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COPYRIGHT © The Pro Shop 2013 While the material that forms the basis for this work is in the public domain, all rights to this edition are reserved. Reproduction or utilization of this work in any form, by any means now known or hereinafter invented, including, but not limited to, xerography, photocopying and recording, and in any information and storage system, is forbidden without written permission from the copyright holder. For more information, contact: The Pro Shop P.O. Box 807 Colchester, VT 05446 USA Website: www.mevproshop.com
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A Note from The Publisher Does the magic and mentalism community really need another reproduction of a Robert Nelson manuscript? The answer for many, I fear, is “No.” One reason for this response would most likely be the fact that many Nelson manuscripts are already offered by a number of on-line dealers as cheap PDF downloads. A more troubling response I've heard is that while Robert Nelson is generally acknowledged as one of the undisputed greats of mentalism, his material is painfully dated. This idea is usually cited by people who are forever searching for the latest in peek wallets, book tests, blindfolds, nail writers and no-work-required reading systems. For these people, this publication – if downloaded at all – will wind up in some dusty corner of an external hard drive. That will be, in my estimation, their loss. The material contained in the following pages is timeless, and in many cases, all an enterprising performer would need to establish and maintain a thriving career. This publication is one in a series that was inspired by my love for what I like to think of as the Golden Age of Mentalism, spanning roughly the first half of the 20th century. While some publishers have been content to merely scan, convert to text, and sell the works of Robert Nelson, I wanted to produce something that would give the reader a better sense for the context in which this material first appeared. With this in mind, I've gathered as much additional information as possible to include in this edition. In addition to the original text – which has been lightly edited to correct the most blatant of Nelson's notorious typos and spelling errors – you will find the original ad as it appeared in the Nelson Enterprises catalog, a brief biography, editorial annotations where deemed necessary, and some very opinionated commentary.
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In the interest of evoking a bit of the look and feel of a Nelson manuscript, I've taken the liberty of using a font inspired by an old typewriter for the original material. As you might guess, in the pre-computer era, the humble typewriter was the primary means by which Nelson Enterprises created the mimeograph masters which were then used to crank out as many copies as were needed. The mind boggles at what Nelson might have done with today's technology. It is my sincere wish that this series will reach the right audience which, I like to imagine, not only appreciates the fact that we all stand on the shoulders of the giants that blazed the trail we tread today, but has the creativity and imagination to take this material and make it their own. As many ads promise, but rarely deliver, religions have been founded on the proper application of the information you'll find on the following pages.
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The ad for Mind Divination, as it appeared in the 1933 Nelson Enterprises catalog
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The Original Text FOREWORD For years the mental fraternity has been seeking such a method as we outline in "MIND DIVINATION", as it meets all the modern requirements and produces an effect without equal. Further, it produces this effect in a superior way and without the use of apparatus or method requiring continual practice. The age-old problem of competent help is automatically eliminated by its application, as MIND DIVINATION can readily be presented without assistance and at a moment's notice, anywhere, and under the most exacting conditions. (1)
LECTURE “This evening I shall offer for your approval a
series of experiments in "MIND DIVINATION" or what is commonly known as ‘mindreading'. My
demonstration, as
you will note, is totally different from any you have heretofore witnessed.” (2)
“I am not going into a lengthy discourse – instead
I am going to get down to the actual demonstration itself – that of divining your minds. I will pass small
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cards among you, on which please write your name in full, then directly under the name, write any question of importance. Use one side of the card only.” (3)
“Write your questions in the language you do your
normal thinking. I will endeavor to give helpful information on any sincere subject. such as love, business, travel, health, home affairs and the like. Foolish fribilous1 questions I will ignore.” (4)
“When writing your questions, let no one see what
you have written – not even your friends. I ask that you write your questions for two reasons, first because of the actual writing of the query produces a mental impression on your mind and aids in concentration, and second to ascertain promptly whether or not I am correct in divining the thought.” (5)
“It is NOT necessary that you write your questions
if you can strongly CONCENTRATE your mind on your query, as I INTEND TO ANSWER TWENTY TO THIRTY QUESTIONS THIS EVENING THAT HAVE NOT BEEN WRITTEN DOWN2.”
