An Evening of Mediumship With Jeffrey Justice

Evidence for the continuity of life is brought together in a loving, heartfelt
manner as individual and family relationships are explored and explained by
an officiating medium. “Proof” given of the afterlife in this manner can be
convincing, yet it is the individual’s choice whether to accept or dismiss
the In a “Gallery Night” setting, Spirit Readings yield astonishing results.

Mediums serve as conduits between this world and the next and use their
minds as receivers. They hear or sense communications from the “other side of
life” and deliver messages to living people. Mediums frequently work through
a combination of hearing voices and seeing mental images, and can be
especially helpful to those who wish to validate what they already feel in their
hearts: That life goes on, and that we are only a heartbeat away from those we
love who are no longer with us on this material plane.

An upcoming Hammond Castle Gallery Séance Nights will feature
psychic-medium Jeffrey Justice, of Salem, Massachusetts. Justice is a fourth generation
psychic and medium whose accuracy, sincerity and
approach to his work have earned him a large following.

Jeffrey enjoys working with as many members of the audience as he possibly
can. In order to facilitate best results, attendees are encouraged to bring an item worn, consistently used by or inherently associated with the departed person with whom the attendee desires to establish a connection. Though not a necessary requirement, many mediums will hold such an object in order to “read” information about the person the object is associated. This practice is referred to as “psychometry.” Suggested items are usually jewelry, articles of clothing, for example. However, there are no exact stipulations regarding such an item.

The closure and comfort people may receive during a Gallery Session can serve as a catalyst for
overcoming stubborn or painful grief. Other times, the messages from those who have crossed
over are words of wisdom and practical advice which apply to a person’s everyday
life issues and concerns.”

Jeffrey Justice will be appearing at the Hammond Castle’s Gallery Seance
Night on Friday, July 23 from 7:00 – 9:00 pm. Please be aware that space at the Hammond Castle Gallery Night is limited. Admission is $30.00 and Reservations are suggested. Please contact Terry Milton at (978) 283-7532, or Jeffrey@JeffreyJustice.com for reservations or additional information. The castle is located on the Atlantic, in Magnolia in Gloucester, Ma. at 80 Hesperus.

Andy Warhol was the Consummate Consumer Whose Work Appeared to Critique a Cultural Craze; Work Which Also Served to Craft a Refined Model of the 20th Century Phenomenon It Seemed to Have Cleverly Questioned.
Fame is an American obsession and it is arguably as essential a component of Americana as are Apple Pie and the pyrotechnics shooting across the night sky on the Fourth of July. Following celebrity news is the less-physical alternative national pastime to the sport of Baseball.  Andy Warhol’s insight into the now highly evolved machine which churns out stardom today seem like the eerily astute annunciations of a latter day, pop culture Nostradamus.
Famous people have no problems, but if they have turbulence in their lives it is of an enviable variety because heck, the rocky road of a star is paved with gold. The rich and famous are perpetually happy, even when they are upset. These are ridiculous statements which reflect a narrow sentiment. Nonetheless, the sentiment is shared almost universally at one time or another by people internationally. It is an intensely American mode of thought which has drenched the global cultural climate. It is the worst byproduct of some of our most audacious and successful innovations in technology; and also the evolution of our values and ideals away from the spiritual and to the material.

The concept certainly existed before this country did, but it exploded with the advent of Hollywood after the creation of film as a visual medium. As is true in so many other instances, America has taken an old idea and brought it to new places; highs and lows. But I say that as a matter of digression. Film was and is a compelling visual medium. Hollywood made film stars into commodities and the resultant fan-fixation by the ordinary people created a niche market within journalism. A new sector of reporting was in demand and money was to be made by those people quick-minded and enterprising enough to provide it. Basically, there was a new need for more gossip columns, tabloids and celebrity “news” reporting.
Prior to focusing on motion picture stars reporters had written about the envied class of the super rich in “Society” pages. These were the folk to obsess over during the years before the advent of the superstar entertainer in America, an age which seemed to dawn during the bleak years of the Great Depression and to become formidable as the nation regained its economic vigor in the post-war years during the 1950’s.  Illustrious gossip columnist Louella Parsons, and those of her ilk wrote who wrote stories related to Hollywood royalty would more likely have been sent to Newport, Rhode Island on assignment to cover the exciting lives of the Astor and Rockefeller clans during the summers at the tail end of the 19th and first decade of the 20th Centuries.
During the 1950’s Andy Warhol was a largely unknown artist living in New York City, ready to have his nose fixed and preparing to unleash his own fame on the nation and world. An anonymous person on the brink of acclaim and notoriety. By 1970, he was an iconic figure and by the year of his 1986 death he was a living legend. His posthumously published diaries prove beyond any doubt that he was both a famed, elite member of the glitterati as well he as an avid fan– obsessed with the lives and personal details of his famous friends.

Before he became this strangely bifurcated celebrity/fan he was an undiscovered artist. One who was taking notice of certain trends in advertising in print and  television. Surely he understood the way in which this force could shape image and boost sales. Before his own fame would come he was fascinated with the theme of mass production and advertising and obsessed with the concept of fame and celebrity. Noting trends in how actors, debutantes and first ladies were portrayed was likely something he did enthusiastically. When not thinking about fame he was pondering the phenomenon of mass production. His comprehension of the profundity of the truth, that factories could turn out thousands and thousands of identical, disposable items was crucial to his role as a creator.

The  confluence of the notion that something good could be duplicated several hundred thousand times and the idea that human beings could be groomed for glamor in the marketplace was problematic and inexorable.  The result of this combination is  ethically  suspect. Numerous psychological disturbances have been cradled by the corporate world via advertisements which sell their productions. Adverts loaded with visual instruction to be thin, to be tanned, to be perfect.  We are lucky that it was the mind of  Warhol which focused on this topic and that his the perception of the hybrid born of glitzy fame and infinite duplication demystify  his mind led him to make bold statements about fame, the value of humanity and the ease with which the entire nation could buy into the notion that almost everything, and just about anybody is replaceable.

At the same time, television journalism was being pioneered. The news was delivered via this magical new technology to the home of the viewer in pictures. This was also a compelling medium and allowed for serious journalism assume a striking visual component. This had never existed. The newsreels played in cinemas were an approximation, but they did not have as strong of an impact on the viewer as did the televised broadcasts. Television news hit the viewer in the gut simply because it was something watched at home.

