the
Jafi Read BY
ADRIEN LOCHON
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THE JAFI READ by Adrien Lochon First First Edition ! 2018 2018 Cover art ar t by Mike “Beeple” Winkelmann Winkelmann
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Contents FOREWORD ............................................................................................... 5 INTRODUCTION ................................................................................... 7 OVERVIEW ................................................................................................ 9 JAFI ................................................................................................................... 11 MICRO READINGS ........................................................................... 15 FOR THE UNFAITHFUL ............................................................ 19 PUTTING IT ALL TOGETHER ............................................. 23 EXTRA ......................................................................................................... 27 Heavy ................................... ...................................................... ...................................... ...................................... ...................................... ................... 28 Memoir ..................................... ........................................................ ...................................... ...................................... ................................ ............. 32 Unspoken ...................................... ......................................................... ...................................... ...................................... ........................ ..... 36
OUTRO ......................................................................................................... 39
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Foreword One of Freud’s greatest insights was to discern a fundamental human motivator: fear of self #knowledge. A stark view of human nature and long study of extreme neurotics allowed him to see the subtle neuroticism in how many of our everyday behaviors actually flow from the active avoidance of looking within ourselves. Much later, personality psychologists with a less Victorian outlook would name an even more fundamental motivator: desire for self #knowledge. Far from the contradiction that it first seems to be, the second motivator likely arises from the first. We want to know about ourselves, but we fear what we might find. It is no surprise, then, that the idea of a mindreader is unnerving. If what we might find within carries such a charge that we often do not look ourselves, why let anyone else look? And what of someone who can see inside to a supernormal degree? But as before, a more apparent motivator masks a subtler one: Our desire for our true selves to be hidden is far surpassed surpassed by the desire for our true selves to be seen. And, as before, it may be that the first is born of the second. We want to be seen, but we are wary of who we allow to see us. Therein lies a curious paradox for someone who plays the part of a mindreader. mindreader. Being able to see into a mind is, in a real sense, a lesser feat than being seen as worthy of the glimpse. While this has always been true, tr ue, never has it been so apparent. Today Today,, a trick t rick that looks as impressive as real mindreading can be learned in ten minutes on YouTube. Plenty of apps are available to e $ ortlessly fake being able to read minds, and some are beginning to do it for real. More than ever, what sets a performer apart is not their ability to read minds, but their ability to make connections, to foster certain feelings, to open unique doors of experience and imagination. ! 5 !
Which is why this is such a timely book. Adrien Lochon’s gravity comes not from being an experienced “reader” or using tricks to outwit his participants, but from genuinely wanting to share a connection that goes beyond a mere moment of surprise. He is someone who comes across as worthy of the glimpse. In THE J AFI R EAD, Adrien lays out the blueprint for a warm conversation with a dash of astonishment. It is less an e $ ect or routine than it is a catalyst, that, in the right hands, can have a stranger feeling seen and understood in a remarkably short time. On any given day, we are analyzed, we are solicited, we are judged, we are polled and profiled and pitched. It is an increasingly rare day in which we are seen. To make one another feel seen is one of the most powerful gifts we have as humans. It is not a party trick; it is an act of communion, an essential social vitamin that we all need more and are all getting less. And so every ever y day, day, being able to be seen as worthy of that glimpse is becoming more of a super power. power. Performers erformers like Adrien, Adrien, and books like this one, might just light the way toward a more exciting and meaningful modern practice of a very old art. Aaron Alexander July, July, 2018
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Introduction A few years ago, days after a small parlor gig I did in some hidden basement in Lisbon, to an audience of about 15 people, I saw a lady who attended the show. She was smiling like a little kid who just opened the present she’d been dreaming about for so long and, when she recognized me, she hugged hug ged me and thanked me for an amazing experience. I asked her what she thought about the show, now that she had had the time to let it sink into her mind and what she said was beautiful: she said that, on that day, when she got out of her house, she noticed how the birds were singing, how the wind blew through the trees and how the sun was shining on her. her. The world seemed more “open” and full of possibilities. I know that not everyone will feel this way about my show, but I’m still pleased that I get to, sometimes, touch someone in such a positive way. way. This kind of exchange leaves you thinking, though. What kind of experience do I want to give to the people with whom I share my magic? mag ic? I’m not self #delusional to a point where I think I can systematically and profoundly change people’s lives ! although although I’m aware that it can happen ever so often ! but but I believe I can show them the world is a place of magic and wonder even outside of my influence as a magician. Magic is everywhere and we got used to it and ended up discarding it. I think I’ll have done my job if I can make you change the way you see yourself, others and whatever it is that connects us all. There’s so much more that brings us together than what pulls us apart and, as a performer, I can highlight those very things and bring something new ! or rather something old that was forgotten ! to to the table. The J AFI R EAD isn’t exactly a breakthrough idea I had once. It’s more like a mindset that I have come to adapt and tweak, little by little. It started as a way to blow life into a mechanical star sign reveal % which I call J AFI, hence the J AFI R EAD & and, slowly but surely, that life I was inflating into it became bigger and bigger, and the star sign ! 7 !
became smaller and smaller in the context of what I was doing. It’s still there, and it’s a crucial part of the read, but it’s no longer in the spotlight: it’s there to make a point and to solidify whatever happens before and after it. Truth Truth is you probably already know enough star sign reveals. You know how to do it with and without props in a multitude mult itude of di $ erent ways and, yet, you’re still looking for the one that will provide the best experience. Well, to be honest ! and and being fully aware that what I’ll say will sound hippie #ish ! I I think the di $ erence is not in the methods, but in yourself. Take Take a step back and think: why would you even want to reveal someone’s star sign? What can that do to your participant besides providing them with this moment of surprise and puzzlement? “Wow, this guy was somehow able to figure out my star sign”. We can do so much more than that and, yet, we’re still simply focusing on making sure our audiences won’t figure us out instead of putting all of our attention into making sure we give them an experience they can remember for the right reasons. It’s It’s so easy to fall fal l into the trap of simply showing o $ your skills. And you waltz your way through your show from peek to peek, from force to force, and in the end people wonder how you were able to know the random country someone carefully wrote “in big, bold letters” on a piece of paper, only to see you tear it into tiny pieces a second later, later, instead instead of marvelling at the wonder that was the magical interacti interaction on you both experienced. So, why would you want to reveal someone’s star sign? You You wouldn’t! You might want to show them that who and what they are goes beyond what they believe, and that translates into their star sign, and even maybe your own. That maybe things aren’t always black and white, that the world is full of beautiful and colorful nuances and that some of them are yet to be explained, and that’s fine! Isn’t it wonderful to come to realize there’s still mystery in the world and that it’s ok not to have the answers to everything? Isn’t it wonderful to be freed from the illusion of control and open your mind and your heart to the world of possibilities that is our existence?