1 Fribilous? A quick Google search shows no such word in any of the various on-line dictionaries, but one instance in a legal abstract. From the context, it seems to be a synonym for “frivolous”, the type of question the performer has every right to ignore. 2 Since the early days of the Internet, anything written in all caps has been considered to represent something one is shouting. In the context of Nelson's writing, it is more likely that he is adding emphasis to a statement; since the introduction of the IBM Selectric typewriter, this is better handled by using italics, something that was not available on the typewriters of the era in which this manuscript was produced. Then again, perhaps Nelson WAS in the habit of shouting at his audiences.
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(6)
“I shall collect the cards, and seal them in heavy
envelopes. Hold your card with the writing downward while I collect the cards and have them sealed in their respective envelopes. On each envelope I shall place an identification mark that can be easily distinguished from the stage. Please note that your written questions NEVER leave your eye-sight for an instant!3” (7)
“When I call your name or initials, or you
recognize your identification mark, kindly respond by raising your hand, and saying ‘here’, or present, so that I may locate you and answer your questions promptly.” (8)
“Now, kindly remain as quiet as possible, as any
noise or disturbance makes it very hard for me to get the mental impressions.” (9)
ANSWER QUESTIONS
(Detailed information on the Psychology of Answering Questions can be obtained from DeLawrence's ‘Answers to Questions‘, or Nelson's ‘Effective Answers to Questions’, and 'Sensational Answers. ' (see catalogue)
3 Drawing attention to the fact that the written questions never leave your eyesight would probably play well to an audience of magicians, but is unnecessary for an audience made up of the general public.
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N. B. This lecture is submitted as a suggestion and guide to the performer, in order that a strictly individual lecture can be arranged by the performer, adopted to his individual requirements. ROUTINE The general stage or platform routine will be briefly outlined at this time, in order to give the reader a better understanding of the true merits of the principles employed. The opening, of course, is accomplished by the introductory lecture or patter, as above. As you read thru the lecture you will be able to follow the actions of the performer, as he makes reference to the cards, envelopes, etc. It is necessary that you start action immediately upon your entrance, and you should enter the audience while speaking the second paragraph, and start the distribution of the cards, which may be carried in the right pocket, or the right side of the sash. During the distribution your patter continues thru the FIFTH paragraph, and it is essential that you strongly impress the meaning of the fifth paragraph on your audience in order to attain the greatest possible effect4. As you enter the sixth paragraph, you should start the collection of the cards. The envelopes should be carried in the left pocket or left side of the sash. Holding a small pile of envelopes front side down in the right palm, collect the 4 Essentially, Nelson is telling you to lie to your audience, since nowhere in this manuscript does he explain how to answer “twenty to thirty questions that have not been written down.” You will probably want to omit this part of the lecture, since I'm sure you will not ever want to lie to your audience.
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first card, requesting spectator to keep the writing down. Hold the envelope right under the SPECTATOR'S NOSE 5, insert the card (writing side down) into the envelope, then securely seal the flap down. The envelope is then marked with a heavy soft lead pencil with a large figure 1 (ONE), initials, etc., or such, on the back side of the envelope, which is facing up. The envelope containing the card is then placed at the bottom of the packet of envelopes, in the left hand, and performer passes to next spectator, and this procedure continues until all cards, or sufficient number of cards have been collected. While the collection is in progress you are advising your writers the proper action, and some impromptu patter at this time will come in handy, with remarks directed at the fact ‘that no living soul except the writer knows the contents of the envelopes‘, etc. , also caution each spectator to remember their identification mark. Having completed the collection, performer returns to stage with the request that everyone remain as quiet as possible. The packet of envelopes (now containing cards) is turned over (bottom side up) which places the questions in exactly the reverse order as collected, i. e. , last card at the top of the pile.
