JAN FORSTER “Back to School” 4 Minds Conference 2017 — Newcastle, United Kingdom, July 1% - 24, 2017JAN FORSTER “Back to School” © Jan Forster 2017 www.janforster.de www.gedankenmagier.de Copyright 2017 by Jan Forster. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, without the written permission of the copyright holder. This is a limited publication printed on the occasion of the “4 Minds Conference 2017”, Newcastle, United Kingdom. It will not be reprinted or republished.For those who, like me, believe that it is just too lazy to state, “method is nothing, presentation is everything”. This is for those who believe that using the best of both must make it better. 2|pageTable of Contents TOC 3 Preface 5 Back to School 6 Parting Words 30 3|page4|pagePreface What a good title for lecture notes! And then the routine itself got the same name... Although this routine will be not the only one you will see and (hopefully) learn, but it will be the focus of my lecture. | believe it deserves it... It is the first time that it is published in English. “School Days” will be also in my upcoming book in English, along more than 30 other routines and essays. You get an idea. There is one person | particularly must thank: My good and well known friend Felix Schellenberg (some know his different name as well © ...) did the translation to English — and that was a lot of work! Besides that, he is working now on my English book. You can guess he is extremely busy momentary. Better | should say for some time. Now | hope you will enjoy the material here. Even more I’m looking forward to seeing and meeting you in person. | hope we will have plenty of time. The night is long, sleep is short. Cordially Yours truly JAN FORSTER June 2017, Germany 5|pageBack to School The routine I’m about to describe is based on four of my previous works -— “Dreifaches Gedankenlesen“ (Noch Mehr Mental Angehauchtes, 2010), “Namen” (Mental Angehauchtes zum Dritten, 2011), “Kiss & Name” (Regards From Europe, 2011) and “Kiss & Name“ (Extrem Mental Angehaucht, 2012) - and has thus evolved slowly, yet consequently. As of today (spring 2014), | have never explained this routine anywhere - simply because it’s been a staple act in my paid performances for 3 years now and even still features as the pre-closer of my full evening program. It has replaced all previous versions (except maybe for ,,Kiss & Name“, the advantage of which is that no notepads are required, thus being suitable for ‘out of the pocket’ situations), and frankly, t'm almost feeling a little wistful now sharing it here for the first time in its absolute completeness. So far, only a handful of colleagues have witnessed a performance of "Back to School” {during the German,,Mental-Forum“ in Bad Heilbrunn in Spring of 2012) but it was chosen afterwards to be the dedicated and exclusive topic at the annual meeting of GEM (Gemeinschaft Europaischer Mentalisten} fater that year. Need | say more? © It goes without saying that “Back to School” (and ail its predecessors, of course) are based on the truly amazing works of Bob Cassidy and (partly later) Alexander Marsh, and | gladly refer once again to the credits and descriptions in my previous notes. Nonetheless, my routine has meanwhile developed so much 6|pagecharacter and twist of its own that it is in fact a whole new ballgame - and I’m frankly quite proud of the consistency of the schooling theme. Basically all exploration and work on this subject is based on Theodore Annemann’s “Fourth Dimensional Telepathy“, first published in an unimposing booklet called “World’s Greatest Mental Tests“ by Burling Hull in 1932. For decades mentalists have been altering this effect with new presentations and techniques. But it was Bob Cassidy after all who managed to put the routine to an almost unsurpassably clean and practical level by adding three envelopes. He first published “The Three Envelope Test“, a title he himself was not very happy with, in his book “The Art of Mentalism“ 1982. The first re-issue (with many more to follow) was done by Collector’s Workshop in 1984. Since then, Cassidy has revamped his routine several times, now again calling it “Fourth Dimensional Telepathy”. You can find the complete history and steps of evolution in “The Artful Mentalism of Bob Cassidy - Vol. 2: Fundamentals” (2013). “Back to School” employs no less than half a dozen of principles, which makes it pretty impossible even for a seasoned and sophisticated spectator to backtrack anything: subtleties, details and devious ploys interwoven with some red herrings, defy any possible explanation. 7\|page| have fooled many a colleague with it and in fact, you can't get much closer to real mindreading than this - which is to consider before any attempt of altering it. Effect Three spectators - one lady and two gentlemen - are asked to come on stage. Each of them receives a pencil and a coin envelope with each envelope containing a small folded filing card. The spectators take the cards out of the envelopes and are asked to jot down a thought related to their school days: spectator #1 visualizes a phrase his teacher once has written on the chalk board and then secretly decides on any word from that imaginary blackboard which he writes down. The second spectator (the lady) is asked to revive the moment of her first ever kiss, to remember maybe her age at that time but - most importantly - the boy’s name, which she then notes down. Finally, the last spectator draws a simple sketch like they did in art classes back then. All participants themselves fold their filing card and put them back into envelopes which they immediately seal. Whilst all this is done the performer stands far away, touching nothing. In fact, only 3 pencils, envelopes and filing cards are in play, all regular and unprepared. 