THE MEDIUM TALKS ABOUT HIS LIFE, HIS BOOKS, AND HIS TV SHOW
Medium John Edward wrote in the Preface to this 2001 book, “This is a book about Crossing Over. Not just the television show. Not just the metaphysical process that inspired the television show. To be sure, you’ll read a lot about both the show and the process. But this book is also a chronicle of personal transition… If you have read any books by or about psychic mediums… you will notice that this is not like the others…. I intend this book to break some new ground, not only I demystifying the process of spirit communication… but in offering a glimpse of this world I live in. I want you to know how things look from inside my head…. That’s why you’ll find me discussing some difficult and controversial questions---money, motivation, celebrity, and the private and public battles I have to confront in my work.” (Pg. xv)
He explains in the first chapter, “By 1995, my spirit guides were pushing me to put more time and energy into that part of my life… I was on a path to a life’s work connecting the physical world to the spirit world… I was very insecure about how people would perceive me. ‘What do you do? Oh, I talk to dead people.’ … That year, I made the biggest leap of faith of my life… I gave private readings in my home office, group readings in the living room, and started giving lectures to larger groups in hotel meeting rooms… my guides let me know what I needed to begin working on a book..” (Pg. 6-7)
He continues, “By the spring of 1998, the book was finished and set to be published… I couldn’t wait. It would reach so many more people than I ever could through lectures… With that, I hoped, would come something I craved. Credibility… my goal was to be respected by my peers, and for my work to be understood and accepted by the public. There was no denying I had chosen a field tainted by the stereotypes of phonies and flakes, and ridiculed by cynics… To have the prestige and credibility of a major publishing company behind me meant that smart, careful people believed in me… And make no mistake---selling books is what I wanted to do. I saw no reason to be embarrassed about seizing this opportunity to be paid as much money as I honestly could for my hard work.” (Pg. 17) He adds, “After this whirlwind tour, after all the national television exposure, I was sure the book would take off… Surprise---not happening…” (Pg. 22)
Later, he adds, “When I first signed the contract to write ‘One Last Time,’ I told the publicity people that they would have to figure out how to promote the book without putting me on the TV circuit… I hated the idea that … maybe it was a show that might sensationalize or belittle the subject… A year later, I was calling TV producers myself and asking them to put me on their shows. I’d had… a change of heart. The publicity people had sat me down and said: … This is America. It’s 1998. If you want to get your book into a lot of hands, you have to go on television… My guides gave me the green light… Proceed with caution.” (Pg. 73) He continues, “I got my own show right away. Okay, it was the infomercial. Not exactly cutting-edge television. But it offered something I craved: control. Or so I thought.” (Pg. 87) He summarizes, “Looking back on it now, the infomercial was a failure in every way but the most important one. It introduced me to the essence of television. It gave me a tremendous education in the marketing of a medium and the importance of protecting the integrity of the work in a world crawling with people whose main interest is exploiting it.” (Pg. 103)
He recounts, “The 90-minute HBO special, ‘Life After Life,’ aired on October 5, 1999, and featured more of me than I expected… or would have liked. The part showing me doing readings or being interviewed was fine, but the rest was embarrassing… me with my dogs, me working out in the gym… Gary [Schwartz] and Linda [Jackson] ‘…did the last of the three tests a month after the HBO special aired, then went on to write up the findings … for the ‘Journal of the Society for Psychical Research’… No surprise… that after the HBO special… Gary found himself being cut in half by James (The Amazing) Randi…” (Pg. 125-126)
He observes, “If we were 83 percent accurate in the Arizona experiment, what about the other 17 percent? Among skeptics and believers alike, there’s a catchphrase to describe what has become a popular way to evaluate a medium: hits and misses. I hate those three words…” (Pg. 131)
Of his own show, he reports, “The show would be made up of three basic elements. Readings in the gallery would be the centerpiece. Then there would be private one-on-one readings that would be shot on the set but without an audience. Some of these would be with celebrities. And then the producers would do what they were calling ‘post-analyses,’; when they took the people who had been read into a separate room and asked them to explain the messages that came through, what made sense and what didn’t, and to talk about the loved ones who came through and what the experience meant to them… they got me to introduce taped segments and give the show a final thought by sitting among the gallery and reading what… had [been] written for me on the TelePrompTer… There was no reason to hide the fact that the few seconds of material that were obviously not spontaneous---and which had nothing to do with the authenticity of the readings---were written by someone other than me.” (Pg. 206-208)
Before long, “I began to realize something very cool. I was forming a really special bond with the producers and crew members on the show. It felt a little like the way I connect with spirits, by raising my own vibrations as they lower theirs so we can meet somewhere in the middle. There were TV people, but there wasn’t an ounce of cynicism in them. They were real people who wanted to do a meaningful show. And I was a psychic medium guy, but I wasn’t so serious that I couldn’t have fun with it or appreciate the bizarre nature of what I was doing.” (Pg. 223)
He acknowledges, “I learned a long time ago that it’s impossible to do this work in any kind of public way without taking hits, fair or not, intelligent or inane. So I’ve tried to limit the kinds of things that I will let get me worked up. I never lose sight of this reality: I am a member of the only profession in which the work will always be questioned and can never be proven… Everyone in the public eye---politicians, actors, athletes---is subject to scrutiny… they might be accused of being dishonest politicians, greedy athletes, or lousy actors. But nobody will claim that their entire life is an illusion. My attitude is this: You want to attack my profession, go ahead… but I don’t appreciate being called a fraud.” (Pg. 237-238)
Inevitably, “A man named Michael O’Neill had come to the show with relatives … and were hoping to connect with Michael’s grandfather. An older male figure did come through… He validated enough of the information to indicate that we had connected with his grandfather, and he apparently went home reasonably impressed. But when O’Neill saw the show on TV weeks later… he ‘began to suspect chicanery. He believed that the reading was edited so that he appeared to be nodding yes to information that he remembered saying was wrong, and that most of the other ‘misses’ in his reading and those of others had been edited out.” (Pg. 247-248) He admits, “what did most of the audience … talk about during the delays [in taping the show]? Those departed relatives, of course. These conversations, O’Neill suspects, may have been picked upby the microphones strategically placed around the auditorium and then passed on to the medium.” (Pg. 248)
He continues, “Whether or not Michael O’Neill wanted to believe his grandfather came through that day was for him alone to decide. But … it led him to e-mail his suspicions to the James Randi Educational Foundation… On that, Time magazine based its story on ‘Crossing Over.’” (Pg. 249) He recounts, “Larry King … invited me on his show to talk about the controversy. He also had Sylvia Browne and James van Praagh, along with a variety of skeptics…” (Pg. 251)
He concludes, “After the tempest died down, I thought about why I was doing the show in the first place. It was to reach people. The audience was my only real concern. And they were the ones hurt most. It pained me to think that anyone who had set in their gallery… might wonder if it had all been a grand illusion… Yes, I could look back and see how far we had come. But that didn’t mean that we didn’t have far to go.” (Pg. 252-253)
This is an interesting book, for anyone interested in mediums.