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Overview The J AFI READ is basically a reading wrapped in a star sign reveal, made to appear like a “magical conversation”. We will follow a sort of roadmap, so we will have some checkpoints along the way to ensure we have a nice structure with a definite payo $ . I should point out that, although I’ll use the term “reading”, I don’t see this as an actual reading: I’m neither accurate enough to warrant such a title nor assertive enough to make make it seem I’m sure of what I’m saying. Besides, “reading” “reading” feels like like a unidirectional unidirectional bridge and the connection I’m trying to establish needs to go two ways. But there’s this person in front of me and I’m making a genuine e $ ort to really see them for what they are on the inside, and between this e $ ort and every person’s desire to be understood, a potentially amazing interaction happens. In an overly simplified way, what we’ll be doing is telling them what we see when we look at them and, in between those moments, ask the questions we need in order to gather enough enoug h info to reveal a personal piece of information: their star sign. Hopefully, Hopefully, though, by the time we get there, the fact that we are able to tell them their star sign will serve mostly mostl y to cement whatever happened up until that point. We will resort to three tools to pull this of: the first one is J AFI, the mechanical aspect of the star sign divination. The second will be the oracle we use to give the reading. In my case, I use a simplified version of Richard Webster’s “Psychometry from A to Z”, which will be explained in the M ICRO READINGS section. The third tool will be the way we frame this up. You should find a way to present what you’re doing so that it aligns with what you believe in, and I will discuss a few of my own ideas about that in the FOR THE UNFAITHFUL section. All of this is supposed to be very relaxed and conversational, so I don’t don’t rely on a specific prewritten script and often take the various di $ erent approaches and techniques I’m about to explain and mix and match them according to the situation: sometimes I’ll feel ! 9 !
the participant is particularly receptive, so I’ll be confident that I got a correct read on a certain tell, while other times, if I feel less confident, I’ll just ask for the information I need. That being said, there will be a solid structure to follow along. You You will be delivering the reading and actively engaging with the person with whom you’re sharing this moment of wonder and, at some point, you will stop the reading and do some work for the star sign reveal, then seamlessly go back to the reading. I call these moments where the reading and the star sign reveal touch, “contact points”. There will be either one or two contact points, so think of the structure as: Reading — Contact Point #1 — Reading — Contact Point #2 — R eading — Reveal…
I hope that by this point I was able to convey the mindset behind the performance of this routine: this won’t be about you or your amazing abilities. This is a way to, by somehow showing how much more there is to the universe than what we’re used to seeing, connect with someone on a level that normally doesn’t happen and, who knows, maybe you’ll be able to leave the door open long enough for someone else to also make that connection too. The fact that you’re using a star sign to reach your goal is more like a side e $ ect than your main focus. You You could do it with a card divination or even with a center tear or a peek, but the thing about a star sign is that as soon as you mention the zodiac, you automatically bring a lot of things to the table without having to mention them. And that’s something you can ! and and should! ! take take advantage of. of.
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Jafi J AFI probably isn’t the best star sign divination you’ll know: it’s not the fastest, it’s not the most deceiving, it kind of must be done in the context of a reading and it does require some memorization. It’s advantage, though, is that it walks the line between deception and honest interaction: on the one hand, you’ll be doing what you claim to be doing and, on the other hand, it forces you to engage in a genuine way with the person you’re performing it to. And, for that reason, it can create truly amazing moments that are authentic, deeply personal and magical all at once. The way I present J AFI revolves around energies, not in an esoteric way but rather in the sense that I get these feelings when I look at someone, which are a result of my own intuition as well as what the participant is projecting or, in other words, the way he interacts interacts with the world around him. In the end, it’s it’s really up to you to decide on how you want to present this. It’s supposed to be a very conversational and free #flowing piece, and that won’t happen if you’re not 100 ' comfortable with the ideas you’re presenting and your patter pat ter doesn’t doesn’t align with your internal dialog. As for the mechanics of the divination, the whole thing relies on a very simple grouping of the signs, which you should know by heart: A. Pisces, Aries, Virgo, Libra B. Taurus, Gemini, Scorpio, Sagittarius Cancer, Leo C. Capricorn, Aquarius, Cancer,
We have 3 groups. In Groups A and B, the first two signs fall in the first half of the year, year, while the last two fall into the second half of the year. year. In Group C, the first two signs are close to the turn of the year and the last two are close to the middle of the year. The first piece of information we need is the Group. Then, for Groups A and B, we’ll need to figure out in which half of the year the sign is in. If the sign belongs in Group ! 11 !
C, then we’ll need to know if they were born closer to the middle or closer to the turn of the year. That’s all we need to narrow our possibilities to 2 signs. When trying to create a genuine connection with someone, we can’t be caught up in our own thoughts about the mechanics of the deception we’re trying to weave. So, to make sure that never happens, I keep in mind I’m doing a reading and, parallel to it, I’m doing a star sign divination. So I have two lanes going side by side and I’m either on one or the other. I will spend the majority of time in the reading lane, but I will jump to the star sign lane exactly twice: I call these two moments the “contact points”.
CONTACT POINT #1
So we start our reading, and at some point, we will go into the first contact point. Here, we will need to figure out the Group. To do this, we will associate Group A with a “warm” energy, Group B with a “fresh” energy and we will simply not mention any of the signs in Group C:
“Don’t tell me what it is, but do you know your star sign? Perfect! Normally Pisces, Aries, Virgo and Libra have a WARM energy, while Taurus, Gemini, Scorpio and Sagittarius have a FRESH energy. I think I’ve skipped a few signs: signs: did I mention yours?” yours?” So it seems as I’m doing my best to name all signs, but I feel I might have forgotten one or two, which would be a simple mistake to make. If they say they have heard their sign, it means it’s not in Group C. If they tell me they haven’t heard their sign, I know they are on Group C, so I know they were either born very close to the turn of the year of very close to the middle of the year. year. It’s a matter of reassigning the WARM and FRESH energies accordingly:
“Ah, sorry. This isn’t an exact science anyway, but the idea is that the hotter the month the person was born in, the WARMER their energy”. In any case, they will be thinking of either a WARM or a FRESH energy, so regardless of what Group their sign is in, I continue with:
“And I am getting a nice WARM energy from you, it that right?”
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You could ask this as a closed question, so you would appear right no matter what the answer, but honestly I usually just go for it. It’s a 50 ' chance and when you get it right it’s perfect. When you get it wrong, it’s no big deal: act slightly surprised then explain why you thought they were a warm energy. energy. You can also set the two way out you’ll use in the end earlier: tell them you had a clear sense of their energy when you started, but now you’re kind of between two. Ask them if they are a warm % or o r cold & energy and, whatever they answer, say “ok, so my initial feeling was correct”. I have done this sometimes, but I’ll I’l l usually usuall y Just Ask For It. It. If they are in Group C, the answer to this question will bring you down to 2 possible signs and you can proceed to reveal it. If they are on Group A or B, you will be down to 4 signs and you need one more contact point.