8| pageLastly, the envelopes are labeled with the names of the three participants for later distinction and handed over to a fourth participant for keepsake (really, no switch whatsoever)! The performer then reads one mind after another, recording his impressions on a large sketchpad. Upon opening the first two envelopes one after another, it is proved that the performer was indeed correct so far. The corresponding spectators leave the stage, the lady even takes the envelope, card and performer's notes with her so she will be able to show it to her first love - should the opportunity arise someday.© However, the last spectator’s envelope is left shut; having consented to replicate his drawing once again, the third envelope is left on the table and the spectator stands next to the performer, back to back, and simultaneously they both start drawing... When the pads are turned around and disclosed the sketches do match indeed! Finally, both sketches are autographed by the ‘artists’ and exchanged between performer and spectator. Method Overview The fundamental method here again is the venerable one ahead principle, niftily camouflaged by several miscalls and a switch; moreover, we get rid of the force (usually needed to get into the starting position) by employing both dual reality and a semantic anagram (in which the “fishing process” targets for meanings instead of letters). 9|pageHence, these 5 principles intertwined with a few more subtleties just yield too many layers of deception for a spectator to backtrack anything. The routine itself is not hard to perform by any means; however, you should definitely have your wits about you when performing... Material You need a few #3 Coin Envelopes, a handful of golf pencils (you haven’t been shopping at IKEA lately, have you? ©), 2 large sketchpads and 2 bold tipped sharpies. In addition, you will need 3 different index cards, roughly 3’x5” which easily fit into the envelopes when folded in half. The following illustrations (see next two pages) depict how the index cards should look like; the suggested layout wil! open up several crucial possibilities both in method and in presentation so | advise you not to hastily alter the design (more on that later). The font size should be large enough to be smoothly readable for a spectator, even without reading glasses. It’s a nice touch (and certainly another wonderful proof of your professionalism ©) to have a pair of reading glasses with average magnification at hand nonetheless. You may also consider holding a small pair of scissors ready (I do!) to help open up the envelopes during the performance and thus reduce any possible fumbling. 10|pagePlease select one word, JAN FORSTER remember + mark (tick) Mentalist & Mind Reader it. Then fold card once Sanianteme eee again, put it back in P| it envelope! lease write the name below: Camembert O Desire ° How old were you? Pebble °O Marshmallow O | Joo, years Tractor ° Fold card once again and put it back in Sponge ° envelope! Card #1 Card #2 11}pagerr JAN FORSTER | Mentalist & Mind Reader www janforster.de Please make a simple | drawing here: I a rt Fold card once again and put it back in envelope! Card #3 Back of all Cards 12| pagePreparation Fold each of the 3 cards in half and put each one in an envelope with the flap still unsealed. Apply some subtle pencil marks to keep the envelopes distinguishable so you can tell which envelope contains what card. Pocket them together with 1-2 of the golf pencils (as spare). Have the other 4-5 pencils handy and put the sketchpads and sharpies on the table or working surface. Finally, also keep 1-2 spare envelopes at hand in order to guard against any mishap that might occur - you have no idea what spectators are capable of! © Excitement paired with gross motor skills easily lead to the sort of surprise you wouldn’t really appreciate... That's it...you’re good to perform! Performance Invite 3 spectators to help you, one lady and two gentlemen. Have them line up in a row on stage with the lady occupying the middle position while keeping an adequate distance to each other. With the pencil dot marked envelopes it’s easy to allocate each spectator his/her corresponding envelope and card: mentally label them from left to right (counting with your back turned to the rest of the audience) and hand over card #1 (word list) to spectator #1 (left), card #2 (name and age) to spectator #2 (middle) and eventually card #3 (drawing) to spectator #3 (right). 