That National and International  news stories could be zapped invisibly through the air and then be seen as images moving and in real time, and with sound was unprecedented. Enormous breaking news stories were delivered to members of the population as they sat in their homes. Including stories as monumental as the assassinations of Martin Luther King and the two Kennedys and the 1969 moon landing. All were broken to the people while they sat in their living rooms in moving images, with trusted journalists narrating. Journalists had once toiled in anonymity as they wrote for the newspapers. There was no need for reporters to be attractive or to have the type of charisma which comes across best visually. A fine wit would find a way into words and the words were what mattered before the advent of television.

Reporters could be frumpy or downright ugly when nobody saw them.  But after television began covering news, the new medium presented a challenge. People working as television journalists became more attractive and more polished. Executives realized that actors and actresses could become famous while working  on Soap Operas and Situation Comedies. Television news could also make a celebrity of the right personality. Looks became important, as well.  While David Brinkley was very effective and reliable and admired, his looks did not present the prototype. News Anchors and Anchor Women were carefully selected; looks, insight, speech and the way the viewer related to an anchor were all major factors to be considered when hiring.

People seemed to respond naturally and organically to Peter Jennings and Jessica Savitch. Both were articulate and considered to be good-looking.  Each was blessed with camera-ready charisma. Never mind the reality, which was that Jennings had  managed only to obtain an education through the 8th grade and that Savitch was addicted to drugs, depending on cocaine to make her slim and smooth over her personal woes. Those details did not matter, nobody at home knew any of that. Peter Jennings was capable, smooth and dignified. Jessica Savitch was glamorous, educated and her manner of speaking was copied by many other women on television. Ironically, she spoke as crisply as she did because she had a speech impediment as a child which she diligently worked to overcome.Jennings and Savitch are serious journalists, that is arguable but not when they are comparede to their contemporary components
During the 1990’s the relevance  of serious reporters and prime time anchors began to erode as the news began to pander to the needs of the market. The market demanded more stories and reports about the famous. Talk shows became very successful and presented an easy way to obtain a small but often scandalous portion of fame. When you think about Andy Warhol’s quip that in the future everybody would be famous for 15 minutes, it’s difficult to not think about the Jerry Springer Show and the guests he would have on. A parade of slobs  involved in bizarre love triangles, ready to dash out across his stage and in front of America to divulge some filthy secret which anybody who was mentally stable would not announce in a c0ffee shop, let alone on national televison. What other reason did they have but to graner attention and a quick shot of fame? They got to be on T.V. after all.

Another route to televised fame was established when “Reality Shows” were popularized as the decade closed. The Real World, which began airing in 1992 became a template in various ways for these shows. A group of people who represented different demographics and who could be counted upon to yield a decent crop of culture clash and resultant verbal tiffs which people enjoy watching. It was easy to be on a show like that. Talent was no longer any requisite for fame because of these shows. With the arrival of the internet and with blog sites devoted to celebrity news, the concern with serious news, national and international, seemed bound for the confines of memory.

By the present time, in 2010, traditional journalism is nearly a relic of an era during which actual news was reported. Nowadays, television news magazines fail to cover pertinent stories in many instances. Instead their producers opt to secure “exclusive” interviews with whichever famous personality is currently saturating the minds of the masses. Usually, if you look closely enough, you can quickly realize that many of these “it girls” are not very interesting at all and that their personalities are just likeable enough for some clever P.R. agent to have managed to find some shred of charisma in a person who has an atypical set of life experiences. Maybe a lot of folks would have failed to notice anything there. But sometimes, maybe  because her father won a Grammy and she went to rehab and she cut a single–which no record company was interested in but it’s all over the internet–sometimes these people get real famous. The set of circumstances I just created would make for a lovely pitch for a reality show. Especially with the right Svengali is hovering overhead, pulling all the right strings.
Warhol seemed to love to pick people and make them famous and to manipulate that fame like a Svenhali– and he seems to have done so as a hobby. For example, he annually picked out a  “Girl of the Year” and doted on her, feting her with parties. He made every effort to see that she was photographed and filmed, revealed to as broad an audience as possible. His early choices were great beauties like Jane Holzer who was nicknamed “Baby Jane.” Latter inclusions reflected either his deep admiration for old money or his interest in chaotic personalities. Edie Sedgwick was the embodiment of each and was given the title the year following that in which the statuesque blonde, Baby Jane Holzer had been. Holzer later made disparaging comments that Warhol was encircled by freaks and dope. Sedgwick seemed to thrive in the same environment which Baby Jane had found so repellant.
In choosing and in using Edith Sedgwick, Warhol behaved in the following multiple roles, all at once: The talent agent, the producer, the admiration addled and overwhelmed gawker born poor who is impressed by money and pedigree. He eventually allowed her to be his muse and later made her his confidante. In time he assumed yet another role, and behaved much as today’s managers or public relations geniuses would. By creating somewhat interesting, yet staged events for which Sedgwick was to be the focal point.

