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Al Angello Eternal Order Collegeville, Pa. USA 11045 Posts |
Thanks Pop
That's about how I've been working it too, but I've only been doing it for 25 years.
Al Angello The Comic Juggler/Magician
http://www.juggleral.com http://home.comcast.net/~juggleral/ "Footprints on your ceiling are almost gone" |
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magicians Inner circle Teacher and Legend 2898 Posts |
Quote:
On 2012-07-28 14:22, Pop Haydn wrote: I think people don't realize how much clear diction (regardless of an accent) has to do with the success of a routine. So many performers speak too fast and leave no space between words. For me, that's what makes the effect universally appealing. I am a fan.
Illusionist, Illusionist consulting, product development, stage consultant, seasoned performer for over 35 years. Specializing in original effects. Highly opinionated, usually correct, and not afraid of jealous critics. I've been a puppet, a pirate, a pawn and a King. Free lance gynecologist.
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Pop Haydn Inner circle Los Angeles 3691 Posts |
Every word should count, or it should be taken out.
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Frank Yuen Elite user 457 Posts |
A similar sequence was in Chuck Stanfield's Confusion Rope Routine still sold at Magic Inc.
http://www.magicinc.net/confusionroperoutine.aspx |
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dbaronian Regular user Northridge, CA 199 Posts |
Will you be using my ropes in your DVD?
BaronianTrading.com...your #1 source for magicians' rope.
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murf Loyal user San Antonio, TX 264 Posts |
I'm getting to this party a little late, but the OP's description sounds a lot like Charlie Miller's Three Rope Trick, which can be found in the May, 1965, issue of Genii magazine, page 472.
Murf |
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magicians Inner circle Teacher and Legend 2898 Posts |
The Holy grail of perfection is to enter the routine and end with one rope. The ultimate would be to actually only have one rope and throw it out to the audience. However, you don't owe the audience reality, only the simulation of one piece of rope. I think there is perfection in Whit's routine.
My routines start with sm, med, long and ends that way, for the return to the beginning. IF I start with a full rope, I like to end that way, which is do-able. I have a DVD coming out called "Evolution: Dance of the masters" where I address transitions points from one rope effect to another. In General, it is all based on another master "George Sands". Who starts and ends with one rope.
Illusionist, Illusionist consulting, product development, stage consultant, seasoned performer for over 35 years. Specializing in original effects. Highly opinionated, usually correct, and not afraid of jealous critics. I've been a puppet, a pirate, a pawn and a King. Free lance gynecologist.
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Foxlute Regular user UK 148 Posts |
I also bought Pop Haydn's Mongolian Pop Knot e-book yesterday and it is terrific. Beautifully explained and, as usual with Mr Haydn, moves and patter are beautifully choreographed.
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Woland Special user 680 Posts |
Not exactly what the O.P. asked for, but Ted Collins's "Panama Rope Trick" contains a similar idea - you start with 4 short ropes of equal length, cut them all, and you end up with one long rope. That long rope is then tied and cut into 4 short ropes that are tied together in two loops end-to-end, and when the loops are cut, the rope is seen to be two tied together. Then the knot pops off.
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magicians Inner circle Teacher and Legend 2898 Posts |
Quote:
On 2012-10-01 13:19, Woland wrote: The Collins effect has great mechanics and moves but I always found that at the end the rope is so much visibly shorter that I can't rationalize it.
Illusionist, Illusionist consulting, product development, stage consultant, seasoned performer for over 35 years. Specializing in original effects. Highly opinionated, usually correct, and not afraid of jealous critics. I've been a puppet, a pirate, a pawn and a King. Free lance gynecologist.
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TrickyRicky Inner circle TrickyRicky 1653 Posts |
This effect was covered in another post.
Ken Brooke sold a manuscript called (The Conway Rope Trick) It was and still is the best ending for the Professor's Nightmare to one rope. With this method, nothing is taken away, yet you show the rope is restored as one long piece. Illusion77, if you're interested drop me a email. Ricky |
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Pop Haydn Inner circle Los Angeles 3691 Posts |
I think the Mongolian Pop-Knot has a much stronger ending than the Conway Rope Trick for three ropes to one.
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magicians Inner circle Teacher and Legend 2898 Posts |
Quote:
On 2012-10-05 13:28, Pop Haydn wrote: Your nonchalant handling of the ropes at that last second is what makes your pop-off routine so powerful. Its a clean-up and not a "move", as the trick is over. You are literally winding up the effect and the evidence.
Illusionist, Illusionist consulting, product development, stage consultant, seasoned performer for over 35 years. Specializing in original effects. Highly opinionated, usually correct, and not afraid of jealous critics. I've been a puppet, a pirate, a pawn and a King. Free lance gynecologist.
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arizona New user 87 Posts |
Not sure whose routine Marc DeSousa uses he starts with one long rope cuts them to different lengths and for about 3 minutes you watch the ropes change around to different sizes and restoring itself. I like his handling of the rope as they seem to become extra springy and slinky when he's working with the ropes. It just looks like the rope becomes animated in a way that it looks appealing to watch.
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Leo Reynolds Jr Special user 864 Posts |
The DVD True Magic by Aldo Colombini has a trick in it called "Roped In" which he does the Professors Nightmare and then the 3 ropes become one.
Still love Pop Haydn's routine the best. I even tried to vote him in for President Oh Well maybe in 2016. Best Leo Jr |
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Dennis Loomis 1943 - 2013 2113 Posts |
The version of Nightmare where you start with one long piece and it's apparently cut into 3 equal pieces what created by Slydini. I learned it way back in the 60's and have used it ever since.
Pop said that every word counts and that's absolutely true. The late George Burns call the process "sandpapering." You would take a joke and one at a time eliminate every unnecessary word. When you had "sandpapered" it down to the bare minimum it was ready to start telling in your act. Dennis Loomis
Itinerant Montebank
<BR>http://www.loomismagic.com |
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Dick Oslund Inner circle 8357 Posts |
I was wondering when you would check in, Denny!
Do you remember when you and I worked a whole weekend to develop the concept of restoring the nightmare pieces to one length of rope? I used that routine to open the high school program for about five years. It started out with a Karl Germaine principle for c/r rope. Ken Allen had sold a routine he called "I'll Do It Again In the early '50s. Ken had "updated" the Germaine idea, and followed it with the Ed Victor/Doc Ervin method. After those 3 c/rs, You and I used the Slydini method to get Nitemare pieces. After the nightmare, you and I then developed a technique for a "bluff" restoration. Conway didn't arrive on the scene for a few years after. I remember Gene Anderson showing me the Conway technique at Abbotts. The total routine was very strong and it sold well for the high school kids. I used the nightmare segnent and bluff restoration to close the PUZZLING ENVIRONMENT program. When Karrell tipped "his" set up move for the nightmare, (It was the Gen Grant method for the "50/50 c/r rope that Henning used on his first TV special with Bill Cosby) I dropped the c/r phases and did only the nightmare. I now have a copy of Whit Haydn's "Mongolin Pop Knot, courtesy of Rainbo Guy. It's interesting how Conway, Haydn and thee and me, arrived at "similar yet different" handlings. Down the road!
SNEAKY, UNDERHANDED, DEVIOUS,& SURREPTITIOUS ITINERANT MOUNTEBANK
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