5 I'm willing to bet holding anything right under someone's nose would would be considered rude in many cultures.
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At this point, some performers will find it difficult to manipulate the packet, and cut each envelope with the scissors at the conclusion of each reading, therefore, a small stand or magician's side table is suggested. On this table, the packet is placed, cards facing up. This gives the performer ample opportunity to get the first question. Holding the billet to the forehead, or directly in front of the eyes, gesturing with the envelope, the information is easily secured, while performer ‘divines the thought’ and quotes a suitable answer. Now at this time, attention is directed to the fact that the identification mark is plainly visible and that envelope is perfectly opaque, an examination will reveal. Having completed the answer, the performer takes a pair of scissors from his pocket or stand and cuts the end from the envelope, inserts fingers and withdraws the card, which he reads to verify his answer, replacing the card in the envelope and hands it over the footlights to be returned to the original writer. The fact that the card is returned, identification number, et al, creates a tremendous impression on the spectators as the performer's moves are so devoid of sleights of any kind that they cannot conceive of any solution other than genuine mindreading.
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MODUS OPERANDI Simplicity is the keynote of success, and rightfully so in this method. As you have been informed, no apparatus or devices are employed. As you have been told - nothing except cards and envelopes! Carefully examine the sample card and envelope, sent with this manuscript, and its preparation will be detected 6. Following out this routine, cards are distributed and when spectators have finished their writing, the left hand withdraws a packet of the envelopes from the pocket or sash. The face of the envelope rests against the palm of the hand, all flaps turned out. Now, holding the handful of envelopes right under the spectator's nose, his card is directed into the envelope by the performer, THRU THE SLIT, and along the bottom side of the envelope. In all appearances, the cards go IN the envelope, and it NEVER occurs to the spectator or anybody else for that matter, as to whether the card remains in the envelope or not! Having placed the card in the envelope, the end of which is still visible at the open end, the flap is sealed by moistening the forefinger of the right hand, and sealing the flap. This again leaves the right hand free, and a heavy soft lead pencil is used in marking a large figure or identification mark on the back of the envelope. 6 See page 21 for images of the envelope and card provided with the original manuscript.
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The envelope is now taken from the top of the pile with the right hand, and placed on the bottom, the card resting against the palm, still held to the envelope by the small margin of paper. All this takes place right under the spectator's nose, and the closer the better. The sleight is so clean cut, and unexpected that detection is an unknown quantity. Having sealed, marked and placed card to the bottom of the pack, THEN proceed to the next spectator and repeat the operation. The carrying of the envelopes in the hand is so natural that no suspicion can be directed here - in fact, every move is only a natural one, as the envelopes cover the preparation. Having collected all envelopes, the performer holds same in his hand high above his head if desired, and in such a manner that they never approach the body, or even cause suspicion among those looking for a switch. Returning to the stage, the packet is placed on a small stand, the envelopes now laying face side up 7 (card showing upward). Performer reaches for the envelope, knowing identification number to be that of the last placed on envelopes, and calls this number, or may read same and ask the spectator if he can recognize the mark from where he is sitting.
7 Obviously this would not be advisable in any venue where the audience's line of sight would allow them to see the exposed card.
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Holding the envelope in the left hand, and out in front of the eyes where it is easy to read, the performer can easily obtain the information while looking for the spectator, or while holding a conversation with the spectator. By holding the envelope almost in a straight line between the eyes, and the spectator, it is impossible for anyone in the audience, or elsewhere to determine whether your eyes are on the envelope, spectator or elsewhere. However, the writer will not dwell on the reading of the cards, as one or two attempts will reveal the simplicity of the idea to the reader. After you have obtained the information, locate the writer by calling his name. Then place the envelope to the forehead, concentrate, and give suitable answer. This concluded, you are still holding card in the left hand, secure a pair of scissors with the right hand, and bringing the card down in front of the body, cut the flap end from the envelope, cutting directly across the slip. This portion of the envelope drops to the floor, automatically destroying all evidence of trickery. The performer then inserts his forefinger (right hand) in the envelope as if to withdraw the card, and the thumb on the card at the back of the envelope. Withdraw both fingers at once, and the card appears to be withdrawn from the envelope. The illusion is perfect. Holding the card with the thumb of the left hand, card is guided along the back of the envelope, thus creating a perfect illusion.