The young heiress Sedgwick was admired for her slim build, big dark eyes and her athletic legs. But other than behaving like a walking mannequin and acting in mute roles in Andy’s films,  she did little. What she did when not starring in one of Andy’s experimental films was indulge a horrific narcotics addiction and to get belittled by other men who felt she was a viable actress with true star power. She should be in Los Angeles, making real movies! They thought and shewas told frequently. for allowing herself to star in his ridiculous films when she had a great look and a charisma all her own. But she was too unstable and drug addicted to do that. Andy Warhol eventually acted in the plural role of the American Public as it does when it has grown tired of the substance abuse-fueled and other shenanigans of one of its young Starlets— He dropped her. He dropped her thoroughly, the way the entire nation would drop Lindsay Lohan some forty years later.
What Warhol did with the folks he admired, be they his friends or eventual foes is not my concern, here. I am more intrigued by what he accomplished through his visual works of art, barring his use of film. The centrifugal topic of this paper is what he was able to say about the state of affairs concerning fame, the erosion of the value of individuality in the era of mass-production and the huge force of which the powers of advertising and marketing were capable.
The questions raised here can never be answered in a satisfactory way. Questions about Warhol’s role as cultural critic making an unbelievably potent statement about what the concept of mass-production meant to the individual are brought up routinely. What some fail to see is that while he absolutely acted as a critic of both mass-production and of fame, he also was an eager participant in both the game of winning fame and was an enthusiastic proponent of mass-production, too. His works were made in large numbers in a studio named, of all things, “The Factory.” There, he paid a pittance to a crowd of devotees who toiled at copying his original art and getting the replications finished. His studio was not only a “Factory” in the nominal sense. It was an actual factory. Sure, it masqueraded as a very hip place to see, be seen and in which to party, discuss any number of topics or to dance, but it still was more like a factory than the majority of us can ever really know.
What Andy Warhol’s most important works of art asked us was, has anything ever been authentic? What is so alluring about celebrity, and what is ultimately so ugly about celebrity? An artist who understood the Fame Machine and how it operated as many years ago as did Warhol would be surprised at the level of fakery and plasticity amongst the Stars of today. Or would he be? Perhaps the most likely answer is no. Perhaps Warhol had a deeper understanding of the direction in which the Fame Mill in which he took an interest was actually headed. Perhaps Warhol, himself was complicit in the greater development of the same Fame Mill. We know he understood celebrity and yet it is difficult to understand if he was only lampooning this national obsession in certain works. Quite possibly, he was not complicit. Instead his portraits of celebrities and his own enthusiasm for the concept of fame and respect for the power of marketing inadvertently added an influence which has streamlined the manufacture of today’s Superstars. This influence must have been bestowed inadvertently, for there was no way to predict the wild popularity and association with Pop Culture his name would carry. Pop Art, indeed. Today’s Pop Stars are as much the heirs to Warhol’s legacy when his love of fame is considered as they are as likely to have inspired his scorn were he alive today, his equally negative opinion of the same concept also examined.
Has anything ever been authentic? Smoke and mirrors and the blatant imitation of roles set by forgotten and archetypically endowed actors or society mavens years ago account for the inspiration of the creation of innumerable celebrities. Add to this the phenomenon of reality television, which has caused an entire generation of younger people to believe that one can become nationally famous for doing nothing—because it is true.
Andy Warhol was obsessed with the American pastime of stalking celebrities—not in blatant terms, but through the more innocent channels presented by the media, in magazines for example. Warhol himself desperately wanted to be counted amongst the famous and he created some of his best-known works of art by simply mirroring back at those who viewed his creations their own fascination with the concept of celebrity. Amongst his most readily recalled works are the series of portraits he created of famous people: Elvis Presley, Marilyn Monroe, Jacqueline Kennedy Onassis, amongst others.
But almost inarguably, most concede his best-known work of art was his simple recreation of a Campbell’s Soup can. Simple as it may, this is amongst the most iconic images from the 20th Century. Not merely from the Art World of that period but in very general terms, this image was and is still so renowned that many are exposed to it without making the chance at decoding or demystifying it. What subliminal meaning could lurk behind such an innocent image, anyhow? People unfamiliar with the true value and import inherent in the work are too many in number.
This was the work which made declarations about fame and the value placed upon individuals in an even more effective voice than he could ever have made in any of his portraits. Because while not an illustration of an overexposed human being, it re-affirmed the idea that more-and-more, American citizens were becoming increasingly affected by advertising. Anybody with a pulse could identify the object in that piece. It was a brand name item made in huge numbers in factories for mass sale.
Remembering that his celebrity portraits were created as a series beginning either after, or at about the same during which the soup can became his most famous subject tells us two things. First, that he was making a clear statement about the power of advertising and that its influence was so undeniable and pervasive that again, anybody viewing that work knew immediately what they were looking at, so he was also asserting the power of “brand.” Nobody could evade the power of brand when advertised, because the visual component of a particular brand is huge so long as the visual is somewhat compelling.
The can of soup may not have been visually stunning or beautiful, but it mass produced and advertised and hence it was made into an item which was then, and today remains ubiquitous. No matter how ubiquitous are the cans which contain the soup made by the people at Campbell’s or the ground coffee made Folgers’ may be, they are designed primarily for one utilitarian reason. That is, to hold a product. The consumer who buys such a product for use at home must necessarily purchase the package in which it comes. The tacit understanding of this consumer at point-of-sale is simple. Once he has used up the contents of the can or box and the package is emptied, it will be cast into the garbage with no accompanied sensation of loss.
Nobody thinks about buying the can when setting out to buy soup. It is not the province of some brigade of intellectuals to make the deduction that these canisters have no intrinsic value whatsoever to the consumer. They are utterly disposable; bits of waste meant to be cleared from the kitchen the moment they are void and no longer able to yield anything of use. That some items are universally considered useless when they no longer hold the goods they had when freshly acquired is not in and of itself a profound concept. Until that bare and boring fact is contrasted with another reality– that the same packages bound for the dumpster are so readily recognized by members from every sector of the population.
His portraits of Marilyn Monroe were not only finished as single-image portraits but also made as diptychs. Others show her image more than two times as in a diptych, but in multiple duplicates as if she had been mass-produced at a factory. In many ways she or a Star of her caliber could so easily be perceived. Knowing a few facts about the way Hollywood operated during the mid-twentieth century would make such a contention far less difficult to form. The studios ran every aspect of the lives of their biggest Stars. They molded and manufactured people. Taking a diamond in the rough, so to speak and refining it until it glimmered and glinted as a true star would. That she was sold by the studio which had refined her is not untrue, and a lot of time was spent by studios when cultivating people like her. The studios dressed and clothed, colored the hair and applied the makeup to their Stars, employing a great number of professionals for these purposes. Additionally, the studios worked with the press to assure that most scandals could never start. Homosexual male actors were routinely sent out on staged “dates” with females who may have been heterosexual or may not have been.
The Movie Stars of the 1950’s and early 1960’s were like Barbie or Ken dolls and seemed to have no problems because any messiness in the personal arena was cleaned-up by the studio. In the case of Marilyn, who had a problem not only with some unspecified mental illness but also with drugs, the studio doctors were called-in to keep her supply of pills plentiful. She ultimately suffered a breakdown which could not be covered-up by any studio. She required hospitalization and the press soused down on her with cameras as she emerged from a psychiatric ward. She was young when she passed away, aged only 36 years. When Marilyn Monroe died the myths about cover-ups surrounding her demise began to swirl and these are sometimes still recounted today.
Is that what people really want when they seek fame? To be famous seems to ensure that even in death society will haunt you, and not the other way around. You will become a sale item and your image, your belongings and any film in which you starred or note you may have written will increase in value when you die. How on earth is that understood as a glamorous concept and not seen as the maudlin, convoluted reality which it, in fact, truly is?
Warhol’s most insightful statements were about the coalescence of both fame and mass-production. It is rare that a can of soup comes under the scrutiny of an artist and neither is it commonplace that the same object would become subject matter for his work. Therefore we must question why this particular artist, with his well-documented preoccupation with fame as well as concepts of marketing.
I cannot imagine that his decision to name the studio in which his art was produced “The Factory.” That this was a wry, tongue-in-cheek or cute action is possible but I think that supposition actually diminishes his motivation to have so christened his working space. That he produced his many celebrity portraits in this environment, with its highly suggestive name warrants a closer examination. A second look at not only the name he gave to the place in which he created his work, but also a more comprehensive evaluation of those images of well-known persons which he conceived and made within these premises.
Warhol remains as inscrutable and enigmatic twenty-four years after his death than he ever was in life. His work hangs in respected museums and is sought after by wealthy collectors internationally. His art and its potent messages, which at once had seemed to contradict one another, now seem to have eerily commingled and today we have a distorted brand of celebrity about which Warhol either warned us to avoid, or which he championed and even played an active role in creating. Those seem to be the two most easily appreciated realities. That Warhol was instructing his viewer to dislike the way things had become or that he was extolling the nature of what he loved in the works I have mentioned. There is a third reality and is a well-rounded one in which the artist was probably aware of the contradictions inherent in his messages.
That final possibility, and the one in which I trust, is that he was the epitome of the fan, one who loved the famous and who chased fame himself. In doing this, he became increasingly aware of the mechanics which create famous individuals. He learned that bare circumstance alone was not enough to account for a person becoming a Star, and that there was a machine behind the entire phenomenon. Besides from learning this, he saw the utterly cold the truth about how celebrities are made and destroyed. He had to learn, at some point, that people were made into Stars only because they were meant to be sold. Again, his keen understanding of marketing and advertizing came into play. In reality, the potent force advertizing exerts over the population is unthinkably strong. It can charm them, swaying people to be compelled into the purchase of one brand. It can make them love a particular Star. The same mechanics which create and sell disposable cans to hold soup are not identical to those which make celebrities. They are, however, very similar.
The throw-away culture in which we live today is simply a heightened version of the reality which Warhol espoused in both his duplicate images of Hollywood Stars and via his Campbell’s Soup can. Perhaps some of the authenticity we believe is innately human was still at work within the souls of the consumers as well as within the souls of the human chattel while he was working on his portraits. Now, Human Beings without real fame are commodities sold for less than nothing on television and more of late, online. No, nothing is completely authentic and we are alone without a wizard who can predict the next turn-of-fact. After all is written about Warhol, perhaps his greatest role, the role of a prophet, warrants much more analysis and scrutiny.