13|pageAsk the spectators for their names and try to remember them; this is even easier if you really show interest in them. For the upcoming mislabeling you'd be better off with names that are of roughly equal length. So, in case you come upon someone with a very long name, ask him for a possible nickname he/she already has or you both could make up for the course of the performance. Make active use of these names during performance, address your participants personally and speak their names out loud, it creates a bond and familiarity. The spectators are now to take the cards out of the envelopes and unfold them. Make fun out of the fact that the cards bear your name, address and phone number on one side (“Well, | thought in times like these some advertising in my own account wouldn’t be too inappropriate. Feel free to visit me anytime — but please do so only on the internet!” ©) in order to make clear to the rest of the audience (especially those in the back row) that the cards are not totally blank. Don’t over-explain, though, this should be nothing more than an offbeat remark, so don’t ham it up. Now you go through the process of “filling out” the index cards with each single spectator in succession, whereas the rest of the audience should obviously not become aware that there is anything “to fill out Spectator #1 (Word List): It seems like good advice to realize in advance what you want to achieve here; in this phase, you want to lead the audience to believe that spectator #1 is visualizing (and subsequently writing down) any word that is written on an imaginary chalk board only in his mind 14| page{t's not too hard to implement such ‘dual reality’ by means of a calculated and a well thought out wording. The spectator is to reminisce his first year in Elementary School and imagine his teacher standing in front of the blackboard. Accompany your instructions by pointing into the empty room. Talk about the words that were written on the blackboard which had to be copied into the exercise books and prompt the spectator to imagine his card being a blackboard too, which brings his focus back to the actual card. He then is to “commit himself” and “record” his thought on the card (don’t ever say ‘write’ or ‘tick off'!!). Accentuate your request by imitating drawing a large cross on his card with your forefinger. These dictions and gestures will make the spectator immediately understand what he is supposed to do. At almost the same time, explicitly state that you will shift away and avert your eyes so you won't be able to catch a glimpse of what he’s doing. He then is to fold his card in half again and slip it back into the envelope, which he immediately seals. While he’s doing so, you move forward to the lady in position #2, turning your back to the first spectator. By now, everything appears as fair as can be, doesn’t it? As a rare occurrence it can happen (trust me, | speak by plenty of experience ©) that you will come upon a spectator who - despite 15 |pageeverything - can’t restrain from asking out loud if he is "to tick offa box here?”. Therefore, keep a wary eye on the spectator to ensure he has fully conceived your innuendo. Should you, however, observe that he is just about to ask such question (believe me, you will notice by the way he breathes) immediately disrupt him in a polite yet firm manner by cutting him short in a slightly louder voice: “exactly like that! And then please just fold up the card and tuck it away!“ Sort of ‘caught in the act’ like that, your spectator will immediately feel embarrassed for even considering such a “stupid objection” and meekly obey to your instructions. Fait accompli! © Spectator #2 (Name and Age): Dealing with the female spectator now turns out to be quite easy in comparison. She is to reminisce her first real kiss (kissing your sibling or parents isn’t a real kiss actually, is it? ©) and maybe even remember the boy’s name and her age at that time. Feel free to dress up the situation ‘ad libitum’ and thus make her really connect to those childhood days. The interplay of nonchalantly asking for name and age in conjunction with the invitation “..to jot that down as well” creates another convenient ambiguity; while she will realize that she’s to write down both pieces of information on the 16| pagecard, the audience will not perceive that anything else is written down than the boy’s name only! As soon as she starts writing, proceed as before, turn your back and immediately move on to the third spectator. Spectator #3 (Drawing): Eventually spectator #3 is to reminisce his art lessons at school and therefore asked to draw a simple sketch or even only an abstract combination of geometrical forms (“...it doesn’t have to be a second Mona Lisa after all!”). When done, he also folds his card and puts it back into the envelope, which he himself immediately seals. At this point, all spectators are standing in a row, holding on to their sealed envelopes; you have been standing distant enough from them ail the time, which makes the whole procedure appear extremely fair. Well, it actually is, so far... Collecting and Labelling the Envelopes: Collect the envelopes from left to right and label them with the spectator’s names (I have laid out the reasons for using their reai names instead of numbers exhaustively in “Noch mehr Mental Angehauchtes”). Here’s what you do: take back each of the pencils - again from left to right - from the spectators and use them to mislabel the ‘address side’ of the envelopes with their names, but do so in the following order: #1: 3 /#2:1/ #3: 2. Envelope #1 thus bears the name of spectator #3, envelope #2 the name of spectator #1 and ultimately envelope #3 the name of spectator #2 (the Jady). 