CONTACT POINT #2
It’s important not to jump from contact point 1 to contact point 2. Remember there are two lanes and we need to go back to the reading lane after each contact point. So after I’ve got the Group, I go back to the reading. I know the group % which should be A or B, since Group C doesn’t require me to go into Contact Point #2 &, so I just need to know if they were born in the first or second half of the year. I will simply ask them and, after they answer, answer, slightly reframe what happened:
“You told me you were born in the first half of the year, right? Oh, yeah, you told me you were a WARM/FRESH energy!” So you ask if they were born in the first half in a very o (eat manner, they answer and you immediately go “oh, yeah, I remember now: you told me you were a WARM/ FRESH energy”, which implies that when you listed the signs and whether they were WARM or FRESH earlier, you separated them into signs from the first half and signs from the second half.
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REVEAL
Now I have all I need to guess the sign, but I don’t go into the reveal yet. I continue the reading and, at some point, I even like to turn the reading around and tell them that this energy I’m getting is very interesting: I don't get it often, but when I do it’s usually from people with a somehow higher intuition. Then I ask them about that and let them talk about themselves for a bit. Whatever they say, go with it and talk to them a little. If they did feel times when they just had a gut feeling that later proved right, get them to talk about that. If they say they never felt very intuitive, tell them that it’s it’s because they don’t don’t allow themselves themselves to think with the heart and, instead, they overthink things. I can’t tell you what to say exactly, as this bit ! and all other bits, really ! is supposed to be an authentic conversation: just be interested and invested in what they have ha ve to say. say. When I feel the time has come to reveal the sign, the way to deal with the fact that I still have two possible signs is to say something like:
“It’s funny because I normally don’t attribute that energy to Pisces... which is what I thought you were when we started, but this energy can only come from an Aries, right?” Pause after you say Pisces. If you get a reaction, stop there. If you don’t continue with the rest of the line. And that’s it! There’s a myriad of di $ erent two# way way outs and I’ve discussed a few of them in the past, but the truth is this is the only way I do it. Sometimes I don’t even bother to make it look like I nailed the exact sign and I’ll simply say “are you Pisces... or Aries?” and let the participant react. It’s a perfectly fine way to reveal the sign if you don’t want to rely on cues from the participant. Remember, the whole thing should feel like a “magical conversation”, so I would advise against a fixed script and suggest that you should just understand the mechanics of what you’re doing and have a genuine conversation with whomever you’re sharing this. You’re not relying on reframes, maths, strange processes, carefully worded scripts or body/eye body/eye cues and you shouldn’ shouldn’tt be focused focused on fooling them: you should focus all your attention and intent in establishing a connection that will go far beyond the timeframe in which you’re actually performing for them. ! 14 !
Micro Micro Readings There’s an important aspect in the performance of something like l ike the J AFI R EAD: you aren’t supposed to be this all powerful, all knowing being. Instead, you’re sharing some interesting ideas about the way the world operates and what constitutes a mystery with your audience. In that sense, you get more room to maneuver around. You can ask questions, you can explain to them what their answers tell you, you can fail to interpret them and, when that happens, you can ask them why to they think you failed. When doing these readings, I always use a very simple variation of Ken De Courcy’s “Systematic Seer” and Richard Webster’s classic “Psychometry from A to Z”. De Courcy’s Courcy’s system invites you to assign a word to each letter of the alphabet. So A could mean “Adventure”, “Adventure”, B could mean “Breathe”, etc. Then you’d take your sitter’s sitter ’s name and deliver a reading by going through the letters of their name. Webster took that approach to the stage and, instead of using the sitter’s name, he would use the letters from A to Z. One % or o r more & for each person he read. Both systems are classics, but personally, having a memorized list of words and readings associated with each word felt a little bit too much like a canned reading to me, so what I do is simply think of random words, on the spot, for the first three letters of my sitter’s name. Besides the obvious advantage of not having to memorise anything, I feel there’s a bit more to it. I’m relying on my intuition to come up with words that apply to the person in front of me. So, if an athletic, confident guy named Adam walked in, I could think of
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the word Adventure. But, if a clumsy, introvert fellow named Aaron came to me, I probably wouldn’t wouldn’t think of Adventure. Maybe Ambition or Attention. This feels authentic to me, and you can even share your thought process with the person you’re reading, without losing any of the authenticity: you can tell them “so your name starts with the letter A, and the word Adventure just popped into my mind. This tells me that…” and you go into the reading. I don’t always do it this way, but I have done on occasion and it’s a nice angle to keep in mind for the right situation. Sometimes, Sometimes, though, a word pops in my mind and, even if I feel it’s not the right word, there’s no way to get it out. So I just go along. But, in these instances, I would talk about the lack of whatever that word is. So, in the case of our clumsy friend Aaron, if I thought of the word “Adventure”, I would talk about the lack of adventure in his life and his desire for something more. So, to Aaron, I might use the words Attention, Reason and Oxygen % I know Aaron starts with two A’s, A’s, but I don’t don’t like to repeat letters, so I skip the second A & and say:
“(Attention) I get a feeling that you’re someone who has this ability to intensely focus on any given task when you feel passionate about something. No matter how many distractions come your way, when you do get in this mindset, there’s no way to make you stray from the path you chose. The hard part is to actually find something that you’re that passionate about. (Still attention, but in a different way) I think that, at times, you feel... Not invisible, but you feel people around you and people you care about just don’t see you as who you are and don’t appreciate the small things you do. And I know one of these times just came to your mind, right? Let me tell you this: it’s not that these people don’t understand or appreciate you. But we all get caught up in our own minds sometimes and we focus so much on ourselves that the problems and accomplishments of the ones around us almost pass us by. Forgive them and give them the opportunity to make it up to you. I feel you have a few very special friends and they do understand you, even if it doesn’t look like it sometimes”.
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“(Reason... I’m going to tie Attention with Reason first) What makes you feel this more than they do is that you have a hard time stopping thinking with your head and thinking more with your heart. Don’t get me wrong: you do have this dreamy, idealistic, almost romantic side, but it’s almost always muted by your analytical side: you can’t stop weighing the pros and cons and, truth be told, when the time comes you’re the one that keeps his cool and can really focus on finding a rational solution. That’s probably why your friends come to you when they are in need. This is both a blessing and a curse and I think you understand this feeling, am I right?” “(Oxygen) So, if I could offer you one advice, it would be that, from time to time, it’s better to take a step back and take a few deep breaths. Make room for yourself in your life. Make room for the things you love. You tend to jump from problem to problem, from point A to point B in a very methodical way, but you forget to take some time for yourself in the meantime. I think you understand what I’m saying, don’t you?” I tried to write what I would really say ! although although I’ve never done a reading in English so I just wrote and didn’t change anything. Plus, I can’t see the reaction while I’m ! so talking, so I can’t adapt and I can’t really ask questions, which are a fundamental part of this interaction. You have to make them work for it too: you are building something together, so you can’t be doing all the talking while they agree or disagree. Explain what you see or feel and ask them why they think you would feel that way. way. If If they half answer, answer, ask them to expand on their thought. Going back to the example reading, after I’m done with the first letter/word, I would try not ask them if what I said makes sense ! the the point is not that it makes sense or not, it’s about finding the sense in whatever I see ! but but I’d tell them I’m sure they remember a time when they felt like that or that they remembered a friend who makes them feel that way, etc, and I would try to push them to speak about that. So, again, the point is to have a conversation and not to do a demonstration. Be honest about what you feel and try to make them connect whatever dots you’re throwing at them. The fact that you’re not using canned readings or any other kind of trickery to increase your hits will transpire and help make this a genuine moment of connection between them and you.