Jeffrey Justice

Do not understand me as one who rips
Harshly away— consider yourself freed.
Dismiss me as breath which passed through your lips.

Know me as water which easily slips
Off with the tide at a slow, easy speed.
Forget me as harbors forget their ships.

All ships make their inevitable trips
To newer ports— and to these they proceed.
Dismiss me as breath which passed through your lips.

My leaving is no rare thing— no eclipse,
No riptide, unforeseen; nor a misdeed.
Forget me as harbors forget their ships.

Unlearn my shadow while the meek sun dips
Beneath the sea: Unlearn my callous creed.
Dismiss me as breath which passed through your lips.
Forget me as harbors forget their ships.

Iconoclastic Author Ken Summers in Salem Promoting a New Book

A Ghostly Theme, an Unexpected Twist

Cornerstone Books of Salem, Ma. will host visionary author Ken Summers on the evening of Thursday, October 15th. He’ll be present from 7-9pm to sign copies of his new book, Queer Hauntings: the very first book which tackles the subject matter of Gay and Lesbian Ghosts.

This prototypical book is the brainchild of a humble Paranormal Investigator hailing from Cleveland, Ohio. He will be reading from the book, taking questions from attendees and explaining the unique difficulties he encountered while researching a book for which no template, precedent or subtle cue had been crafted. This is an interactive reading and Book Signing, the audience is encouraged to ask questions. There will be no fee charged. Casual dress is appropriate; details regarding location and time are typed below:

Cornerstone Books, 45 Lafayette Street, Salem, Ma.
Time: Beginning at 7 pm., ends at 9pm.