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If a table is used, a small stand is suggested. The performer should stand behind and slightly to the right of same. In the act of concentrating with the billet to the forehead, the performer can drop the head slightly and thru half closed eyelids, get the next billet's information. This, however, is not at all necessary as you will readily find out during the actual presentation. Having withdrawn the card from the envelope (?) the performer glances at it as if to verify his answer, inserts card part way in envelope and immediately passes it over the footlights, requesting that it can be returned to the original owner. This procedure is continued until all billets have been answered. PREPARATION Duplicate envelopes to match the enclosed sample may be obtained at your local stationery store. In preparing the envelope, place a card inside same, and using an old razor blade make the cut along the edge of a ruler, placed about 3/8 of an inch from the top (like sample.) If the razor is broken in half, a better cutting edge is secured. The card inserted in the envelope prevents the razor cutting the front side. Care must be exercised in cutting the slit that an even slit is obtained, as a ragged cut will catch the spectator's card when it is inserted in the envelope.
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A card of some kind should be used in each envelope during the cutting process, then of course, removed. After a few envelopes have been prepared, it will be noted that only a few minutes are required to cut a large quantity of the envelopes. The cards should be the same color as the envelope, and the same size as the sample. ADDITIONAL HINTS It is not necessary that the numbers be placed on the envelopes, but it does heighten the effect. This gives additional reason why the fair side of the envelope should ALWAYS FACE THE audience and the CARD SIDE toward yourself. It is not necessary to pass any of the envelopes for examination, or should the performer feel conscious of the fact, assume as does the audience, that the envelopes are ordinary, and proof of same comes later when the envelopes are returned to the original writers. As a suggestion, a few unprepared envelopes can be taken into the audience, and distributed to the spectators who are sitting away from the aisles. These may or may not be collected, as the performer sees fit. Or a couple of envelopes may accidentally (?) be dropped from the hand during the collection process, these envelopes being unprepared. Some spectator is bound to pick them up, and consequently notices them to be unprepared, although the thought of trickery does not prompt the move.
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If some clown should ask to examine the envelopes (of which you need have no worry) hand him an unprepared one, carried expressly for that purpose, OR merely say, "Yes, my friends, all the envelopes will be passed for examination and returned." The return of the original envelope to the writer is conclusive proof of the absolute fairness of the experiment. A great punch can be injected in the act by using a plant and in this manner! Cards are distributed, also a few unprepared envelopes, which are not collected. At this time, the performer stresses the fact that if he overlooks any billets, it is perfectly alright, and that he will answer the questions, just the same. One of the unprepared envelopes reach the plant, who prepares the prearranged question, seals in envelope, and RETAINS IT. A tremendous play can then be worked up, the performer continually drumming away on the fact that he DOES ANSWER QUESTIONS THAT HAVE NOT BEEN WRITTEN OR COLLECTED. (While this gag is no part of the original act, it is suggested to those who wish to use it.) This arrangement gives the performer a better opportunity to bring his performance to a close with a certain number of questions. All billets should be answered, if possible. If a large number are turned up, they are not returned at the conclusion of the act, the performer making an abrupt close. This is the only logical way as time could not be taken to find each owner, and return the billets even if such a return were possible.
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The cutting of the flap end completely eliminates the fake and at the conclusion of the demonstration, every bit of damaging evidence is automatically consumed by the cutting procedure. Not even an examination of the tips as cut from the envelopes will reveal the secret to snoopy stage hands. While this act is advertised and sold as a one man feature, one can employ one or more assistants, if desired, and to good advantage. This permits the performer to remain on the stage during the distribution and collection of the cards. The operation is exactly the same when assistants are used, they giving the billets to the performer after the collection has been completed. It is here suggested, in the event assistants are used, that performer step into the audience and assist the first few spectators in the front rows with their questions, performer placing the cards in the envelopes and sealing them, then making a quick return to the stage, and start the actual answering of questions, while assistants are completing the collection in the audience. This produces an excellent effect, in addition to speeding up the show. This act can be adopted to practically all occasions and is suitable for the parlor, stage or street corner. The only restriction is that the audience must be kept in FRONT of the performer at all times. Some performers may find it to their advantage to hold the packet of billets in their hand thru out the demonstration, which will be found to be an easy task after considerable practice.
