, put a bit of good quality hand lotion on for good grip and warm your fingers up with finger streaches.

The one question I'm asked a lot is..."where do I hide the dummy slip"...in your pants pocket, where else ? You can get clips and crap like that, but out of your pocket is the best.

The best time to retrieve your dummy is in the middle of an audience laugh, that way you can sort of turn to the side and steal it. Have your hand in your pocket 30 to 45 seconds before the retrieval of the dummy...so it won't look too "in and out" if you know what I mean. Dunninger made a habit of always having his hand in his coat pocket...guess why ? I have my folded billets stapled closed and in all these years I've never once been questioned on the hand in the pocket thing.

Once you switch..pocket it and leave it. Half way through the effect before the billet routine starts, open the slip in your pocket and leave it...when you get the applause at the end of that effect...go in and get it. When is the best time to read it ? When the audience is watching you at the very start of the billet routine.

Where do you put it ? That's your choice, if you know how to handle your billet and your audience, you can stick it on your forehead and they'll think it's part of the show, no worries. Just remember what the main ingredients of a good billet act are...brass and confidence.

It's a good thing to have an "idol" to "base" your billet work on,it will give you a good starting point as far as technique goes. Mine are Dunninger and Ireland. With time and experience you can work your own personality into your billet work. Please don't be afraid to mess up now and then on purpose when you are "reading" info from the slip, it makes it look more human.

That's about it, if I think of anything else, I'll get back to you.

~Rick~

Rick-

Just a quick note to say that I appreciate what you are doing....
encouraging the younger generation to get into billet work.

I learnt from Cassidy and Gary Kurtz aka Jas Jakutsch.
This stuff inspires you totally, and you are keeping the flame alive on your side.

Just wanted to let you know you aren't a voice in the wilderness.
Cheers.
Tom

Hello,
I read 3 volume set of "COMPLETELY MENTAL" by Jas Jakutsh. They have good billet routine(s) although a little bit too technical for a mentalism effect rather than a mental magic. I too have a Raxon's Master Billet Move video which is ok for a mental magic, but too technical for a mentalism effect.

By the way, does "Jas Jakutsh" mean "Gary Kurtz"? If so, why did he write the above books as "Jas Jakutsh"? Is "Jas Jakutsh" Gary's real name? I like Gary's thinking and performance.

Sincerely,
Jay

"I read 3 volume set of "COMPLETELY MENTAL" by Jas Jakutsh. They have good billet routine(s) although a little bit too technical for a mentalism effect rather than a mental magic"

I think not.
You judge it wrongly....
look at the newspaper reviews etc.
http://www.riezencore.com/fhtml/principale1_a.asp?id=gk
This comes across as the real deal, not mental magic.

Tom

Rick, Thanks for the great information. I think that a lack of confidence in handling billets is something that many people experience. I know it certainly applies to me! I had never thought of simply walking around with a palmed billet all day long, but I may give it a shot.

I'm just not so sure it will hold up in the shower.....

Billets can be very intemidating to people but then, most of the "good stuff" in Mentalism has that R.B.O.S. factor about it (Requires B***s of Steel). That is why I encourage everyone I run across to become familiar with Cassidy's treatise on the Baker Billet Switch. The psychology he sews into a simple billet reading is AWESOME and should not be ignored but rather, mastered!

In recent years there have been several tomes on Billet work and even a video or two that have proven practical and a bit removed from the Magician's Point of View (e.g. modified coin moves vs. billet-specific handlings). What disturbs me however, is that very few of these contributions deal with the pscyhological aspects of billet work and how to use psychology to your general advantage so as to create a subtle form of misdirection that has nothing to do (directly) with "the move".

Like so much of Mentalism however, solid billet work requires personal committment and the act of jumping in and simply swimming. So, take a deep breath and follow the encouragement from the Nike company and "Just Do It!"

Thx very much....

It will be very inspiring to see some good billet worker with a live audience...Have you any suggestion of dvd or links?

Rick, this is a really good topic. Thanks for starting it and for sharing your know-how.

I have a question, and I hope it does start one of those “mine is bigger” wars that we like so much here.

How the classic billet works compares with the work of Millard Longman or Richard Busch? Which are, in your opinion, the advantages and disadvantages of both?

Thanks again...

Tom and John, thank you for your kind words. I don't see enough people today who are just pure billet workers, they are led astray by all the other stuff available. With billet work, there is something new you can learn everyday for the next 20 years...it is probably (besides muscle reading) the most challenging part of Mentalism. John, LOL@ billet in the shower !

Spaghetti...watching DVD's is not really the answer, get your basics down and do shows with what you have practiced...thats the best experience ever and no DVD in the world can teach you what you learn in front of a live audience.

~Rick~

Yeah Rick,
thanx for the insight...just like the TT for magi, one should have a billet in their fingers throughout the day so as to grow in comfortability...