The problem was not Ms. Browne’s. For Sylvia, the problems began later, when the Hornbeck boy was discovered alive and delivered home.
The supposition that Browne informed them that their son was deceased in order to grant them the closure which she may have guessed would never come has lit up the inside of my head and then been extinguished, more than once. How many cases like this has she worked on? I wondered. How many times has this woman seen the sad truth about the often horrific fate met by such children? I wondered this as well. I did not think she was a bad person. I did not think she was a bad psychic, either. I knew she had made a mistake; and I knew that psychics make mistakes. I knew that she had never claimed that everything she said was guaranteed to be free of flaw. The fact that she proved herself to be human and fallible was sadly something she had to do while television cameras were rolling. Still, the cameras caught her most egregious error: Her callous demeanor— which she retained throughout the exchange with Mr. and Mrs. Hornbeck.
America was outraged at her failure to confirm that the boy was, indeed, alive. She met with immediate criticism, and her manager appeared on-air with Anderson Cooper who mediated a remarkably sad verbal tug-of-war between the manager and James Randi—a man whose career was initially forged as a stage magician but who has become far better-known as a man who made the act of debunking psychics his life’s work. Randi, like the rest of those who were outraged, was set-off by her lack of precision. Unlike many people, I was most irked by her callous, glib and even emotionless demeanor as she spoke. Certainly she could have tried to sound more sympathetic. Especially as she went about detailing the boy’s demise—she had stated that the authorities would discover the boy’s lifeless body with its head between rocks. This painted a grisly visual in my own mind. Lord knows what the parents envisioned.
This is not an indictment of Sylvia Browne. What I would like most to mention is that during the confrontation between her rabidly loyal manager, James Randi and—to a definite degree—Anderson Cooper, it was mentioned by all parties that Browne was a religious figure. It is true that she has established a church. This fact was used as a means of bombarding her character by making a not vague insinuation that it existed, at least in part, as the mechanism behind what one may label an elaborate money-laundering scheme in which tax-exempt status was legally obtained and to which the 750 dollar per half hour fee Cooper contended was collected for Browne’s services was immediately directed.
I must reiterate that my own intention here is not to bludgeon the character of Browne. I am paraphrasing the substance of the exchange, while keeping what I am sure the intended meaning of grossly intact. It is not difficult to find a video of this online and I encourage people to do so with the hope that they form opinions of their own and which may absolutely disagree with what my own opinion of the exchange was—simply go online and navigate to youtube and enter the keywords, which would be the names of the persons mentioned above.
Mixing her status as a well-known, well-paid psychic and her identity as a religious figure who had established a church suddenly appeared unsavory and awful. When, in fact, Browne may be nothing more than a good psychic who had a bad day, she was quickly made to look as if she were engaged in the worst kind of trickery. My ideas regarding the sort of public mockery to which one is liable to be made a subject of when mixing a high-profile career as a psychic with another identity—as a spiritual leader— is thus brought to life.
There are famous psychics who choose, as has Browne, to write books which are crafted as a means to illuminate the working of the arcane. This is of little consequence and certainly seems not to offend and rarely, if ever, incites controversy. The list of mediums and psychics who have written and published books is too lengthy to make here. However, contemporary mediums and psychics will assuredly continue to write. There is an enormous market for such literature and it does not appear to be in any danger of dwindling. People have questions. If others claim to have answers, I am voicing a wish that they continue to set them to press and assist in the edification, the pacification and/or the entertainment of the restless and anxious masses.
There are obvious and valid reasons to negate the validity of any psychic which do apply to any sole individual operating any business of any stripe. Yet, when it comes to judging a psychic as a businessman lines become easily blurred. The introduction of religion and spirituality may further blur these lines.
Yet, it may also be accurately stated that there is an intrinsic component of the spiritual in what many psychics do. It is not as simple to state that this inherent spiritual component involved in the work a psychic does is of a “religious” nature. Though it certainly may be stated and I have no real argument with the concept; especially when remembering how much of religion is predicated upon faith, a willing suspension of disbelief and a necessary belief in the “supernatural.”
It is possible to be an atheist and believe in psychic phenomena. It is not possible to believe in God and to disbelieve in what is ordinarily labeled the “supernatural.” The miraculous events described in major sacred texts of dominant World Religions are rife with recounted stories involving unearthly occurrences which did—if you are among the faithful—happen on terra firma.
Personally, I believe in the existence of spirits and in many other ideas which do not sit perfectly well with the ideas we commonly appreciate to have been proven within the parameters of an environment which is marked by perfect scientific conditions. Life is short and does not occur in a vacuum; I have my beliefs and am grateful that I have my work which certainly emanates from my beliefs in an extraordinarily spiritual and metaphysical background which I chose to label reality. Once again, I have no personal grudge against psychics who are also spiritual leaders, who have started churches or founded other religious organizations. In fact, there are individuals who have done just this for whom I do hold great respect.
All I can truly say is that it is often difficult enough to be wading through the waters of life believing as I do and taking it one step further by working within the structures of my own beliefs; which are, of course, metaphysical by nature and definition. Beyond this, I can say one thing more, and this is that I am quite grateful that I do not feel any tug—presently—towards the formation of a spiritual body or church. I am not born to lead the life of a religious authority and am just beginning to appreciate the many gifts of those who were so born. I have some of the gifts one would associate with a person whose destiny is aligned with that of the leader of persons in spirituality. Certainly I believe that I have the psychic abilities which many assume are of an origin which is associated with things divine. Sometimes I have the patience of a saint… sometimes.
Other times I do not! Blessings regardless, be well and take it easy.
Sincerely,
Jeffrey Justice

Modern American Spirit Communication began in an innocuous setting: a very small cabin-like structure in rural Hydesville, New York. This was the home of a Family named Fox. The daughters of the uneducated rustic married couple who lived in the house caused quite a stir: First locally, nationally and ultimately, internationally.

31 March 1848—

This date is considered by some to be the proper birthday of the Spiritualist Movement. The rapping heard in the Fox Family home began on this date. The family believed that the rapping was actually the sound produced by the spirit of a peddler who had been robbed, murdered and buried in the Fox’s basement by a former occupant of the home. Other citizens of their village also heard these sounds and were also convinced that they were produced by an unhappy spirit.

1848, 1849—

The Fox Sisters became a sensation due to the association people made between the girls and the Spirit World. They seemed like unlikely candidates to be discounted as frauds because they were very young girls (Kate Fox was only ten years-old when the phenomena first began and Margaret Fox was just two years older than she). Since the children were from a small village and their parents were unlettered they may have seemed too unsophisticated to appear as participants in some great deception or racket. However, there were three Fox sisters. The third was a woman more than twenty years older than Kate and Margaret. It is widely accepted as fact that this elder sister, Leah Fox, took on the business of managing her juvenile sisters’ careers and made herself a considerable amount of cash in so doing.
During these years the two Fox girls were shuttled all over their home state and then to other parts of the nation. They were exhibited in large halls where people would crowd in together to see the first mediums— two little girls— summon up spirits and have them produce rapping sounds. The youngsters were ultimately brought to Europe to perform their “act” there, as well.

Early 1850’s—

Spiritualism, which is a religion, was birthed out of the excitement revolving around these two girls. The development of a religion from the attention these girls attracted happened when local Quakers entered the picture and attempted to assuage any anxieties which members of the Fox Family might have felt initially, when nobody could explain the thuds and rapping they heard about their home. Mrs. Fox has been referred to in books as a very fearful, superstitious woman who felt that there was something diabolical about the raps and the way the girls could “command” unseen forces to produce these noises. The Quakers and Leah Fox seemed more willing to accept that these manifestations could be of a divine, and not a devilish, origin.

The first true Spiritualists were a liberal lot and detested slavery. Most Spiritualists, in the early years were devoted abolitionists. They were also concerned with women’s rights and supported suffrage and Utopian ideals.
They usually met at the homes of friends who were also interested in séances and summoning the dead in order to receive messages. It is interesting to note, however, that the Universalist Church had many Spiritualists amongst its congregation in those times. Before Spiritualists could build their own churches, they were allowed by the Universalists to use their church structures.

1853 –

In England, if you received an invitation to tea at the home of a fashionable friend, you would likely engage in “table-turning” or “table-tipping.” Table-tipping was a popular method employed to contact spirits during those times, as well as today.

1855—

The acclaimed medium Daniel Dunglas Home arrived in England from the United States. Mr. Home was a baffling and enigmatic man and was the greatest example of a “Physical Medium” ever to have lived. Today, people still to question how he did some of the feats for which he was famous, including levitation and temporarily elongating his limbs. Physical Mediums were associated with fraud, but Home was never proven to be a charlatan. Definitive “proof” backing up the appalling feats Home was credited with performing stands far too slender a chance of ever being uncovered. Thus, his particularly grandiose displays of physical mediumship will necessarily be looked at as inexplicable and vexing curiosities.