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Truth Truth be told, when you do this long enough, you start to build up your own bank of words wor ds and an d idea id eass asso as soci ciate ated d with wi th those th ose words wor ds.. I migh mi ghtt not no t have ha ve sat do down wn and an d memorized anything, but nowadays I rarely come up with another word besides Attention, Adventure Adventure or Ambition when I get an A. And for each of those words I do have a set of ideas I almost always always talk about. But that’s that’s the thing: there there are no magic bullets when it comes to readings. You just have to do them long enough to develop your own language and your own ideas. Trust your empathy and draw from your own life story to deliver a narrative that will connect with the person you’re talking to. In the context of the J AFI READ, I use this sort of system by starting with the first letter, then going into Contact Point #1, then I go into the second letter and into Contact Point #2, then, as mentioned, I turn the reading around and have them talk about their intuition and, finally, finally, I reveal their t heir sign. I like to keep the third letter for after the sign reveal, where I can simply tell them “for some reason, while I was trying to connect with you I kept seeing the image of a waterfall % or o r whatever word starts with the third letter of their name &. Do you have any idea why I would associate that with you?” and let them try to figure out why this image would relate to them. If nothing happens, I expand on the meaning of a waterfall. I could say “well, to me a waterfall means contact with nature, means flowing and adapting to change. Does that make sense?” and go from here. Continuing the conversation after the sign reveal is important. If you stop at the reveal, the whole thing might feel like a setup for that moment. By continuing, you imply that this wasn’t your goal, that it was a byproduct of the connection you’re creating and that you’re more interested in that connection than in in showing them magic tricks. Quick note. This note. This is also a great moment to set up a name reveal: after the third letter, I like to say “I also saw a boy or a man, someone that felt important to you. His presence made me feel comfortable. I can’t really hear the name yet, but it feels short and familiar. familiar. Don’t Don’t tell me who this is, but do you know who I’m talking talking about?”. about?”. This way, way, I’m forcing them to think of a simple male name in a very natural way and I’m ready to go into my version of Fraser’s “Rose” or, with a slight change of script, his gypsy name guess, both of these e $ ects are explained in detail in the Book of Angels.
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For the Unfaithful Since what we’re trying to accomplish is a connection that happens not only on an emotional level but also on an intellectual level, we must make sure our internal and external dialogue have something for the participant to hold on to. It’s really hard for someone to pay attention and invest in whatever you’re speaking about if they feel what you believe is completely unaligned with their own beliefs, so it’s important to start by addressing this before you even begin. And remember that our goal is to slightly nudge their perception of the world, so this applies regardless of whether they believe in an oracle or not. Don’t make the mistake of going along whatever your audience believes in: that will only make them go deeper into their comfort zone. Make a conscious e $ ort to go the opposite route of whatever would be the easiest way. way. This will result in a much richer experience for your audiences. That being said, obviously don’t assume the “you’re wrong” attitude. First, acknowledge their point of view, view, agree a gree with them and tell them you have a slightly di $ erent take on it. Then explain your own point of view. view.
BIRTHDAYS
As for my own beliefs, let me give you some food for thought: my birthday birt hday is in March. This isn’t isn’t a particularly eventful month: it’s not too cold anymore and not really warm yet, it’s usually usual ly rainy and, when I was growing up, it was almost always a school day. day. I would get up a little earlier than usual and my parents would prepare a slightly better breakfast than usual, we would sing a very sleepy version of happy birthday and I’d be o$ to school, where some friends would remember the others and that would be it. ! 19 !
On the other hand, my cousin’s birthday is in August. Now, my family is a bit scattered around Europe, so August is this magical month where everyone comes to Portugal to spend their vacations. It’s the only time of the year where we’re all together and it’s kind of a magical month for that reason. My cousin’s birthday is the perfect excuse for all of us to get together, eat, drink, sing and have a lot of fun. So, naturally, ever since he was a little kid, everyone in the family and even friends of the family would associate all of these wonderful moments and emotions to my cousin. He was special, in some sense. Fast forward 20 years and this cousin of mine is a musician. I guess it makes sense somehow: he turned out to be this exceptionally confident guy, a bit on the needy side, always needing to make sure he’s appreciated. And I’m positive that the fact that he was born in August ! that that he’s a Leo ! helped helped him become who he is. Of course, there are many more variables and to counter this example I can tell you the story of a friend of mine who was also born in August. But for him, things weren’t as good: he doesn’t have a really real ly big family and he didn’t have many friends growing up, so normally his summer birthday would be a bit depressive, as no one would come to his parties and he would spend the day alone. I’m sure this helped him become this rather shy guy, filled with self #doubt and close to zero confidence. So you can kind of see how the time of the year we were born a $ ects who we become as individuals. And, again, I’m not saying you should take someone’s star sign as an indication indication of the type of personality personality you’re dealing with. What What I’m trying tr ying to say is that if you think about star signs in a linear fashion, like “Pisces = Sensitive Person”, you won’t won’t go too far with skeptics. But if you imagine that our personality is this immensely imme nsely complex mathematical mathematical formula and that our birthday birthday is one of the many variables variables that are represented in it % along a long with our names, our physical attributes, etc &, then you start to speak a language langua ge that is hard to dismiss. It’s It’s not woo anymore: it’s a very ver y real thing.
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NAMES
The same could be said for names. Here in Portugal, in school, we are seated in alphabetical alphabetical order. order. Since my name is Adrien, Adrien, I was almost always in the very first seat, right next to the teacher’s desk. This predicament forced me to pay attention to what the teacher was saying and I couldn’t really talk to the guy next to me, as the teacher would reprimand us immediately. immediately. On the other hand, I have this friend called cal led Xavier who, obviously, obviously, was almost always in the most distant seat from the teacher. He spent class balancing his chair on two legs and he drew all the time. t ime. All. The. Time. Today Today,, here I am writing a book on magic and Xavier is a very successful graphic designer. Now, I’m not saying his name made that happen exclusively ! Xavier Xavier is a bright mind and he worked long and hard to get where he is today ! but but his name did have an influence on that. And maybe, if he had another name, he would have ended up on a di$ erent line of work. Maybe. If that’s not proof our names do have a role in shaping who we are as individuals, I don’t know what is!
