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The Magic Cafe Forum Index » » New to magic? » » Cut and Restored Rope "Loop Method"? (4 Likes) Printer Friendly Version

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KenRyan
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Someone demonstrated a very simple C&R rope trick for me a few months ago and now I can't remember how it works. He called it "the loop method." Can anyone point me in the direction of where I can re-learn this? I haven't been able to get in touch with the guy who showed it to me.

I'm hoping the description of "loop method" is enough to describe how this one is done? It involves 2 pieces to start.

Thanks!

Ken
jimgerrish
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The Stewart James Encyclopedia of Rope Tricks contains several methods that start off with a rope and a loop. Without more information, I can't begin to guess which one (if any - it could be something else entirely) your friend showed you. That said, my own favorite C&R version is The Panama Rope by Ted Collins. You can find it described in Tarbell Volume 2, or you can learn the "real" method he taught his students here: http://magicnook.com/MiniMysteries/MM-08PanamaRope.htm
KenRyan
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Thanks Jim. That wasn't the one. I'm not sure how much I can say here without exposure. But it's just one single rope and a small loop. . I'll look into The Stewart James Encyclopedia of Rope Tricks.

Thanks again!

Ken
MRSharpe
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OM me and I think I can describe what you're referring to as "the loop method" but I don't know the actual name or a source. It may be in Mark Wilson's book, but I'd have to check.
Custom Props Designer and Fabricator as well as Performer from Indiana, USA
MRSharpe
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That should have been "PM me..."
Custom Props Designer and Fabricator as well as Performer from Indiana, USA
Dick Oslund
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Ken...That "sounds" like a c&r that Warren Stephens tipped in his lecture a few years ago. It's practical, & simple, with minimal prep.

PM me, if you like.
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jimhlou
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It's described in detail in MUM Magazine April, 2011. Page 36

Jim
Mr. Woolery
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I think this is the method described in Hocus Pocus Jr. I have also seen it in a Cub Scout magic book. Bill Abbott uses the same basic method as the second part of his routine on the DVD about magic for kids.

It is around and it is as good as many methods of this trick. In all things, though, the presentation is what makes it magic.

Patrick
Bill Hegbli
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This is usually used with a TT these days. Slydini invented a special scissors to deliver the loop. You should find the handling in most TT books. Slydini published his version in the World of Slydini 2 book set using a TT.

Other methods include a reel or pull.

If you can find the old Alan Shaxon video tapes, he describes a simplified Slydini version with ordinary scissors in his rope routine.
agilulfe
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Panama rope version is great
Dick Oslund
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Quote:
On Sep 2, 2015, jimhlou wrote:
It's described in detail in MUM Magazine April, 2011. Page 36

Jim


Hi Jim...My MUMs are all in storage... I don't remember it. If I get a chance, I'll check to see if it's the same as Warren Stephens' idea. Warren's was very practical and GOOD~
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Dick Oslund
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Quote:
On Sep 4, 2015, agilulfe wrote:
Panama rope version is great


Ted Collins won an award for his Panama rope trick. BUT, it's not the loop trick!
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Dick Oslund
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Ken hasn't PM'd me.
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jimgerrish
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I just released my variation of Robert Harbin's Cut and Restored Rope. It's one of the few versions that can be turned over to spectators from the audience so THEY can examine and hold the rope, one of them gets to cut the rope in the center, and all you do is guide them through it (adding your own magic touches via Harbin's genius). At the end, they restore the rope without a clue as to how they did it, and you can let them take the rope home to try to figure it out. My own contribution is to bring it up-to-date using technology that wasn't available in Harbin's day, which makes the whole thing that much simpler. It fits this topic, but I won't say how. Anyway, those interested can find it in The Wizards' Journal #30.
funsway
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When Ian Garrison (MagicIan) visited a couple of years ago we spent an afternoon discussing various C&R approaches,
with a focus on making the process more believable through inference and psychological ploys.

One of these is the ability to apparently show the separation between the cut ends after the cut.

Use of the "loop method" allows for some variations not possible with other methods.

When I demonstrated my "Necklacy" approach with four different C&R employed he suggested changing the order in which I did the methods
based on the probable expectations of the audience at that moment.

The key is that no single "method" is best -- it depends on framing and routine flow. Many performers reject any of the "loop methods" from lack of understanding of its potential.
They focus on "how to get rid of" rather than "how do I use this 'extra thong' to increase the level of "must be magic."

Together we explored what became the seeds of another C&R approach called "RemCut" in which a "loop method" is employed to prove that the ends of the rope are separate when they are not before the effect begins,
so that later any actual "cut and display" is real . It also uses a psychological ploy to set the stage for the C&R so that the "loop" is gone before the cut is made rather than after.
I wrote up a whole series of effects based on this and sent it to Ian for review, but ...