American Civil War Years—

The Spiritualist Movement was a fad before it was a viable religious movement. By the time the United States Civil War had begun, mediums were working virtually everywhere, because the clientele was everywhere. Spiritualism had developed an unfortunate problem by the time the War began: It had become entertainment—its serious nature was being overlooked. The séance was a chic, somewhat macabre diversion for the upper classes. Yet, simple table-turning was no longer getting anybody excited. The number of mediums who promised “apports,” “ectoplasm” and Spirits “playing” musical instruments grew corresponding to the number of people who were willing to pay for this kind of a show. Needless to say, mediums who promised apports and the like were certainly frauds.
In response to the burgeoning number of false mediums, societies dedicated to either proving that mediums could—or could not—contact spirits were formed because people who seriously believed in communication with the Spirit World had a strong desire to keep the fraudulent mediums from practicing their trickery and from sullying the reputations of true mediums.

It is important to comprehend how attractive the concept of communicating with the dead truly was. Not only was the topic of interest to the wealthy people who first held séances in their homes; it was relevant to each and every person. Nobody escapes death. Mary Todd Lincoln understood this fact of life very well. She lost children to illness, and she had sessions with a medium while living in the White House. During the Civil War era death was a ubiquitous presence. Because there was a new technology— photography— people were able to view the battlefields, with casualties strewn all over their surfaces. Mediums were sought after during the Civil War for obvious reasons. Since then, studies have reflected that with each war the United States becomes involved in, there is a rise in the number of people who believe in— and pay visits to— mediums.

The 1870’s—

Fraudulent mediums did injure the nation’s appetite for Spiritualism. It remained popular, but the wild popularity of séances was no longer there. However, there were many true believers and it seems that they became as motivated to prove that life continues after bodily death as were those who wanted to prove that the dead are gone forever. Staunch supporters of Spiritualism, and of mediums, were involved in literature, and in science. The author Sir Arthur Conan Doyle was one of Spiritualism’s most active public relations workers. Sir William Crookes, the British chemist, was also dedicated to his belief in the phenomena of communication with people who were alive in the Spirit World. Victoria Woodhull was an anomaly in her day because of her great success on Wall Street. Woodhull had once worked as a medium, herself. Victoria Woodhull was also the first female to run for President of the U.S.A—Years before women even had won the right to vote.

21 October 1889—

Spiritualism was dealt the biggest blow  its credibility  could possibly take when one of its originators and most respected mediums, Margaret Fox, stood before 2,000 people and publicly denounced Spiritualism as nothing more than a lie. She made this shocking declaration in New York City at The New York Academy of Music. After she addressed the audience, she agreed to demonstrate exactly how she and her sister made the rapping noises which she had, until that night, maintained were sounds produced by spirits. She explained that she had merely been cracking her toes, and that her and her sister were both able to crack their big toes in such a way that made an unusually loud sound. She then performed her demonstration– It was a little demonstration which could have taken down the church forever.

The two younger Fox Sisters had once been an overnight sensation. They had also managed to parlay the initial fascination the public felt for them into long careers as mediums. Outwardly, things appeared well, but the reality was that the women were plagued with personal troubles. Kate, who many felt was a better medium than Margaret had married an Englishman. Margaret had fallen in love with an Arctic explorer named Dr. Elisha Kent Kane and was married to him. Kane’s family never accepted Margaret and there are doubts as to whether or not she was actually legally married to him. His family despised her for her humble background, her uncultured way of speaking, and her career as a medium. By 1889, she had also developed a debilitating dependency on alcohol.

November, 1889—

Nearly a year after Margaret Fox shocked the world with her statements about Spiritualism and her own fraud, she recanted. The reasons most often cited for her public denouncement of Spiritualism is that she was approached by a newspaper which offered her cash if she would tell the world that Spiritualism was a lie, and she was nothing more than a fake. This makes sense, because Margaret was so dependent upon alcohol that she was unreliable and was receiving little work as a medium. She needed the money: for food, for alcohol. The money the newspaper paid her didn’t last very long. She knew no other way to make money besides performing as a medium, and so she recanted. The damage to her career and credibility was irrevocable, however, and by 1893 both Margaret and her seemingly luckier sister Kate were both dead. They each died penniless and were buried in pauper’s graves.

1912—

A shy, southern housewife named Pearl Curran experimented with a Ouija board one evening with a friend. During their session with the board, a powerful personality began to spell out messages of a quirky, wry nature—all in Old English. Mrs. Curran nor her friend had any knowledge of Old English. Curran developed a close relationship with the spirit who had come through: a woman who identified herself as “Patience Worth.” Patience Worth was a fine writer and Curran served as a secretary for her. Together, they published books of poetry. Professors familiar with the style Patience Worth wrote in are baffled at how a woman with no understanding of any of the rather unique features of that particular era’s speech could write such beautiful verse in so accurate a voice.

1920’s—

The famous magician Harry Houdini begins his personal attack on mediums. Subsequent to his mother’s death he became extremely embittered towards all mediums.

1935—

In Boston, Ma. Beacon Hill socialite named Mina Crandon (wife of renowned surgeon Leroi Goddard Crandon; at one time known as “The Witch of Beacon Hill”) was evidently quite close to proving that she was a true physical medium. She was ultimately discredited, though there was one judge who disagreed with his colleagues. Trickery was discovered when Mina attempted to fool a panel of scientifically-trained judges into believing that her Spirit Guide, who she claimed was the soul of her late brother Walter, had somehow managed to push his thumbprints into plaster or resin. The clever Crandon nearly got away with her game and would have won a magazine’s financial prize and enjoyed status as a truly tested, legitimate physical medium. Her hopes and reputation were soon dashed, then decimated when it came to light that the prints belonged to a man still very much alive—Crandon’s dentist. He furnished his own prints willingly or not. Most likely, he was her knowing accomplice. Crandon became reclusive, was ostracized by Boston’s Social Scene and was derided as a fake and as a pathetic shell of her former self. She died years later, and was seemingly completely forgotten. She had become the ghost her brother had already been, though she was still living.

Only when she died were the details about her past foibles as a paranormal fraud re-circulated as the newspapers printed up her obituary. Meantime, details about the blue-blooded “medium” and her elaborate hoax came out in the press. Almost immediately after she received this posthumous attention, she faded from Boston’s collective memory altogether.