MIND READING
Why do we say mind reading? Why don’t we say “I’m going to see your mind” or “hear your mind”? Well, Well, if you take a book and look at it, you don’t don’t automatically know the contents contents of the book or the message the book transmits. For For that, you have to read it, which whic h basica bas icall llyy means mea ns you’re you ’re going goi ng to apply app ly a series seri es of techniqu tech niques, es, based bas ed upon upo n previously set rules and assumptions, that will enable you to understand the meaning of the book. To To do that, we have created c reated these symbols called cal led “letters” “let ters” that don’t don’t have a meaning of their own, but when we group them into something we call a “word”, then we can assign a meaning to that. And then we can group words into “sentences” which have a much greater capacity for meaning ! and and the meaning of a word can change depending on the context! In addition to all the letters, words, sentences, paragraphs, chapters, etc, we have the book in itself. And there’s this convention that the words on the page will be written on a certain order and that the pages should be read in a certain order too. ! 21 !
So, we need all of this to be able to read a book. And this is something that we practice every day, almost all the time % maybe m aybe not with books, but we do read all the time & and some people are better at it than others. When it comes to mind reading, things are a little more complex, but follow the same basic principles. Only now instead of a couple dozen individual symbols % letters l etters &, we get hundreds of them. If you’re in the “psychological” side of mentalism, you can think of these symbols as the way someone places their hands, how they pull their hair back, bac k, how their shoulders are relaxed or tense, the position of their feet, the words they choose to say or not to say, the way they look up when they think of what to say, the way they smile, the way they don’t, etc, etc, etc. If you’re on a more esoteric vibe, the symbols are still there: the color of the aura, the warmth of their energy, energy, the strange feeling on your belly when they t hey think of someone, the way their mind feels lighter when they focus on something, etc, etc, etc. So our job as mentalists mentalists is to pick up on all of these signs ! that that don’t have a meaning on their own ! and and group them into something that means something. And this is extremely hard to do, because contrary to actual reading, this isn’t something that everyone does all the time and it’s much harder to master. There’s so much that can go wrong: you might have missed some signs, you might have read a sign wrong, wrong, you might have grouped the signs in the wrong way or in the wrong order, etc. So it’s natural that you’re not spot on when you reveal their thoughts. You should still be pretty close, though. I’ll leave it up to you to think about these ideas and, if you chose to do so, how to incorporate them into your own work. To me, they serve mostly as an inner dialogue, but I often share these thoughts with the people I perform for % and a nd with people I don’t perform for! &. It might take me a bit to get my point across, but I firmly believe that we should be interesting even ! and and mostly ! when when we’re not doing any e $ ects. Some of the most interesting conversations I had came after I talked about some of these points with my audience.
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Pu t ing it together together a This is a sort of transcript of a full performance of T HE J AFI READ. I didn’t record it, so I wrote it from memory, which means it probably didn’t go down like this, but I hope it’s close enough to illustrate how all the elements come together. I chose this particular performance because it wasn’t a perfect run and I got a few misses. So, here we go: I’m sitting with Tom and I o $ ered to try to read him.
— So, Tom, let me see what I can get from you… I feel like you have a very active mind. Almost too active, right? Like sometimes your mind is jumping all around the place and, at other times, you get one idea in your head and you can’t stop thinking about it for a while. Is it true? — Yeah, I tend to obsess over things in some way. — You do, don’t, you? And in order to keep up with this overactive mind, I’m sure you have learned a few different things. You must have a few different interests. Do you play any instrument? — I play the guitar, yeah! — The guitar? Awesome! But, somehow, I feel like you’ve been playing less and less, lately, lately, haven’t you? — Hmm… Yeah. I got a new job and it’s taking a big chunk of my time.
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— I see. If I were to guess, I’d say this new job is something that is easy on the mind and hard on the body, right? — Not really, no. I’m a graphical designer, so… — Oh, wow! Graphical designer, that must be hard. Do you like it? — It is pretty cool. It gives me the chance to work on a lot of different projects, with a lot of different people. But what I like the most is that I can actually see the result of my work in the world. Actually, outside, on the road, road, there’s a billboard that I designed. — The one with the olive trees? I’ve seen it! That must feel really rewarding! This sense of artistry and ownership of your own work usually goes along all the people with creative energies. Don’t tell me what it is, but do you know your star sign? — Yes. — Perfect! So, Pisces, Aries, Virgo and Libra are usually associated with WARM energies, while Taurus, Gemini, Scorpio and Sagittarius are considered FRESH energies. I think I’ve named them all… Did I mention yours? — Yep. — Ok, so yeah, when we started, I was getting a very definite energy from you, but now there’s this other kinda creeping in and I’m doubting myself. I’m getting this nice, WARM energy from you, is that right? — Uh, no…? — Oh, ok… so the first feeling was right. It makes sense: you seem to be a very independent individual. I mean, you never forget where you came from and who helped you get where you are, but you have your own path to walk and your own goals to pursue. In fact, are you thinking of moving into a new house or something like that? — I moved into a new house a few months ago, yes!!! — Congratulations on that! That’s a big step! Although I’m pretty sure those boxes that you didn’t unpack yet will stay like that for a long time, so don’t fool yourself! ! 24 !
— Ah ah! Right! — So, this new house of yours: you seem like the apartment type, rather than the house type, am I right? — Yes, you are. I much prefer a house, but I did move to an apartment. — I’m sure it already feels like home. And you told me you were born in the first half of the year, right? — …Yes… — Yeah, I remember you told me you were a FRESH energy. I’ll tell you one thing: I’m getting a very particular energy from you. I don’t get it often, but when I do, it’s normally from people with a somehow higher intuition. Have you ever felt that about yourself? — Let me think… Yeah, sometimes I have these gut feelings and they turn out to be right. Nothing really big, just small things. — What kind of small thing? — I don’t know. Like, I have hunches on where people lost things, or on how some situations will play out. — Well, let me tell you that I also feel I sometimes see those small things, but if you start to pay attention to all of those small things, the results might surprise you. So don’t be afraid to trust those gut feelings a little more, ok? — Yeah, ok! — And it’s interesting because I usually don’t get this from a Taurus… — Oh, wow, how did you know that? — As I’ve told you: it’s the small things. So, as I’ve told, this is a sort of transcript from an actual performance. I didn’t record it, so it’s all from memory, which means most of it is kind of made up: I probably didn’t use those exact words and the answers weren’t actually like that. But it’s pretty close: I remember I missed the WARM/FRESH question and got a yes when I asked for the
! 25 !
first half. He was, indeed, a designer and he did register my question about him being an apartment person as a hit when it should have been a miss. Also, he did tell me about the small things he could intuit, and I liked my own line about it being all about the small things so much that I stopped the reading there, which only goes to show how this is indeed supposed to be a very conversational and situational piece: don’t get caught up in your script. Really commit the grouping to memory and just go with the flow. Notice how it feels more like a conversation than a reading: I’m openly taking guesses and nailing most of them. And the ones I miss, I don’t try to turn them into hits: we work together to understand why I would feel this way and the result is a very genuine conversation that feels magical.
