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The Magic Cafe Forum Index » » Knots and loops » » Cut and Restored Rope for Today's Audiences (27 Likes) Printer Friendly Version

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MAV
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In reviewing this thread I felt for sure there would be mention on Daryl's rope routine. I purchased this effect many years ago when the instructions consisted of a large multi-folded sheet of instructions. I tried and tried but never got past the third fold. It wasn't his instruction's fault, totally mine! I set a goal way back then to revisit and learn that routine when I had more time. It has only been about 12 years, Ha!!

Well, times have changed and I see where Daryl gave a three hour lecture on Penquin Magic and it included his rope routine. The cost is $29.95 and I am ready to purchase. Any advice before I ding my credit card???
MBrook3902
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I 2nd Pop Haydn's Mongolian Pop-knot. It's the only rope routine I've been doing for several years now.
It's funny. Has multiple points of magic. It starts and ends with "one long piece of rope".

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It takes 4 to 6 minutes for the brain to die without oxygen. I can fix anything in that amount of time.
Mike Maturen
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I have not performed Pop's routine, but I have it on VHS. I think it is an excellent rotuine and one which I intend to learn and incorporate into my own act.
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Dougini
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Back in the late 70's I was a semi-pro. I did C&R a couple different ways. Then I got the book, "Hold Out Miracles". That is the cleanest C&R I have EVER seen! No "moves", no special "coiling", none of that. Simple. Show the rope, fold in half, cut. Then immediately throw the cut pieces to an audience member. It instantly is restored!

I adapted a much simpler version using an elastic pull.

Doug
Pete Biro
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Osland: Been outta touch, didn't know you were out of commission.... Glad to hear you are home and mending.
Be well, my friend.
STAY TOONED... @ www.pete-biro.com
Dick Oslund
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Hi Pete! The VA hosp. "paroled" me on 10 December after 42 days. (had CELLULITIS). Thanks for the good thoughts!
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funsway
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Quote:
On 2013-12-15 08:35, Dick Oslund wrote:
Funsway::: When I cut the bight (ED VICTOR)I don't drop the fresh cut end. (I don't like the uneven lengths). Instead, I grab the fresh cut end, and PULL it down until it "meets" the other end.



to clarify - I meant that the off-end is dropped BEFORE the cut is made - rather than the hand holding two ends and a loop/bight, it hold only one end beneath the thumb and the bight. Now, after the cut there is no end to drop and no un-equal problem. As you take the newly cut ends in hand one can adjust the lengths if desired. However, judicious adjustment of the bight when placing in the hand means the ends will meet with the thumb end is dropped. In most methods the unequal loops would look strange. Here there is only one loop and nothing to compare.
"the more one pretends at magic, the more awe and wonder will be found in real life." Arnold Furst



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funsway
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By the way - when IN stayed with me a couple of years ago we discussed methods for apparently displaying the two rope segments to be separate after the cut. Many of these are too "positional" to be of general use, but might be appropriate for some of "today's" audiences. The point being that this approach is under-explored/used -- something to consider in looking for the ultimate C/R effect.

To clarify -- the objective is to take the newly cut ends, one in each hand, and separate the segments with an empty space in between. We both agreed that the four methods discussed are best done as a "passing illusion," i.e. with no comment or direct reference, just a casual display to "close the door" on any later reconstruction -- "But, I saw that the two pieces of rope were actually cut ..."
"the more one pretends at magic, the more awe and wonder will be found in real life." Arnold Furst



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Dick Oslund
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In a very old SPHINX (I think) I found a "convincer count". I did it in a lecture at Magic Inc about 30 years ago for Fran's "Hard Core Lecture Group". The entire group stood up and applauded. I'll write it up in my book. It's really SIMPLE, but it would take a "wall of type" here.
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inhumaninferno
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I'll never forget Frank Everhart Sr. telling me that during an appearance at the Chase Park Plaza, he went on, did 20 minutes and never cut the *** rope!

Now, even though we are in the information age, the experience of viewing live magic is just as exciting and valid as ever and far surpasses any virtual experience. Reality wins IMHO.