17|pagePick up the envelopes and stack them with your back towards the audience, facing the spectators. It can’t be discerned even from a close distance what you are writing since all the names (or nicknames) will have roughly the same length and in addition your body shields any details anyway. For another ‘convincer’ you may want to sprinkle a question along the lines of: “Karla....is it with a K or cr Should you - like myself - also utilize the pencils as an advertising medium, hand them back to the spectators as a souvenir, otherwise just pocket them. Right before you hand the stack of envelopes to a fourth spectator in the audience for safekeeping, separate the small stack in twa, so that you end up with the lowermost envelope (spectator #3) in your left and the two others steadily in your right hand. Swiftly done, this manoeuver flies by and nobody in the audience will be able to reconstruct which envelope came from where. Raise up your left hand, holding the envelope to the light and explain that even under these conditions nothing can show through, especially due to the folding of the card. Bring down your left hand and place the envelope back on top of the pile, thus establishing their correct order - just in case you come upon an especially wary spectator. The fourth spectator is now asked to hold on to that stack, keeping it safe from any tampering by simply sitting on it! This sounds quite convincing and secure, but the most important part is that you can rest assured that even he will not fiddle around with it. 18| pageNow you’ re ready for the reveal, the actual mind reading part... (Please refer to the Addenda chapter for further thoughts on that.) Resolving spectator #1: start by asking the spectator to pictorially imagine his word. He is to vividly paint the notion of his word - but in his mind only! By processing the following diagram, you semantically fish for the word he has chosen: . you could touch it.. NOD wv YES But it touches YOU, right? > ... hold it in one hand...>NO> YES it feels soft... >NO> v YES .. something to eat...>NO> YES it tastes sweet....>NO> wv YES Ly Well, but | still think it’s something handy, isn’t it> Just kidding, how could it ever be soft?! > That’s debatable. Haven't you ever eaten Twinkies? They actually feel a lot like... > Oh sorry, | always must think of sweet cranberry jam when someone mentions it... > Indeed, very sweet.... > Desire Tractor Pebble Sponge Camembert Marshmallow In the worst case, you'll get just one “No” for an answer. 19!pagePick up one of the sketchpads and sharpies and write down the chosen word in bold letters - but don’t show it yet! Place the pad face down on the spectator’s outstretched hands and put the sharpie on top “...so that nothing can be altered anymore!” That’s actually a bunch of nonsense but it doesn’t sound too bad and helps you getting your hands free. © And finally, ask the safe-keeper to hand you the first spectator’s envelope (envelope #1). The following actions with envelope #1 will prime the audience for the later procedure of opening envelope #2 and the switching of the cards. Open up envelope #1 (possibly using the small pair of scissors), withdraw the folded card (remember, it’s actually the card from spectator #2) and insert the empty envelope into your right-hand jacket pocket. Now unfold the card, thus secretly peeking the information of spectator #2 (name and age) and pretend to read what’s written on it; however, you actually misread it and call out the word you previously ascertained in the fishing procedure. One charming ploy, devised by German magician and mentalist Punx, is to ostentatiously rotate the card 180° before reading it out loud as if it was wrongly orientated before. Immediately afterwards prompt the spectator to pick up and turn around the sketchpad for everyone to see and thus to confirm your mind-reading. At this point the audience’s attention is completely focused to the reveal, enabling you to imperceptibly fold the card and put it into 20| pageyour left jacket pocket so that it protrudes just a tiny bit with its folded edge up. It’s more than comprehensible that you would now want to deposit the card in order to get your hands free: they are needed to retrieve the pen from the spectator and tear off the drawing sheet as a souvenir after all... Resolving spectator #2: Having gained the knowledge of both pieces of information from spectator #2, you're in position to abundantly ‘milk’ the reveal here (see Addenda). The first thing | usually ‘devise’ is the age though | don’t record it in written form. Subsequently, | continue by drawing a matchstick man before | go into the reveal of the name as climax (names always have much substance and impact), which then is written down on the pad just like before. Again, the second spectator holds the pad face down on her outstretched hands with the sharpie on top while you invite the ‘safe- keeper’ to hand you the lady’s envelope. Just like before, you open it up, withdraw the folded card and insert the empty envelope into your right-hand jacket pocket, just above the first one (this envelope thus being the “outer” one). Unfold and hold the card with your left hand, apparently reading the name out loud while in fact you get a glimpse on the drawing made by spectator #3. The moment the lady turns over the pad on your command to show it around, you fold the card in half again and put both hands into your 21|pagejacket pockets as if you were searching for its corresponding envelope. Your right hand now grabs hold of the outermost envelope in the right-hand jacket pocket, while at the same time your left hand switches the card out for the protruding one in your left-hand jacket pocket (which you put there during the reveal of spectator #1). This switch is easy as pie and only occurs when all focus is on the lady anyway. Slide the lady’s card (yes, it’s really hers now) into the (likewise matching) envelope only to take it out again instantly, unfold it and contemplate for a second, then state: “Wow, according to the way you've written his name | am almost tempted to presume, ...” It’s up to you and the situation how to continue... © Although only slightly accentuated, this little ‘convincer’ has high impact on the audience. Your alleged ‘concern’: being able to give the lady everything to take with her (the large sheet of paper and the set of both envelope and card), so in case sHe should meet that boy some time again, she will be able to prove that she still remembers him and their first infatuation... Dismiss the lady and have her take her seat again. By the way: a minute ago you did no less than effectively and lambently destroy any possible suspected use of the one-ahead principle. Not bad, huh? © 22|pageResolving spectator #3: the reveal of spectator #3 will be accomplished in a quite different way from the former procedures, in fact you will demonstrate a simultaneous drawing duplication with him. Pass him the pad and pen you just received from the lady and get yourself a pad and sharpie from the table as well. The following is now one of my favorite ‘maneuvers’ (I also employed it in “Dreifaches Gedankenlesen” in Noch Mehr Mental Angehauchtes), an admittedly bold ploy that still scares some colleagues out of their mind - only from watching or even reading. © But don’t worry, there’s frankly no reason to be frightened. | request the last envelope from the ‘safe-keeper’, then casually toss it onto the spectator’s sketchpad and offer him to recall his own drawing one last time before replicating it: “Here’s the envelope with your sketch... do you dare to draw it once agoin...just a little bigger than before...or do you need to have a look- see again to recall?” Of course, your offer isn’t a serious suggestion - and can’t be either, since the least you would want is the spectator to open that envelope. However, what other choice does he actually have than to decline? Would anyone really want to appear that dimwitted or even (sorry!) demented in front of an audience? Trust me, it never happened to me in countless performances. And boy: I really cherish this part of the routine... 23|pageInstruct the spectator to toss the envelope onto the table in order to get his hands free for the upcoming sketching (you’re such a courteous performer after all, aren’t you? ©). Should there be no table around, you could instead ask the spectator to purse the envelope into your jacket pocket - but let me emphasize that this wasn’t my preference at all as | do value a certain degree of physical distance between performer and spectators. By the way, | remember some vivacious (but still objective) arguing with Bob Cassidy on exactly that matter... Stand up next to the spectator, back to back, and simultaneously you both start drawing... Request the spectator to mentally lead you on, emphasizing the intricacy of this task. Remember: by no means let the two drawings look too similar, though they should discernibly resemble each other. Once finished let the spectator get rid of his pen but call on him not to show his drawing yet. He is instead to hold his pad face-down in front of his body, thus concealing his image. Build up some tension before you first present his and shortly afterwards your drawing. Holding both sketchpads high up in the air with your head in the middle creates a victory pose image and hints the audience to applaud. Finis: The process of mutually signing and exchanging the drawings with your spectator creates a beautiful final act. 24) pageTell him tongue-in-cheek that you always collect artistic images like these for the walls in your guest bathroom and assure him on the other hand that the drawing you just made will turn out completely worthless, though. © Casually toss your sketchpad (and later on the spectator’s pad as well) on top of the envelope, thus burying it completely - out of sight, out of mind. You're done! Addenda: - As long as you’re conscious of your diction and choice of words, you will literally bamboozle anybody with the dual reality part. Only recently at a workshop | had the pleasure of utterly fooling a very prominent colleague with it - and he’s even one of the well-studied types! - Should you have become acquainted with one of the participants’ occupation (either by pure coincidence or by means of the “Dunninger Ploy”, e.g.), use it! The schooling theme provides an idea! framework for that kind of information. Instead of just revealing his/her profession you should choose a subtler approach, though. Count off a few character traits that have been perceptible in his younger years already and that go well together with his current occupation now. Peaple love to hear about their positive character traits... 