AND I've had GREAT success with your telephone book test...I love it...thanx again

Hi Enriqueenriquez, All though I have exchanged some e-mail with Mr.Busch, who, by the way is a really nice guy, I do not know his work at all, same goes for Mr.Longman.

Please understand that I don't keep up with things like this, I subcribe to no magazines, belong to no groups, I don't read up on others, I only know what I do. My wife and I have an extreamly small circle of friends...none of whom are performers, so I don't even "talk shop" with anyone. Sorry about that, sir...

~Rick~

That’s fine. I don’t like the beach myself.

Take care.

Rick even though you feel like you have just a small circle of friends you are very much part of this group on the Café and I am new here to OK It's great to share original idieas as part of becoming a mental magician. For billets just get the transmission wallet with the light in it from cournelius and go on your timing OK. That saves some work !

I for one have become intensly involved with learning as much as I can in regards to billet work. And in no small measure, Rick has certainly part of the reason why. I really do enjoy your insight Rick, and find myself jumping to threads that you have started regarding Billets. So, I thank you for your contributions!

I also do agree that getting out there and just doing it will provide you with experience and knowledge that you will not learn from a DVD or book, do do feel that a good DVD can certainly be advantages, if for no ther reason, then to inspire you and spark thought. I for one wish they would dedicate some material specifically for Billet work.

Hi again,

E-bays, thanks for your most kind words. If I can can get one good billet worker started...I can die a happy man...LOL! Good man, keep at it and remember, it takes years to get where you want to be with billets.
**************************

Clinton, thanks for your kind words as well, the Café is a class act and I have met some good people here. By the way, I had that Cournelius wallet thing...I tried it, tried it again, and then I gave it a permanent home in the garbage can. He usually makes good stuff, but that item really didn't cut it for me.
*****************************

Babakali...you da man ! I'm glad you're having luck with the telephone book test, actually, I think you were the first one to jump on it here.

~Rick~

In that I do know either gent (Millard, much more than Richard however)I have a slight familiarity with what you are getting at (I think)e.g. the peek techniques they and many others have been putting out over the past few years.

Honestly, I'm off the opinion that every mentalist needs to know at least one to two good peek techniques that HE OR SHE ARE COMFORTABLE WITH (vs. the one of current vogue). I happen to use Water's OCCULTEAR for an example vs. the classic CT. But, nine times out of ten when I'm working with Billets I go with Mr. Baker's original ideas (or was that Bert Reese???)

I think it was Stephan Minch who said something along the line of "A mentalist will go with whatever is at hand to get the job done and take credit for whatever intrigue may manifest.... there is no level of low one will go to prove his/her self to be a genuine "Psychic"". When it comes to Billet work I feel this philosophy to be exceptionally valid in that one needs to be familiar with a variety of control techniques in order to "do the deed". In saying this however, I believe we all cultivate those five or six primary moves for making the switch and coping the read, that are most practical and natural to us. The rest of the study, when it comes to technique, is for those "Just in case" situations.

Though I love working with Billets and doing the Q&A I still find them a bit silly and even redundant. In the "real world" real Psychics hardly ever ask for things to be written. In fact, they typically just ask "What's on your mind?" like any other professional... so much for doing things the way a "real" mind reader would do them, eh?

[It's hard, being a mere mortal...]

Osiris, thanks for your post.

Well, I have to confess that, in the last months, I have been feeling something similar to what you say. Lets say that I am more in love of the method behind billet working, because in some cases there are real prodigies in terms of design there, and less interested in the outcome.

I mean, there are so many interesting things to say to a person than just revealing a word, a drawing or a thought that they know beforehand.

Bambaladam said something in other topic: “Not wow, touch” and I believe he is absolutely right. Instead of telling somebody “I see you had a purple chicken called Manfredo the 3rd when you were a kid”, in 100 times more powerful just describe how they are feeling, for example.

There is a huge qualitative difference between knowing what people is thinking, and understanding them.

This is just my opinion and only works for me. I’m not telling that using billets is wrong. As I said, I love billet work.

Rick,
I would be interested in your top 3 resources for billet work? No dvds, I gather, but what are the best books to learn more about it?

Hi Desix;
I really only used one book which was Annemann's Practical Mental Effects, that taught me the basic slights. Then what I did was practice the ever loving crap out of my slights and then took it on stage. The years have taught me what I can and can't get away with. Mrs.Dunninger was a really big help as well, she told me things about Dunninger's work that the books don't.

After each show, I go over the evenings performance in my mind and come up with better ways of revealing the info from the slips as well as new light comedy bits...that is a great, big, MUST in any billet routine. Too many of the younger guys today try to be the mystical, mysterious, mindreader who never smiles...those days are over.

Please forgive me for getting off topic here.

I guess to sum it all up is...no book or DVD is better than practicing your slights and stage experience and presentation.

~Rick~

Just started billet work.. this thread has helped. Thank you. Billets are great stuff!