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No attempt has been made in this manuscript to tell the reader how to answer questions that will be submitted. The answering of questions for the crystal gazing act is a study in itself, and its importance should not be overlooked. In fact, the 'answers' are regarded as the BIGGEST HALF of the demonstration. PRIVATE OR INDIVIDUAL READINGS Employ the ‘Mind Divination‘ procedure to individual or private readings. It is one of the best methods devised to date for private readings. Allow the spectator to write his question on card, sign name and then turn card face down so you can't see the writing. Very slowly and deliberately, lick the card, writing face down, and slowly insert into envelope (card thru slot), seal. . . . . you get a quick glimpse at the writing - answer questions while holding the sealed envelope out of your sight range - as you get into the question, ASK spectator if what you have just told them touches on or related to the query in mind. . . . . . then ask, if they mind if you open same and verify it. Cut envelope and ‘extract’ card, dropping the card, envelope and cut section of the envelope on the table before spectator - and continue with the reading, answering the question. You are ‘clean’ - everything has been disposed of - and you have a totally bewildered spectator clamoring for more!
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IN CONCLUSION In buying ‘MIND DIVINATION', you are buying a method, routine and lecture, as no apparatus is included - for the reason that it is not employed. We sincerely believe this to be the biggest and GREATEST method ever involved in the mindreading business, and truthfully believe that you will heartily agree with us, AFTER you have placed these principles into actual operation.
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Envelope and card provided with original MIND DIVINATION – front view
Envelope and card provided with original MIND DIVINATION – rear view
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More Notes from the Publisher
I'll be very up front about this: I have a number of issues with this presentation.
forth:
To begin with, I find myself asking the question Annemann so brilliantly put
“What would a real psychic do?” Imagine (if you're not a real psychic, and already know the answer to that question) – how much time would you devote to proving that there was no deception involved in your presentation? None, I would wager, for two important reasons. The first reason is that all of the procedure leading up to answering the question would take precious time from what the audience is actually looking forward to – having their questions answered. The second reason is just as important, and critical to a believable presentation: because the constant emphasis on the so-called “test conditions” would invariably lead any semi-intelligent person to wonder, “If there is no deception involved, why the heck is he making such a big deal about it?” I suspect David Hoy came to the same conclusion, and this is probably why he simply had audience members step up to a microphone and state the question they had.
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An alternative approach which would be just as believable would be to … 1)
Have audience members write their questions on 3 x 5 cards
2)
Collect the cards
3)
Read the questions openly
4)
Answer the questions
It's not an unfamiliar procedure to anyone who has watched Letterman or Leno perform. Granted, they are not presenting themselves as being psychically gifted, but the point is that the audience doesn't care how the question is communicated to the performer. At the risk of beating the proverbial dead horse, the audience is only interested in one thing, and that is how you will answer the question that was important enough for them to have asked it in the first place. Is that dead horse still dead? Yes, I believe it is. As I stated in an earlier footnote, I do question the wisdom of constantly calling attention to how fair and above-board the procedure of securing the question cards in an envelope. He suggests in the explanation of the routine that the performer reiterate that “... no living soul except the writer knows the contents of the envelopes”, which to me seems like a shining example of “running when you're not being chased.” If you can plant positive thoughts like “My demonstration, as you will note, is totally different from any you have heretofore witnessed”, isn't just as likely that you can plant seeds of doubt by trying to convince people how fair the procedure is?
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The next issue I have is the use of the slit envelope on which the success of this presentation rests. Really? You have to insert each card into its envelope? Call me lazy, but that seems like a lot of work, and if I were serious about starting my own religion, I don't think I'd want to let any assistants in on the methodology. There would inevitably be a lot of bodies to be disposed of. In the ad for Mind Divination, Nelson stresses the fact that this routine uses “no one-ahead or one-behind” methods, but in the interest of streamlining the presentation for present day audiences, it could be argued that employing a one-ahead approach would be far preferable to the labor-intensive and time-consuming method he proposes. Nelson states in the ad that Mind Divination uses “a NEW principle”, which strikes me as disingenuous at best, and at worst downright misleading since the slit envelope was most likely not new even when Nelson Enterprises listed this presentation in their 1928 catalog. If you're at all historically inclined – as I am, to an alarming extent – you probably already know that the origin of the slit envelope is difficult to determine. Annemann wrote of its use in an issue of Jinx published in 1936 (and reprinted in Practical Mental Effects) under the title, “Triple Coercion”, and Howard Albright described it in his own “Astrologia: A Message From The Sky” which was selfpublished in 1934. Aside from Nelson's claim that the method was new in 1928, I've yet to locate an earlier description of the slit envelope, but it would seem to be a technique that would most likely have been developed during the 19th century Spiritualist movement. It is my belief, however, that the original Spiritualists would not have used this technique for a stage presentation, but would have reserved it for use during individual private readings. Indeed, this might be the most effective use for the Mind Divination methodology.