1970—

Jane Roberts publishes a revolutionary book, Seth Speaks. Like Pearl Curran, Jane Roberts did not take credit as the author of this book, but claimed to have served as the channel for an entity calling itself Seth. Seth refers to himself, according to Roberts, as an “energy personality essence no longer focused in physical reality. Like Pearl Curran, Jane Roberts also met her “author friend” while using a Ouija Board.

1977—

JZ Knight claims to have had her first encounter with “Ramtha” who she claimed was a highly evolved, incredibly wise Spiritual Being who had led many lives, but preferred to appear and speak (she began to “channel” his voice while in trance) in the persona of a warrior who had lived on Atlantis many thousands of years in the distant past. She began publicly channeling him after that and was known as the most famed channel in the country throughout the 1980’s. Although she was essentially doing trance mediumship, the terms “channeling” and “channel” were quickly coined and these terms (as well as the concept to which they referred) became staples of New Age jargon and eventually wormed themselves into the much broader pop-cultural lexicon.
Knight was a highly effective channel or performer and she won the respect of influential people, most notably actress Shirley MacLaine. Much later on, in the 1990’s, Knight also went into court in order to prevent another woman from channeling Ramtha. She won this case, bizarrely—thus setting a precedent concerning ownership rights of the alleged soul, or spiritual being, of a long-dead man by a living person.

1990’s—

Mediums such as Rosemary Althea and James Van Pragh are popular guests on television talk shows and mediums write successful books. At the end of the decade, the medium John Edward had begun producing his own television show “Crossing Over,” which brought new attention to the concept of Spirit Communication. However, his success also brought out many critics, and it would appear that the idea of communicating with spirits is always going to be one which people will feel strongly about—one way or another.

The current decade has shown a huge increase in the public demand for mediums. The recent developments have truly opened doors for many psychics and mediums. More on this in my next blog!

With my Most Sincere Wishes for Health and Prosperity, Jeffrey Justice
26 July 2009

Sponsors: The Boston Phoenix, Stuff Magazine & Red Bull Music Academy

“Dancing on the Charles” features live music and deejays and will be held every Saturday throughout the current month. Jeffrey Justice will be performing psychic readings on this Saturday party. The event is held on the banks of the River Charles in Cambridge at the VFW Marsh Post. These events will occur rain or shine– the organizers have plenty of tents on hand… and word is that last Saturday was a ton of fun for all who attended!!

If you’re shaking your head, wondering how in the ether you could hook yourself up with a job this cool, keep shakin’ it, baby. You need to be born with this talent (Most psychics agree that we all have the “lite” version of some form of psychic ability but we usually don’t use it or even recognize it. When that happens, like most things that go unused, it’s lost.)

Meet Jeffrey Justice, possesor and purveyor of an abnormally developed and highly accurate extra sense that he uses on a daily basis to pay the rent (So cool!).

Jeffrey was born into a family of psychically gifted people on his mother’s side but it was his grandmother who recognized his tendency to “know” things about people and encourage him, while his mother preferred to live a more normal life. (Not only does Jeffrey have an interesting family history in the psychic realm, his lineage is also interesting. His ancestors are right off the boat ~ the Mayflower ~ and are the first settlers of Newbury, where he was raised, and also Salem, the nation’s seat of the supernatural, where he coincidentally works several days a week.) Grandma tutored him in palmistry and card reading, heightening and fine tuning his innate abilities.

Jeffrey was frequently sick as a child. At 9 he suffered a frightening bout of encephalitis that may have tweaked his abilities; many psychics have pointed to a life changing illness, often accompanied by high fever that after recovering has left them with a “re-wired” brain, able to receive information that others can’t. Jeffrey agrees that this may have been the case with him and believes that he may have been one of the few earliest “Indigo Children” (see explanation at the end of this article).

Jeffrey is a small guy ~ slight and on the short side but his stature belies his huge inner powers. He is also pierced, tattooed, degreed (a B.A in English) and licensed ~ most importantly, licensed. MA state law requires psychic practitioners to be licensed to practice their art. Licensing includes passing a CORI check, which tends to weed out the quacks and people who don’t have the best intentions. Jeffrey is quick to point out that he won’t take money from people who need grief counseling or other professional medical interventions. And he is also quick to say that he doesn’t have all the answers. “Anyone who tells you they do, is lying.” He is straight up ~ the real deal. He believes in other planes of existence, saying that they operate on a different vibrational level than ours and it just requires “tuning in” to them.

During our interview, Jeffrey was engaging, thoughtfully answering questions; at the same time, he was “reading” personal information that was “bleeding” through me while we talked ~ and he was reading it with mind-boggling accuracy. He “saw” an area of my body that spoke of a potential problem, drawing a little sketch that pinpointed an area that had indeed caused me some concern. So I had to ask if he were able to shut off his abilities to be able to do ordinary things like running errands. “Yes, but it’s a matter of focus,” he says. Picture him in line at the grocery store being bombarded with messages for people around him! Does the work tire him out? The greatest number of readings he’s ever done in a day was 47 but no, he doesn’t get tired, “…just more energized by meeting people. “

And he meets lots of people. He has an impressive list of celebrities and sport stars he reads for and often travels to NYC to give readings. But will he give up his client list? Nope, he doesn’t kiss and tell.

He made the leap to full-time psychic and medium ~ using tarot cards and reading palms in addition to receiving information from clients’ bodies and spirits ~ after finding himself constantly unfulfilled in a variety of ordinary day jobs but encouraged by enthusiastic clients. His thoughts in the beginning were simple: “If I can just make enough money to make this month’s rent…” and sure enough, he’s made the rent every month and then some.

What does he like the best about having a career as a psychic? “Being able to help people connect to loved ones and helping people figure out their lives. Also giving people hope to see past the negativity.” And what is the worst thing about his career? “Listening to all the sad stories.”

If you feel the need to tell Jeffrey a sad story or get some otherworldly information, check out his very cool site, http://jeffreyjustice.com for more information or to book a reading. Don’t miss a chance to let Jeffrey give you some important information. I now know who will save my life someday!

In a “Gallery Night” setting, Spirit Readings yield astonishing results. Evidence for the continuity of life is brought together in a loving, heartfelt manner. Individual and family relationships are explored and explained by an officiating medium. “Proof” given of the afterlife in this manner can be convincing; yet it is the individual’s choice whether to accept or dismiss the medium’s opinions or advice.