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Extra One’s perception of reality can be nudged in a myriad of di $ erent ways, each of them will be more or less e $ ective depending on a series of variables, like the situation in which you’re attempting the feat and the person on the other end of your e $ ort. Having a few di $ erent ways to tackle the challenge can be very helpful, so I keep trying new ways to present these ideas and, sometimes, new ideas require new methods or even completely new plots. The next chapters will outline a few of my favorite ways in which the J AFI R EAD has expanded: the first is H EAVY, an exercise in framing and a nice example of how you can dress the mechanics in any way you want. The second is called C ONSTELLATIONS and it shows you how you can use the mechanics of J AFI to also reveal a thought of drawing. You could use this principle to jump in any direction you want. And make sure you stay for the finale: the last version ! U UNSPOKEN ! is is probably the best star sign divination available to date. Before going any further, I’ll share a secret: to me, the ultimate way to do the J AFI READ would be without method, without the star sign reveal or any other kind of deception. You would sit in front of someone, genuinely use your intuition to tell them what you see when you look at them, try to create the strongest connection you can with this person and, by carefully careful ly looking at everything the invisible line that connects them and you touches, touches, you would see or feel specifics of their personality personality and life, like like important persons to them, impactful events and, maybe, their star sign. I can’t quite do it that way yet, so while I practice I need to resort to some deception in order to be able to create this connection a little quicker and a little stronger. What’s important is that this deception doesn’t become neither my main focus, neither my main crutch: it’s there to be used, but it should always be one step towards the goal, and never the goal in itself.
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heavy This demonstration is a curious one: you will openly be doing what you claim to be doing, everyone will have possession of the same info as you, and it will still be magical. There’s no trick here, besides the fact that you are much more familiar with the way you group the zodiac signs than they are, which is enough to create a wonderful interaction. The idea here is to, instead of verbally asking the questions we need, use the classical heavy/light heavy/light suggestibility suggestibility test as a way for them to give us that information. information. I find that this is one of the most reliable suggestion suggestion tests, but we’re still going to use a few tricks to make sure we have success with it. On the basic version of the J AFI READ, the reading reading was the centerpiece centerpiece of the whole thing, and the star sign reveal was the cherry on top of the cake. Here, the physical physical manifestation manifestation of the participant’ participant’ss subconscious subconscious will be the point you’re trying to make. The star sign reveal will only be an extra hit to drive your point home. As before, the first step will be to check if their sign is in Group C. For this, we will assign the signs from Group A to the left hand and the signs on Group B to the right hand, then we’ll check if we named their sign. If they are not on the Group C, we will use the heavy hand test to figure out if they are on Group A or B and we will to the test once more to know if they are from the first or second half of the year. We will then have all we need to reveal the sign. If they are on Group C, it’s even easier: we will use the heavy hand test only once, to figure if they were born closer to the middle of the year or closer to the turn of the year. Then we’ll have all we need to reveal the sign. But what’s interesting in this variation is the way we frame it:
“Do you believe that the star signs have some kind of influence on who we are as individuals? You don’t? Well, I really don’t either. But I’m sure you’ve read your horoscope at some point in your life, right? Everyone does! And the thing about these is that you get so used to hearing them that they kinda stick with you.
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I am a Pisces and they always always describe Pisces as romantic romantic and sensitive. Now, even if I don’t see myself in those traits, if someone came to me and said ‘I get this feeling you’re a romantic and sensitive person’ I would be amazed that they got it right. You know what I mean? And once these things get in our subconscious, the body has a hard time ‘lying’ about them. Want to try something interesting?” This is a weird way to introduce a zodiac reveal re veal but if you think t hink about it, it makes some sense, doesn’t it? I have never found someone who couldn’t agree with this introduction to some degree and that’s an important aspect to keep in mind when you’re trying to bring someone into your world. Have them stretch their arms in from of them and keep both hands opened and palm up, then say:
“So, if you are Pisces, Aries, Virgo or Libra, focus on this hand [right] and, if you’re Taurus, Gemini, Scorpio or Sagittarius, focus on this one [left]. I might have skipped skipped a few signs. Did I name yours?” yours?” For now, let’s assume you did name their sign. So they are focusing on one of their hands, now you enter the testing phase:
“So, whichever hand you are focusing on now is going to start to feel heavier. You will feel this and you will see this. Please don’t fight the feeling, ok?” One of their hand should start to go down. Sometimes it’s subtle, sometimes it’s obvious, obvious, but it always happens, even if it’s just a twitch. twitch. This right here is the moment their reality shifts: they thought about their hand feeling heavier and now it does. As soon as you see any kind of reaction, give some positive reinforcement:
“Oh, wow! That’s an amazing reaction. You have a very powerful mind!” Just in case the wrong wrong hand moved, I always like to check by, by, again, Just Asking For For It: It:
“So, it is this hand you are focusing on, right?” ! 29 !
If the wrong hand moved, tell them it’s fine, their mind is super strong, but if they focus a little more, they’ll do it, and o $ er to do it again and go into the second phase. If you got the hand right, go into the second phase by simply simply saying:
“That was great! Let’s try it one more time. Relax your hands a bit... Now stretch your arms again. This time, if you were born in the first half of the year, focus on this hand. If you were born in the second half of the year, focus on this one. And, again, the hand that you are focusing on will become heavy. Even heavier than the first time...” It’s important to ask them to relax their hands, as you don’t want to do the test twice or both arms start to get tired and you’ll get very mixed signals. So remember to have them relax their hands between phases. Do the second test and, once more, one hand will go down. Be amazed at how well they are able abl e to do this, congratulate them, t hem, check if the hand that went down was the right one, and now you are in position to reveal the sign. Remember the first two signs you associated with each hand in the first phase are from the first half of the year and that the last two signs you associated with each hand are from the second half. So now it’s a matter of thinking about which hands went down: Left = Group A, Right = Group B. Then Left = First First half and Right = Second half. At this point, I like to ask them how it felt and let them talk a bit. I tend to wrap up thing the following way:
“So, as you can see, the body doesn’t like to lie. And I can tell that you are a very honest person, or this wouldn’t have worked so well. Are you a Pisces?... No! You’re an Aries, right?” We’re using a hanging statement once again, so you should know the drill by now: if they react to the first sign you throw, stop there. If they don’t carry on. Even if you name both signs and they end up being the first one, the hit is still strong. If you didn’t list their sign at the beginning, you only need to do the test once. But this time you can’t ask about which half of the year, as we have to deal with Cancer and
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Capricorn. So, as soon as you confirm that you didn’t list their sign, act like you don’t want to name all the signs again and say:
“Well, let’s simplify: if you were born closer to the middle of the year, focus on this hand. If not, not, focus on this one”. If the hand associated with the middle of the year goes down, they’re either Cancer or Leo. If the other hand goes down, they’re t hey’re Capricorn or Aquarius. I feel I should point out once more that this routine’s strength isn’t really the reveal of the zodiac sign. What makes people care about it is the way they can’t seem to hide their true nature. This is a powerful powerful notion, so play with it and make make it seem like it’s it’s a good thing they are the way they are! One last note: you could use a heavy hand on the first phase and a light hand on the second second phase, or you could use other suggestibility tests for this, or even combine combine two di$ erent tests, one for each phase. But I’ll leave that up to you...