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Now, some who read this may think my next point is nothing more than a shameless plug for a product that is offered by The Pro Shop. And while it may be technically a plug, I feel there is no shame associated with it, but rather an obligation I have to fulfill if I am to deliver on the promise made in the introductory Publisher's Note (“... religions have been founded on the proper application of the information you'll find on the following pages”). And this is the point: if you want to take the approach of having audience members write their questions down, and you feel you must have the audience believe you are divining their questions via psychic means, I firmly believe there is no simpler and effective way of doing this than by using the method used in Millard Longman's “Psychic Readings for Groups”, which is included in Millard's Mental Musings and available on the Pro Shop website. I will say no more about this here, for fear of wandering into the realm of shamelessness. So, what do I like about this manuscript? I like Nelson's presentation for the most part, especially his remarks that are clearly designed to guide the audience in a way that ensures a successful outcome for the performer, beginning with the statement... “My demonstration, as you will note, is totally different from any you have heretofore witnessed.” While it is likely that there will be some audience members who have never seen a question answering performance, Nelson's remark plants the idea that even if they have, his will be totally different.
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Unlike many performers of Nelson's day, he forgoes a lengthy explanation of psychic phenomena, saying instead, “I am not going into a lengthy discourse – instead I am going to get down to the actual demonstration itself – that of divining your minds.” Given the incredibly short attention span of 21st century audiences, you can appreciate how important it is to get directly to the point of your presentation. A key to any successful performance is audience management, and Nelson handles this first by instructing audience members to “write your questions in the language you do your normal thinking.” He follows this up by suggesting appropriate questions that might be asked: “... love, business, travel, health, home affairs and the like.” As I noted in a previous footnote, I especially like his admonition that “... foolish fribilous questions” will be ignored. While it won't eliminate the inevitable joker from trying to derail you with an asinine question, it does help to cut down on the number of them you'll receive. Nelson provides one more audience management comment: “... Kindly remain as quiet as possible, as any noise or disturbance makes it very hard for me to get the mental impressions.” It sounds good on paper, and will usually work in polite company, but I can't help but wonder if Nelson ever worked the college circuit.
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If you've made it this far into the rant I've innocently titled “More Notes from the Publisher”, you may be wondering why I bothered to publish this edition of Nelson's manuscript if I have such serious issues with it. The answer is simple, and lies in a belief I hold that one can learn as much – and in many cases, more – from a negative example as can be learned from a positive example. The one thing I am in total agreement with Nelson is this: “The answering of questions for the crystal gazing act is a study in itself, and its importance should not be overlooked. In fact, the 'answers' are regarded as the BIGGEST HALF of the demonstration.”
Wait – I have an issue with that statement, too, albeit a relatively minor one. I believe Nelson may have been math-challenged, because the answers are not the biggest half of the demonstration. They are the demonstration, and everything else is secondary at best. If you understand and accept that basic yet critical premise, your chances for realizing a career as a successful psychic entertainer increase dramatically. You may even be able to start a new religion. That, of course, is up to your own discretion.
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A Biography of Sorts [Note: The following is reprinted from the Robert Nelson tribute website that I created several years ago. Depending on when you are reading this release, the website may or may not be located at http://www.mevproshop.com/secret-domain-of-dr-ramayne/index.html .] For many years, I've searched for the definitive biography of Robert A. Nelson. There have been the occasional articles in magic magazines every so often, but none that examine in detail the life of one of the pivotal figures in 20th century mentalism. Nelson himself published a biography of sorts shortly before he died ("The Last Book Of Nelson"), but there are huge gaps in the book that leave one wondering how much Nelson was willing to reveal about his life. One is left in the position of an intelligence analyst, inferring what Nelson was like from his published works - the books, manuscripts and catalogs that make up the Nelson legacy. This much we know from the Nelson canon... At a time when professional mentalism was only in its infancy (the early 1920s), Nelson Enterprises supplied practically everything a professional mind reader, fortune teller or spook show worker would need: complete mind reading acts (including turban), miniature radio devices, crystal balls, enchanted talking lamps & tea kettles, blindfolds, prediction chests, codes, hypnotism routines, cold reading manuscripts, impression pads, clipboards, reaching rods, nail writers, spirit trumpets, slates, luminous paint, book tests, horoscopes, pitch books, tick sheets, good luck tokens... and much, much more.