25|page- Make a remark about how difficult it often can be for a first grader to flawlessly write certain words; this fact can be made accountable for possible difficulties during the semantic fishing process and helps reinforcing the idea of a completely random thought-out word. - Assoon as you are in the knowledge of the word spectator #1 is thinking of, you can prompt him to mentally paint a related Picture in his mind to make things easier for you to visualize. For every word, there are some more or less obvious attributes for you to choose from, for example “beach” or “grey” for the “PEBBLE”, “white” or “hot chocolate” for the “MARSHMALLOW”, and so on... Since the spectator has no idea how much ahead you are of him he will react very surprised, maybe even shocked the moment he realizes you are in fact crawling “into his head”. In fact, this technique often hits even harder than the actual revelation. - In the second phase, where the lady writes down a boy’s name, you have plenty of opportunity to discern a few ‘cold facts’ from the name (...is it long or short? ...does it cry out for a nickname? ...does it sound foreign? ...where did the boy probably come from?) and thus sharpen your cold reading skills. 26| page- Try shooting in the dark, in the end you probably will score a hit anyway! Do the same for the age as well: had she been younger, she might have encountered her first kiss outdoors, maybe under (or close to?) a huge tree. Most certainly she thought that nobody was looking... however, she couldn’t know for certain, of course. But on the other hand, she almost didn’t care about it as she was actually pretty proud of what just happened... Almost everybody has had feelings like that, and even if they don’t remember distinctly, they will believe they had. Simply because they're natural, obvious and logical; actually, you’re persuading them into thinking along those lines. As | said before, the more you show real interest in your participants, the more you will be able to perceive their traits and character, over and above what you have written down. Put out your feelers! - As always: practice makes perfect! Because practice leads to new insights and experiences which help to improve on the routine. For example, don’t miss out on addressing your participants by their names as often as possible. This will help immensely when it later comes to (mis)writing their names. Assuming that you come upon two relatively short names and a longer one; ask the spectator with the longer name how his friends call him. It’s often surprising how this question will turn out... Kindly ask if you may call him alike - thus starting a charming interplay with room for a lot of improvisation with the 27| pageconvenient side effect that you bring all names to roughly the same length. - Ask your spectator to pocket their pencils as soon as they are done; the alleged purpose of that request is for you “to see even from a distance whether they are finished.” However, the real reasoning is to prevent them from being too polite by “helping” you writing their names on the outside of the envelopes once they witness how you proceeded with spectator #1. - Another tiny subtlety I’m now doing on a regular basis: | mark the address side of the envelopes by means of small pencil dots that allow to correctly assign the names to the envelopes without any further reflection. The envelope of spectator #1 thus bears 3 tiny dots (representing the name of spectator #3), the envelope of spectator #2 bears 1 dot (representing the name of spectator #1), and finally the envelope of spectator #3 the letter “L” (for Lady) - One last word on the age-old subject of “why write down anything when it’s about mind reading after all?”. Don’t try to abundantly justify the fact that some information is written down; instead casually remark that you do so for later verification purposes but also to urge the participants to eventually settle on one of their thoughts - otherwise you're in risk to look dumbfounded in the end. © 28|pageIn conclusion, let me emphasize once more that you should consider very carefully altering anything in “Back to School” as described here before you have fully studied and reenacted the routine! Ido perform it exactly like that on a regular basis and know by experience how hard it hits the way it is. 29|pageParting Words Thanks for reading so far... | really hope that you found something of your interest. Or even better: something you can use or actually even perform. | would be delighted to hear from you! Until next time, Yours, [email protected] [email protected] 30|pagePrereereececeterreereeemme me 5 i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i : i also by JAN FORSTER »Mental Angehaucht“ (2009) »Noch Mehr Mental Angehauchtes“ (2010) »Regards from Europe” (2011) »Mental Angehauchtes Zum Dritten“ (2011/2012) »Extrem Mental Angehaucht“ (2012) »Extreme Impossible Card to Wallet“ (2013) “Bewegt & Mental Angehaucht” Vol. 1 (2013) “Bewegt & Mental Angehaucht” Vol. 2 (2013) »Personal Regards” (2014) nFinal Mental Angehaucht“ (2014) »Unerwartet Mental Angehaucht“ (2016) »Back to School” (2017) 31| page2|page© Jan Forster 2017 www.janforster.de www.gedankenmagier.de