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memoir What about a memory reveal on top of the star sign? I call this one “memoir” which, I’m fully aware, makes me sound exactly like the pretentious douchebag I really am. But hey, it’s better than the original: “memorandum: memoirs of a pretentious douchebag”, right? Anyway... Fraser and I have worked on bundling a zodiac reveal with a memory reveal in Memoria 2, and that’s where the idea for this variation came, although in this instance we won’t be forcing a specific memory memor y. What’s What’s happening is we’re forcing them specific characteristics depending on the group and which half they were born in. Group A will be associated with outdoor memories, while Group B will be for inside memories. Then, if they were born in the first half, we will ask them to think of a childhood memory and, if they were born in the second half, to think of an adult memory. And we’re going to figure out the general traits of the memory via fishing, so that we can finish by nailing the exact sign. This will be a soft reveal, in the sense that you probably won’t won’t get the exact memory they’re thinking of. We’ll We’ll have ha ve to rely on some generalities, make some assumptions, use some cold reading and take some risks. It’s ok, though, because we can fall back on the zodiac sign reveal, which will always be 100 ' right. Before we get down to business, let me quickly remind you of the thread that ties all the e$ ects in this book: Just Ask For It. This means you shouldn’t be afraid to ask questions to confirm what you’re sensing. You are definitely getting these signals, but you need to ask the participant for clarification, because you’re not absolutely sure what they mean and, since you’re not actively trying to fool them, you don’t mind simply asking. We’ll need to make some assumptions and draw from our own experience. For instance, happy memories rarely happen when we’re alone, so take advantage of that. If this is an adult memory and you are with a lot of people, this might be some kind of event, a concert or, here in Portugal, a soccer match. If you’re with one other person, this is probably a romantic partner, so maybe some sort of date, romantic occasion or even a birth.
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With kids memories, we have a little more leeway, since we can brush of any misses by stating that a couple of memories are blurring into this one. A kid’s happy memories probably either happened with his friends or with his family. With the family, it could be some vacations vacations % here h Portugal, this would almost always mean beach & or a family ere in Portugal, gathering. With With his friends, f riends, this could be a party or “that one time you did something crazy”, whatever that is: kids are always challenging each other and trying to prove how cool they are, so our childhoods have these moments when we did something that seemed cool, or funny fu nny,, or rebellious, or even dangerous. So, with all of this in mind, deliver your script along these lines:
“Depending on your star sign, some memories will have had a deeper impact in your personality than others — even if you’re not aware of that — so let’s try something interesting”. This nice little frame serves our purposes perfectly: we establish a connection between some signs and some memories and we make sure to explain that this connection may be unconscious, so we’re covered if they struggle to find a memory within the parameters that we’ll stipulate, and proceed:
“If you are Pisces, Aries, Virgo or Libra, think ‘outdoors’... Don’t think of any particular memory yet, just keep in mind this will be something that happened outdoors. If you’re Taurus, Gemini, Scorpio or Sagittarius, think ‘indoors’...” ‘indoors’...” I’m not putting the script for the signs on Group C, because at this point you should understand understand how to deal with it: just figure out if they’re on that group and, if so, direct them to think “outdoors” if they were born near the middle of the year % you know, know, ‘cause in the summer you prefer to be outdoors & and “indoors” if they were born near the turn of the year % ‘cause ‘ cause when it’s cold and rainy, you stay home &, then jump to the fishing/reveal part. You’ll have much less to work with if they are on Group C, so in those cases, I like to resort to a billet and have them write one word that describes this memory. I can then do any peek or CT. CT. This improves improves my chances chances of getting a good reveal tenfold. tenfold. You You could do this even e ven if their sign is in Groups A or B, of course.
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If they’re not on Group C, carry on:
“If you were born in the first half of the year, think of a memory from when you were young. If you were born in the second half, think of a memory from when you were already an adult”. They now have a memory in mind and you really only need to know two things: if this is indoors or outdoors outdoors and if this is from when they were young or not. But, of course, course, you need to hide these two questions amidst your reveal of the memory. memory. I like to start with something that feels completely unrelated to any of the points we touched % indoors/outdoors, i ndoors/outdoors, young/adult &: I say that I get this sense of light. This means very little, but serves an important point: it puts the participant in the right state of expectation that you’re only going to get these very vague impressions, at least at first. Now, Now, of course, this t his can help me, because he might say “well, yeah, it was a summer day, day, the sun was shining”, so this would probably mean outdoors. I’ll say that I’m seeing a few other persons and this pleasant noise. Again, I’m betting they weren’t alone on the memory and a “pleasant noise” could mean a lot of di $ erent things: music, the sea, wind blowing in the trees, birds singing, whatever. And then I’d ask: “this is outside, right?” or I can risk it a bit more and go for something specific: “is this some sort of park?” this could hit or not. If If it misses, misses, I’d ask “what is this place, then?” and that’s it, I have my first polarity: indoors/outdoors. They could obviously tell me that there’s no light, that it’s dark and, in that case, I would simply say that it makes sense, as you don’t don’t think about light or about “seeing” when there’s light. It’s It’s one of those things that you only think about when you don’t don’t have it. To To figure out if this is a memory me mory from f rom when they were young, young , I simply say “and it’s very clear that this isn’t recent”. They normally agree, because since I asked them to think of a memory, even if it’s one from when they were already adult, they will go back at least a couple of years. They could just tell me I’m wrong, but in that case, I would follow up the same way as if I’m right, which is to ask “how old were you when this happened?” That last l ast line seems simple, but bu t there’s more to it. When you state that you know this isn’t isn’t “recent” they will wil l interpret that according to the memory they’re thinking of.
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If the memory is from when they were a kid and you say that it isn’t recent, they will think “yes, you’re right. This isn’t isn’t recent: it’s from when I was a kid”. If, on the other hand, the memory is from 3 years ago and you say it isn’t recent, they will think “yes, you’re right. This This isn’t isn’t recent: it’s from 3 years ago”. The word “recent” will have di $ erent meanings for di $ erent memories: recent years vs. from my childhood or recent months vs. a few years back. And when you ask, almost like it’s just out of curiosity, curiosity, how old they t hey were, it’s just that you want to know the exact date, since you already know the approximate date. So now you have both polarities % inside/outside, i nside/outside, young/adult & and you have all you need to nail the zodiac sign, but don’t go there yet: keep fishing for the memory. At this point, you know if it happened outdoors or indoors and whether it’s a childhood memory or an adult memory. Take some guesses, make some general remarks, feed them back whatever they give you. When you’re satisfied, reveal the sign.