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One might even say that Nelson Enterprises was one of the primary links between the 19th century Spiritualist mediums and the 20th century establishment of the new entertainment form known as Mentalism. But Bob Nelson did much more than simply supply the material needs of professional workers. He was a professional worker himself, appearing over the years as a stage mentalist, magician, spook show entrepreneur and radio psychic. From these experiences and the experiences of those he encountered on the road, Bob Nelson was able to put into print the methods, routines and acts that launched and sustained the careers of many mentalists and readers. Although Annemann generally receives credit for fueling the engine of early mentalism, Nelson was almost single-handedly responsible for documenting the oncesecret art of professional psychic readers. While "The Art of Cold Reading" is probably his most widely-known book on the subject, Nelson was publishing "the full facts" about Q&A and cold reading as early as 1925 with "Answers To Questions" (DeLawrence) and again in 1929 with "Confessions of A Medium." Do Sylvia Browne, John Edward and James Van Praagh have copies of Nelson's books in their libraries? Perhaps not. But one can't help but think that today's mediums amd spiritual advisors might certainly find them to be of great interest. Where did Nelson stand on the subject of professional ethics? It's hard to say, since on the one hand he purported to "reveal" the under-handed methods of private readers, and on the other hand supplied everything these supposedly unscrupulous characters needed to ply their trade. I suspect that Bob Nelson was, at the end of the day, a businessman, and didn't spend an inordinate amount of time agonizing over ethics. But it doesn't appear that we'll ever know, at least not until someone unearths previously unknown documents or diaries. Until that day, we'll need to piece together the Nelson Puzzle based on a few facts and his prodigious writing. With that in mind, here are a few dates and facts that we know...
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1900 - Larry Nelson (aka Allah Rageh) born. Although some sources cite Larry's birth date as 1899, 1900 is the year on his death certificate and social security records. 1901 - Robert A. Nelson born in Columbus, Ohio on November 16th. 1911 - Bob becomes interested in magic. 1914 - Brothers Larry and Bob form their 1st pro mindreading act. 1915 - Their mother takes them to the San Francisco World's Fair to present their code act. 1915 - Larry and Bob present The Magical Revue, a 2-hour show that plays the Central Ohio circuit. 1915 - The Rageh Trio is formed (Bob, Larry, and boyhood friend Cecil Case, who plays "Dr. Boulevant") 1916 - Bob and Larry meet Howard Thurston backstage and are impressed that he addresses them as "Gentlemen." 1916 - Allah Rageh & Company is formed while Bob and Larry are still in high school. They play every suburban theater in the Columbus, Dayton and Cincinnati area, selling question coupons, crystals, horoscopes and lucky charms after their shows. 1921 - Nelson Enterprises established to meet the demand of professional mentalists. First big customer was Ali Axiom, a stage mindreader. 1920s - Larry smells the big-time and heads to Hollywood. After a few small roles, he will eventually return. 1928 - Bob appears on Detroit radio station WJR, receiving 40% of all revenues from horoscopes sold over the air. Purchasers receive with each book a coupon good for one answer to a personal question. (All sales came with a money-back guarantee, of course.) The 15-minute show lasts for 25 weeks, and is terminated only when Bob is stalked by an emotionally unstable fan and high-tailed it to Cleveland. 1930 - Bob hits on the idea of launching a direct-mail campaign to past customers, and receives an 80% response rate.