Mediums serve as conduits between this world and the next and use their minds as receivers. They hear or sense communications from the “other side of life” and deliver messages to living people. Mediums frequently work through a combination of hearing voices and seeing mental images, and can be especially helpful to those who wish to validate what they already feel in their hearts: That life goes on, and that we are only a heartbeat away from those we love who are no longer with us on this material plane. Mediums sometimes work via another method, as well. “Psychometry” is the word which describes the psychic ability to read objects or items, in the case where a medium is working, he will ask for such articles and it is suggested attendees bring articles worn or consistently used by the deceased with whom the attendee would like to reach. Familiar items are pieces of jewelry, but the only limits imposed would concern size of object. You may decide to bring something relatively small—and may bring no such object; this is a suggestion, not a rule.

Two upcoming Hammond Castle Gallery Séance Nights will feature psychic-medium Jeffrey Justice, of Salem, Massachusetts. Justice is a fourth-generation psychic and medium whose accuracy, sincerity and inimitable style and approach to his work have earned him a large following on the East Coast. Jeffrey Justice enjoys working with as many members of the audience as he possibly can. Jeffrey’s words about gallery evening events have been posted in blogs and essays, and in radio interviews, the following words are his and have been borrowed from blogs and interviews:

“My galleries provide a warm, intimate atmosphere where attendees hear messages from their loved ones who have crossed over, as well as messages delivered to other members of the audience. It is of paramount importance that I approach as many members of the audience as is possible in order to prove to these people that their friends and family members who have passed away are by no means gone, forever lost or inaccessible. My objective is to affirm that while there is no denying the reality of physical mortality, the personality and personal identity of individuals who have crossed over is not extinguished with the inevitable failure of the human body. My message is a positive, life-affirming communication to all who attend my events: there is no death — there is only life.

“Dying does not mark the end of a person’s existence,” Justice elaborates. “Death is merely the end of the physical body which carried the soul and consciousness of a person. If we can believe that the soul survives and exists somewhere else, then we may be able to accept that perhaps it is possible to make contact with that consciousness. This allows us to understand that the emotions, sentiments and beliefs of those we perceive to be ‘dead’ are everlasting. My ultimate aim is to provide solace, healing and hope to all people who see me at work as a medium. The closure and comfort people may receive during a Gallery Session can serve as a catalyst for overcoming stubborn or painful grief. Other times, the messages from those who have crossed over are words of wisdom and practical advice which apply to a person’s everyday life issues and concerns.”–Terry Milton.

*Jeffrey Justice will be appearing at the Hammond Castle’s Gallery Séance nights on both Friday, July 17th and on Friday, July 24th from 7:00 – 9:00 pm. Please be aware that space at the Hammond Castle Gallery Night is limited. Admission is $30.00 and reservations are suggested. Please contact Terry Milton at (978) 283-7532. You may also contact Jeffrey Justice by emailing him directly at Jeffrey@jeffreyjustice.com

By Cherie Ronayne

If you’re shaking your head, wondering how in the ether you could hook yourself up with a job this cool, keep shakin’ it, baby. You need to be born with this talent (Most psychics agree that we all have the “lite” version of some form of psychic ability but we usually don’t use it or even recognize it. When that happens, like most things that go unused, it’s lost.)

Meet Jeffrey Justice, possesor and purveyor of an abnormally developed and highly accurate extra sense that he uses on a daily basis to pay the rent (So cool!).

Jeffrey was born into a family of psychically gifted people on his mother’s side but it was his grandmother who recognized his tendency to “know” things about people and encourage him, while his mother preferred to live a more normal life. (Not only does Jeffrey have an interesting family history in the psychic realm, his lineage is also interesting. His ancestors are right off the boat ~ the Mayflower ~ and are the first settlers of Newbury, where he was raised, and also Salem, the nation’s seat of the supernatural, where he coincidentally works several days a week.) Grandma tutored him in palmistry and card reading, heightening and fine tuning his innate abilities.

Jeffrey was frequently sick as a child. At 9 he suffered a frightening bout of encephalitis that may have tweaked his abilities; many psychics have pointed to a life changing illness, often accompanied by high fever that after recovering has left them with a “re-wired” brain, able to receive information that others can’t. Jeffrey agrees that this may have been the case with him and believes that he may have been one of the few earliest “Indigo Children” (see explanation at the end of this article).

Jeffrey is a small guy ~ slight and on the short side but his stature belies his huge inner powers. He is also pierced, tattooed, degreed (a B.A in English) and licensed ~ most importantly, licensed. MA state law requires psychic practitioners to be licensed to practice their art. Licensing includes passing a CORI check, which tends to weed out the quacks and people who don’t have the best intentions. Jeffrey is quick to point out that he won’t take money from people who need grief counseling or other professional medical interventions. And he is also quick to say that he doesn’t have all the answers. “Anyone who tells you they do, is lying.” He is straight up ~ the real deal. He believes in other planes of existence, saying that they operate on a different vibrational level than ours and it just requires “tuning in” to them.

During our interview, Jeffrey was engaging, thoughtfully answering questions; at the same time, he was “reading” personal information that was “bleeding” through me while we talked ~ and he was reading it with mind-boggling accuracy. He “saw” an area of my body that spoke of a potential problem, drawing a little sketch that pinpointed an area that had indeed caused me some concern. So I had to ask if he were able to shut off his abilities to be able to do ordinary things like running errands. “Yes, but it’s a matter of focus,” he says. Picture him in line at the grocery store being bombarded with messages for people around him! Does the work tire him out? The greatest number of readings he’s ever done in a day was 47 but no, he doesn’t get tired, “…just more energized by meeting people. “

And he meets lots of people. He has an impressive list of celebrities and sport stars he reads for and often travels to NYC to give readings. But will he give up his client list? Nope, he doesn’t kiss and tell.

He made the leap to full-time psychic and medium ~ using tarot cards and reading palms in addition to receiving information from clients’ bodies and spirits ~ after finding himself constantly unfulfilled in a variety of ordinary day jobs but encouraged by enthusiastic clients. His thoughts in the beginning were simple: “If I can just make enough money to make this month’s rent…” and sure enough, he’s made the rent every month and then some.

What does he like the best about having a career as a psychic? “Being able to help people connect to loved ones and helping people figure out their lives. Also giving people hope to see past the negativity.” And what is the worst thing about his career? “Listening to all the sad stories.”

If you feel the need to tell Jeffrey a sad story or get some otherworldly information, check out his very cool site, http://jeffreyjustice.com for more information or to book a reading. Don’t miss a chance to let Jeffrey give you some important information. I now know who will save my life someday!