I agree that would be the wrong message if done during the routine. I was thinking to say that at the very beginning. I understand your point. It is well taken.

When I take on a routine, I usually, if not always, do it "out-of-the-box" and it changes on it's own, over time.

Thanks for the great advice again. I think that I will try your routine the next time I have a chance to perform, just need to get the lines down.

I'm studying both Capehart's and Haydn's routines right now... both excellent!

Yes, they are.

Ahhh... Whit, Whit, Whit...

I do remember when I booked you in 1977 or 1978 at the Magic Lamp in Cucamonga. It was the first time I saw you do the ring routine and I remember what I said, "You've got to put this out and get your name on it or it will be stolen and no one will know where it came from."

We put out 200 signed copies and the the rest is history and a great history it is. I have also performed your routine thousands and thousands of times. It has made me a ton of money in every venue that I have ever worked. I am very grateful.

I did take about 10 years before I started "Monkeying" around with it. During that time I felt that I couldn't change a thing to make it stronger. It is truly a perfect routine. Then it happened. A line here and a line there, but the meat of the routine is and always will be yours.

I told Paul Harris a couple of years ago that his Interlaced Vanish had made my close up work sell for more than I should be making... All he said is to send him a check. If I had to send you a check for what you have done for my show, it would be at least in six figures.

Also I have never really thanked you for watching my version of your routine, in my coach in Tempe, AZ after a couple of scotch rocks and then you jumping up and told me that the opening link was wrong... Man has that ever made a difference. Only about 20 years of screwing it up. But no more.

I love working it with adults and that is my preference, but as you once told me to get on my knees and do it with a 4 year old. I've been there too and every place in between. It just works. BUT remember, you really need to know why it works so you can adjust on the spot for the weirdos that you will encounter.

In any case it is the best ring routine that I have seen and the psychology is what makes it work. Yo the Master!

By the way... Give me a call. I want to talk about the shells.

Thanks, Bro. I remember all of that very well. You gave me the same advice that Vernon did, but you published it, and got it out there. That brought it to the attention of Jay Marshall, and Magic, Inc. then put it out around 1979.

I love to watch you do anything, Paul, and hope to see you doing my routine before a crowd again.

It is always a pleasure to watch someone else's interpretation of something you've created.

I am glad that you have found it useful. All the best.

Well, I kept my promise - I performed your routine tonight at a bar/restaurant, and it was a blast! I think a particular volunteer makes all the difference (as mentioned in the tidbit section of the DVD). Only missed a few lines, and had to add a couple of impromptu ones of course. Thanks!

Mr. Haydn -

I've been doing your Comedy Linking Rings routine (TERRIFIC routine, as I'm sure you've heard many, many times before) with a rather cheap set of rings. However, the k** on my key isn't very large (which makes some moves, like the toss, a little risky), and the rings aren't as visible as they could be due to their size. I'd really like to upgrade to rings that are more like the ones you use in the DVD. You mentioned on this thread that you have a set of 10" Merv Taylor rings. Were those the ones you were using in the performance section of your DVD?

Do you have the standard k**, or did you have one specially made with a larger necessary? It looks like the necessary on your set is about 3/4 of an inch - is that approximately correct?

Also, on an old thread I noticed that you said the locking k** could be a useful addition for the display at the end. Did you ever go on to try that yourself?

Thanks very much for your help. I've greatly enjoyed studying your Chicago Surprise and your linking rings routine, as well as your thoughts about routining.

I also appreciate the fact that you're one of the few respected voices advocating learning proven routines before changing things for the sake of originality. I remember reading a book about Scott Joplin, the ragtime piano composer. When he was young, he received free lessons from a German instructor who volunteered his services because of Joplin's talent. When Joplin started ragging up Mozart, his instructor stopped him and said, "when you play Mozart, you must play Mozart. If you want to change it, you must write your own piece." So the instructor helped him develop his chops, taught him the finer points of reading and writing music notation (the only reason Joplin's music didn't die with him), and indirectly pushed him to compose on his own - all by encouraging him to learn the works of others as written.

Thanks.

Thanks for your kind comments. I enjoyed your Scott Joplin reference as well.

I used 10" solid stainless steel rings for 30 years. Those are Merv Taylor "Orbs Eternal." They are what I use on my DVD on the rings.

I am now using the Owens 15" hollow stainless steel rings.

I think they look better up against the big frock coat I wear, which tends to dwarf items in my hand, but they are a little rigid, and don't have as good an illusion of being linked when they are not because of their thickness. The trade-off is worth it to me because they look so much better against the coat, but they also are too big for children to handle easily.

The opening in the Owens key is 1 1/2" to 2", and is made by just opening the key ring by gently pulling it wider. The key should be opened at least two times the thickness of the ring.

I would recommend 12" rings as the best size for most people, and I prefer solid over the hollow as they have more springiness for crash links.

I have played with a locking key, but never used one. It would probably be worthwhile only to hold all four rings in a chain with the top ring hanging off a single finger. That one display would be the only one I think would be really a useful addition, and it would come right near the end. Afterwards, the three rings are held on one, and then all four counted separately.

I do Whit's routine in almost every adult show I do, and it really goes over well. I tried many different routines before finding this one, and I wasnt't happy with any of the others. Whit rocks!

I would recommend 10" or 12" rings (I am now using 12" Klamms), but I think the 15" rings look a little awkward, even for a seasoned professional.

Jim

What a fun thread! I’m just now learning Pop’s routine. I can’t wait until it’s ready to have a go!

Whit's routine is fantastic and always gets big laughs when the performer focuses on the performance and on their own character. That is, do not immitate Whit!

How do you practice this routine? I purchased the download and I love it, but how do you practice it without a helper?

Use a mannequin! Just kidding - the only time you really need a helper is at the beginning, the first link. Get a mic stand or something similar with a clamp and rig up a holding device. Or practice everything except the beginning. and when you can practice the first link with a friend.