I'll have to check out what Jim has added to the game.
"the more one pretends at magic, the more awe and wonder will be found in real life." Arnold Furst

eBooks at https://www.lybrary.com/ken-muller-m-579928.html questions at ken@eversway.com
Dick Oslund
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Hi Ken!
This sounds intriguing! Over the years, I have "played with" and used about every method.

(I've watched the Duke Stern "Guatamala" C&R, but never had the time to really analyze and do it.)

I started with Ralph Hull's "Fifteen Minutes With A Piece Of Rope" and "Scotty's Sucker C&R" (Abbott's)in the mid '40s, and progressed through Leon Maguire's improvement on Edward Victor's C&R, Karl Germaine's C&R, all of the two strand rope variations (Charlie Miller's "Dunbury Delusion", Ken Allen's "I'll Do It Again" routine, various Gen Grant ideas, even an idea using the "One Two One" set up, which "almost" duplicates what is known as the "Bill Neff" (although Will Lindhorst sold a "Vanishing Bird Cage" C&R, and Harold Denhard DID one before Percy Abbott ever sold "Neff's". I owned Quintino Marucci's scissors, but never used them in a show. I've even played with Warren Stephens' "loop" idea (in his lecture notes).

Years ago, poring thru an ancient SPHINX or GENII,I found a "Convincer Count" to show four separate ends after the cut. I've used it ever since.

I've "invented" (???!!!) "my" technique for evening up the ends after the Maguire improvemet on Edw. Victor.

For 60 years, I've used Jack Chanin's ideas (from a green room "session" at the MAES convention in 1954) to dispose of the sl*d*ng knot (timing) and his final "display" technique.

I wrote up the "Convincer Count" and Jack Chanin's ideas in my book, plus how to tie the "Dr. Daley Knot".

Rope is such a "versatile" prop!
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Dick Oslund
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KEN RYAN still has not PM's me.
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Aus
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Quote:
On Sep 5, 2015, Dick Oslund wrote:
Hi Ken!
This sounds intriguing! Over the years, I have "played with" and used about every method.

(I've watched the Duke Stern "Guatamala" C&R, but never had the time to really analyze and do it.)

I started with Ralph Hull's "Fifteen Minutes With A Piece Of Rope" and "Scotty's Sucker C&R" (Abbott's)in the mid '40s, and progressed through Leon Maguire's improvement on Edward Victor's C&R, Karl Germaine's C&R, all of the two strand rope variations (Charlie Miller's "Dunbury Delusion", Ken Allen's "I'll Do It Again" routine, various Gen Grant ideas, even an idea using the "One Two One" set up, which "almost" duplicates what is known as the "Bill Neff" (although Will Lindhorst sold a "Vanishing Bird Cage" C&R, and Harold Denhard DID one before Percy Abbott ever sold "Neff's". I owned Quintino Marucci's scissors, but never used them in a show. I've even played with Warren Stephens' "loop" idea (in his lecture notes).

Years ago, poring thru an ancient SPHINX or GENII,I found a "Convincer Count" to show four separate ends after the cut. I've used it ever since.

I've "invented" (???!!!) "my" technique for evening up the ends after the Maguire improvemet on Edw. Victor.

For 60 years, I've used Jack Chanin's ideas (from a green room "session" at the MAES convention in 1954) to dispose of the sl*d*ng knot (timing) and his final "display" technique.

I wrote up the "Convincer Count" and Jack Chanin's ideas in my book, plus how to tie the "Dr. Daley Knot".

Rope is such a "versatile" prop!


Great stuff Dick your book is on my to buy list.

Magically

Aus
jimgerrish
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I just got back from a strolling magic gig at the local park where I got an inspiration from wishing I could perform Ghost Rope to a particular group of spectators who would have been blown away by it. Then I realized that I had just written down the method for doing so in the e-Book I had just completed: In Their Hands C&R Rope, in The Wizards' Journal #30 (just to refresh your memories from above). With a few quick changes, I worked it out and have just now put an addendum to that e-Book explaining how to combine the two tricks into one. It adds the ability to be able to separate the "cut ropes" into two separate pieces, one in each hand, before the spectators pull the restored rope out of your hands and you show your empty hands in the air. AND, if I am too lazy to reset, I can go on performing Ghost Rope as a stand alone effect in my usual rope routine. If you don't know Ghost Rope, you'll find little Eleazar performing it in The Wizards' Journal #1 (from 2003 when we were all young kids). It is also shown on the Wiz Kid Rope DVD if you don't like reading.
Dick Oslund
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Thanks AUS, for the compliment!

GENERIC props! --rope, silks, balls, cards, etc. are one of the "keys" to a show that can play anywhere, for almost anybody, as, I'm sure you already know!

I've written in detail, the routines that I used to make a living. Most of my props, except for the "spot" card, linking rings, egg bag,mutilated parasol and, occasionally, DISECTO, are generic.
SNEAKY, UNDERHANDED, DEVIOUS,& SURREPTITIOUS ITINERANT MOUNTEBANK
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