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unspoken We’re finally here. I’ve “buried” this variation at the end of the book because it’s a star sign divination so clean that you might fall into the temptation to perform it out of the box, which you could do in a very spectacular manner: the participant can stay silent throughout the routine and seemingly only extend their hand so you can touch it and instantly instantly reveal their sign. But I hope that, by making you go through through the whole book, I’ve made it clear that you can create a much stronger experience if you focus on connecting with your participants instead of fooling them. And it’s really hard to connect with someone if they don’t talk to you, so please make sure you keep everything you’ve read so far in mind when going through this method. In terms of structure, this will be very di $ erent from the basic version of the J AFI READ, as instead instead of weaving the star sign reveal into the reading, you’ll do all the dirty work up front, then focus solely on the reading and reveal the star sign whenever you want. This is actually the first star sign reveal I came up with that relies on the way we’ve been grouping the signs, and I believe it is very elegant: the participant never speaks a word and the only thing they do is extend their hand so you can hold it and get a feel for their t heir energy, energy, or however you want to dress it. Bearing in mind we will be using the same grouping as before, we will assign their left hand to Group A and their right hand to Group B. We’ll figure if their sign is in Group C, then we will use a timing cue to figure out the last piece of info we need. So, to do this, start simple:
“Don’t say anything out loud, but take a moment to think if you were born in the first or second half of the year, as that will be important in a minute”. I say this at the very beginning of the routine because, later, we’ll need them to respond to our instructions rather quickly and it helps if they already thought of what half of the year they were born in. Continue with:
“Pisces, Aries, Virgo, and Libra are the “creative” signs. The emotional ones. They are connected to the left hand. Taurus, Gemini, Scorpio, and ! 36 !
Sagittarius are the “analytical” signs. The ones that have the ability to keep their cool when everyone else is freaking out. They are connected to the right hand. So, keep this in mind…” They are now thinking of either hand but, again, we’re being indirect with this: we don't ask them to focus on anything, we just explain some signs are related to one hand and others relate to the other. You should confirm that you named their sign by asking about it the same way I’ve explained before. If that’s the case, just tell them to focus on either hand, as we only need to know if they were born in a hot or a cold month, and we’ll use the timing cue for that. So, assuming their sign is not on Group C, we’re now going to use the timing cue to get the half of the year and the hand in which they are focusing at the same time:
“If you were born in the first half of the year, give me that hand...” You then make a pause to see if they extend their hand. If they do, you’ll know they were born in the first half of the year. year. If they don’t, don’t, you’ll know they were born bor n in the second half. If If they don’t don’t extend their t heir hand, keep going:
“… and imagine a hot spot of energy on your palm. If you were born in the second half, imagine a cold spot. So, give me the hand”. They will, then, t hen, extend their hand. So at this very ver y moment, depending de pending on whether they extended their hand right away or not and depending on the hand they extended, you will have all you need to reveal the sign. But we will add a layer of deceptiveness and, as soon as they extend the hand, we go into a reframe:
“… sorry, the other hand: I’m one of the signs that connects better with the left/right. So, if you were born in the first half of the year, imagine a hot spot of energy on your palm. If you were born in the second half, imagine a cold spot of energy”. What happens is, as soon as we know which hand they were focusing on, we reframe the whole conversation as you simply explaining which hand you connect with better, which implies they were not supposed to focus on any specific hand.
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If they are on Group Group C, instead instead of asking about which half, half, you ask about if they were born in a hot or a cold month % or, o r, if you prefer, if they were born near the middle or the turn of the year &. So, at this point you have all you need to reveal the sign and they should have one hand extended and palm up on top of yours. Go into the reading as usual. Tell Tell them what you feel, make some questions about them, and at some point reveal the sign. To reveal, I like to say:
“Really imagine this spot of energy and, when you can feel it, give me a clear nod”. As soon as they nod, nod , I take their hand as a s if I’m giving g iving them a handshake. I focus focu s for a moment then reveal the sign using a hanging statement. If they are imagining a hot energy, I say:
“This energy feels comfortable. It’s a nice warm energy... This feels like a Virgo... no! Libra, right?” If they are imagining a cold energy e nergy,, I might say:
“This feels very strong. It’s a nice refreshing energy... This feels like a Scorpio... no! Sagittarius, Sagittarius, right?” And that’s is! To To recap: use the left/right hand to know if their sign is on the first or second group, then use the timing cue to know if they’re on the first or second half of the year and immediately reframe. You now have everything you need to reveal the sign. This is such a strong routine when it’s it’s properly executed. What seems to happen happen is they give you one hand, you touch it and you know their sign. Now, remember: this isn’t about your amazing abilities. This is all about creating a connection with someone and, in the process, opening their mind and their heart to a world of possibilities that was always there, they just forgot about it or thought the door was locked when in reality it was always opened. I’m giving you a bare #bones script, but I trust you will infuse it with life in your own way and treat it with proper care.
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Outro It’s easy to make a coin vanish and cause a visual reaction on someone. Or have them write a random word on an impression pad and reveal it. Those feats are, indeed, amazing and their e $ ect on people is immediate. But, honestly, that’s just a % hopefully h opefully unsolvable & puzzle. It takes some courage to assume what you’re doing and risk getting no reaction. But you’re not trying to cause a physical reaction: you’re trying to move them on a visceral visceral level and that takes a lot of trial and error, error, but in the end, it is really worth it. I hope by the time you read this, you have found value in these ramblings. I know I love zodiac divinations divinations probably probably more than I should, should, but I honestly believe that this is one of the strongest demonstrations of magic and mind #reading you can do. And the J AFI READ provides a very nice framework that you can build on or use as #is to thoroughly entertain and mystify your audiences. I’ve been doing it for a while and it not only feels very comfortable, it is also extremely extremel y reliable, has a pretty nice flow and is easy to do. So, that being said, kudos go to: Aaron Alexander, Alexander , for some invaluable feedback on the e $ ect, it’s method and even on the structure and approach of the book itself. Besides, I like to believe the J AFI READ is a spiritual successor suc cessor to his Zodiac Killer… but he doesn’t doesn’t know that. Steve Wachner, Wachner, for his seemingly endless amount of patience while I made him go through every iteration of this book % which at some point was 120 pages long &, for being a true friend and being honest enough to tell me when something was good and when it was crappy not so good. Fraser Parker for being such a dope senpai, and all of his work around propless mentalism and, more specifically, Zodiac Reveals. For some proper genius stu $ , check
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out “The Fool Who Persis Persists ts in Folly”, which was developed developed at the same time J AFI was born. Nico Heinrich and Aaron Mathis for Mathis for their generous feedback at every step of the process, for some very productive jam sessions and for all of their support. Olivier Boes and Boes and his beautiful “10S” which was the inspiration for the concept of having the participant openly tell me the information I need. Devin Knight, Knight, Matt Mello and Mello and Andreu for Andreu for their work on eye cues, which are the basis for what I call the timing cue. Sudo Nimh , who also uses the half # year year question in his brilliant birthday divination “Eclipse”. Ken De Courcy and his “Systematic Seer”, and Richard Webster for his “Psychometry from f rom A to to Z”. My buddy Filipe Maia , on who I tested every iteration of J AFI, even though he’ll never read this book % I might show him this page, though &.
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