“The Mendez principle is such a unique piece of Mentalism, NOT just because of the effects it now makes possible to perform prop-less but because of the method itself – It’s very hard to describe what it feels like to perform this other than; THE REAL thing!
When Fraser told me the method I didn’t believe him, until we performed it on each other over and over again, with great success.
I would definitely recommend this to anyone who wants their Mentalism to feel real, NOT just for their audience but for themselves too!” Dreygon Hibbler
“The Art of Mentalism encompasses the idea of getting into someone’s head and Fraser has done it. When I first witnessed this tool I almost fell out of my seat. The array of effects you will be able to perform with the Mendez principle is unbelievable. You will truly feel like a wizard when using this new tool in your Mentalism.” Perna
“It felt like Fraser had hit me in the head with a Sledgehammer! NOT just once but twice in a row!! Fraser’s commitment to his craft is next level. I can tell he’s only just begun to scratch the surface with this. I can’t wait to read Mendez to see where he’s taken it.” Ryan Mentis, Mentalist Blogger
“HOW THE F DUDE. This is three in a row. I DON’T UNDERSTAND … [Fraser continues to repeat the effect] … Right, this is ridiculous! Like every new one I’m thinking ‘yeah, he got the previous one but he won’t get the next’ then BOOM!!” Mool Hood
“Ffs! Have I told you I hate you!!” Olie McManus
Fraser has decided to release his latest material as a booklet after receiving feedback from his customers, who expressed their wishes for him to continue to release physical products and not move to an entirely digital way of sharing his work, just yet.
In this book Fraser shares a very special principle, as well as various different applications for it that he has been holding onto for a while and has only previously shown to a few close friends.
He was worried at first that this secret would be too difficult to teach others, as it is basically real Mind Reading or can certainly feel that way to both the performer and the audience members who watch you perform.
This principle in its most basic form allows you to know which object a spectator is thinking of, out of a choice of three. Everything happens completely in the mind of the spectator. They think of the objects themselves and after naming each of them out loud at random, use their intuition to make their decision.
It’s as simple as that!
The Mendez principle takes Fraser’s work to an entirely new level where method feels even more ethereal and as if he is doing it for real, due to the fact, it utilises actual intuition and an inherent knowing that we all have built into us as human beings. It is practically self working and is so simple in conception, it just works! Naturally, this falls into the prop-less realm of a ninety percent hit rate. However, Fraser teaches his approach to mixing prop-less effects into a set of other more sure fire material to cover any failure, so that you will always be covered in performance.
This feels very different in terms of its approach and method and is yet again, more ground-breaking work from Fraser, in which he pushes the envelope of what was once considered possible, within the prop-less genre. It is a natural progression and continuation of his work utilising words, to create feats of realistic Mind Reading and this new and never seen before principle opens up many new avenues within the performance of prop-less Mentalism.
Again, the spectator merely thinks of three objects, names them out loud at random and chooses one. There is no other process, complicated system or any re-frame necessary, to know what the spectator is thinking of.
It is that direct! The method is simplicity itself and an ingenious use of psychology.
This knowledge can then be used as a basis for achieving other effects or as a way to gather other information from the spectator.
In fact, one of the effects and applications for this breakthrough principle which Fraser uses this for, is his version of a ‘Trojan horse’ style effect. This has a different core method to the original effect released by Michael Murray, Manos Kartsakis and Ian Rasp. In this variation of the effect, the spectator thinks of three objects then imagines placing one of these in their left pocket, one in their right pocket and keeps one in their fist. The performer can then instantly begin to divine which images are placed in each of the locations, without any additional set up. This super direct version of the effect is taught in this booklet.
Those who Fraser has performed this effect on, as well as the basic version where he simply guesses which object they have chosen, were blown away with how he was able to just know, in such an effortless manner. This includes magicians who had no idea how he was able to know which item they were thinking of over and over again, sometimes repeating the effect up to eight or more times in a row with the same person.
Of course, this booklet wouldn’t be complete without Fraser also including his work utilising the principle for divining a star sign, entirely prop-less. He also includes a different method for guessing a star sign that is the most streamlined version he has ever come up with. This happens after literally a few lines of scripting and can work as a way to secretly obtain their star sign during a performance. You will be down to two outs using this method.
This principle can also be used as a force. He teaches a variation on the basic ploy, utilising a ‘one ahead’, where you can get two thoughts for the price of one, by seemingly guessing a completely free choice of thought of object, as well as one from out of a choice of objects that the performer feels the spectator may have thought of as they were settling on an object, to begin with. This use for the ‘one ahead’ can also be used to seemingly read thought of names, numbers, colours, star signs, pin codes, as well as any other information you can think of.
Fraser feels it is now time to share this incredible work and hopes you will continue to follow him on his journey into the impossible.