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1930s - Originally approached by Greystoke to help with demand for spook shows (Bob turned him down), the London Ghost Show is created. 1930s - Bob and Larry take to the airwaves with seperate radio shows. Bob assumes the persona of Dr. Korda RaMayne ("The Voice of Destiny"), and sells horoscopes on many local radio stations, including Mansfield and Dayton, Ohio stations. It is a role that he will play for over seven years. 1935 - Bob discovers "Hellstromism", and uses it to book appearances on additional radio stations. 1930s - Bob creates the "Sonia Zaranoff and Her Talking Tea Kettle" act. 1943 - Alexander, Crystal Seer, retires and sells Bob his entire show... all 7 tons of it. 1947 - Bob presents his "loaf of bread" prediction at the annual I.B.M. convention. 1947 - Collier's Magazine runs "Ghosts For Sale" article, highlighting the Nelson Ghost Factory. The publicity results in Bob presenting the first (and last) spook show performed on national radio (Gulf Oil Company's "We the People" show). 1950s - Bob is retained by Disney to act as technical advisor for Disneyland's "Haunted House." Although Nelson claims in "The Last Book of Nelson" that he was working with Disney during the 1940s, Diego Domingo has correctly pointed out that since Disneyland didn't open until the mid 1950s, Nelson could not have been consulting with Disney until after Disneyland had been open for some time. 1950s - After a few less-than-successful attempts at breaking into television, including an 8-week stint as "Dr. Korda RaMayne" on WTVN in Columbus, Bob turns his full attention to Nelson Enterprises. 1973 - Robert A. Nelson moves on to The Big Spook Show in the Sky on February 21st.
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A NOTE FOR THE PURISTS As you may have guessed, The Secret Domain of Dr. RaMayne is a labor of love, and is in no way meant to be a definitive document on the life and times of Robert A. Nelson. There are others who have spent even more of their time, money and effort than I have, and I urge you to contact them and encourage them to continue their scholarship of this intriguing subject. Mr. Diego Domingo of Southern California is one such scholar who I have had the pleasure of corresponding with over the years, and his help has been invaluable in my own study of Nelson. He can be contacted online at [email protected] or by writing to: Diego Domingo, P.O. Box 1463, Studio City, CA 91614-0463. Regarding the comprehensiveness of this biographical timeline, I originally put off the creation of this website for quite some time, plagued with the thought that I didn't have all the information required for it to be complete. I finally came to the realization that if anyone is sufficiently bothered by a lack of detail, they will either a) supply me with the necessary information to rectify the situation, or b) create a better web site. Either way, the benefit will be felt by Nelson fans everywhere. If you have other dates or information, please feel free to contact me and I'll add them to the timeline.
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Also Available Exclusively From The Pro Shop... If you liked this exclusive edition of Robert Nelson's “Mind Divination”, you might be interested in some of the other offerings available only at our website, www.mevproshop.com, including: Acidus Novus by Millard Longman Acidus Globus by Millard Longman Millard Longman's Psychic Skills Workshop Millard Longman's Symbols in the Path Millard's Mental Musings by Millard Longman Invisible Gemstone by Enrique Enriquez Invisible Tarot by Enrique Enriquez Invisible Readings by Enrique Enriquez Looking at the Marseilles Tarot by Enrique Enriquez Cool Reading by Gene Nielsen The VASCAL System by Gene Nielsen Emergency Mental Routine by Gene Nielsen Counseling Techniques for the Private Reader by Gene Nielsen The MAGICK Years by Gene Nielsen The Legacy Notebook by Gene Nielsen The Doodle Dictionary by Gene Nielsen ESP Card Readings by Gene Nielsen The Tarot Readers Notebook by Ron Martin The Palm Readers Notebook by Ron Martin Fortune Telling with Old John's Swamp Cards by Ron Martin Reading System for Playing Cards by Ron Martin Michael Spremulli's Radio For Psychics Easy Readings by Craig Browning Far Reaching Predictions by Craig Browning Your Numbers Sales Engine by Craig Browning The Cicardi Project (Volumes 1 and 2) DVDs Inner Secrets of Cold Reading Series by Fred Crouter Readings with Spirit Cards by John Wells Nelson's Zodiac Chart Poster David Hoy Promotional Poster David Hoy Press Book The Cairo Cards The Quantum Lottery
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A full line of pitch books and tick sheets is also available, including:
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In addition to the titles above, we also sell the following ebooks at http://www.mindseyeview.com/book-and-CD-shop.html:
Dowsing and the Art of Creative Divination Quantum Numerology: Creating New Realities 21st Century Palmistry TAROT: The Journey Within
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