Historically, magic secrets have often been available wholesale to the public...on cereal boxes, on TV, in magazines, etc. Yet, mystery entertainment prevails. There appears to be a primal need in humans for mystery and the unknown. This is at least partially evidenced by the popularity of Ghost Hunting on TV.
inhumaninferno
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To simply answer the question, best is subjective. Even today, the simplest of C & R rope methods is still effective.

Every era had saavy audiences...yet the classics continue to prevail.
Dick Oslund
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Ha! I hadn't heard that story (Frank Everhart)but I can picture him doing it!!!

Yea~ K I S M I F~~~It's the performer, not the prop!!!
SNEAKY, UNDERHANDED, DEVIOUS,& SURREPTITIOUS ITINERANT MOUNTEBANK
inhumaninferno
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Glad you enjoyed, Dick.
RajeshLGov
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I love doing this classic & get very nice reactions from the audience. I use the old coiling method. I follow up the CR with "Rope through neck" with 2 people in the audience assisting me. This is immediately followed with "Flips Rope Routine", sans the lengthening rope. As the audience has already tested the rope so many times, they never doubt a thing. As all the elderly experienced people 've mentioned Ropes always fascinate, even todays SAVVY audience. Best, Raj.
JayF
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I've mentioned this in several other threads. I think Roberto Giobbi's version of the cut-and-restored rope routine is perfect for postmodern audiences. He calls it "The Houdini Rope Trick," and it was published in the November 2009 issue of Genii. I mean, Richard Kaufman wrote that Giobbi's routine "fooled me completely." 'Nuff said.

Jay
Dick Oslund
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HI JayF!

I haven't read Genii since Bill Larsen Jr. told John Todman (another school assembly magician, like the writer--(me)--that he (Bill) didn't consider school assembly magicians were really magicians.

I wrote Bill and told him, I could no longer subscribe as I "wasn't a magician", according to him.

Interestingly enough, his wife's first husband, John Daniels,I think, had done school shows (with her as assistant)!

So, I haven't seen Mr. Giobbi's C&R rope routine. From your description, it appears that Giobbi proves once again, that, it's the performer and his presentation, not the prop. So, I thank you for mentioning it.

Post Posted: Dec 9, 2014 12:35 pm
P.S....

I've written copious notes on the C&R Rope in the book. I mentioned that, earlier in this thread. From the first printed method (Scot's "Discovery of Witchcraft, 500 years ago) until, perhaps 70 years ago, little was written about C&R except method. I think (I could be wrong) that Tarbell was one of the first that published a presentation! (Perhaps Karl Germaine, or Harry Kellar, might have, superceded Doc.)

Ralph W. Hull (remember him? The Ultra Mental Deck--"Invisible Deck" guy.) published "Fifteen Minutes With A Piece Of Rope" in the '40s. I "memorized" it!

Leon MaGuire, in "Hugard's Monthly", mid '40s, followed up with a definite improvement on the Edward Victor method, by "changing the moment". In 1954,Jack Chanin, in one hour, gave me a "million dollar's worth" of tips on the technicals of the basic C&R routine.

Ken Allen's "If You Like It,I'll Do It Again" routine (early '50s) which used a variation of the Karl Germaine method, plus Victor's method, gave me the incentive to produce my C&R combined with the Nightmare, and a bluff restoration (before Conway) that I used for about ten years to open the high school program. It KILLED! --*thanks to all those named above, who had contributed their thinking.)

Looking back, I believe that "my evolution" experience with the C&R rope is what made me really understand that: "It's the performer and his presentation, not the prop!"

So, getting back to the OP's concern: "It's not what you do, it's how you do it" was what my mentors taught me. The "number 3" in the three rules for adding a new trick is, "Figure out how to do it, so that it ENTERTAINS an audience." THAT, is the ultimate objective!

Fool them, without making fools OF them!
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oso2you
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I use a classic and simple method for c/r rope. I have always had great reactions when the "knot" uniting the two ropes is slid off and tossed out. For my money this effect will be an audience pleaser forever. Easy to see, easy to understand and surprising.

As an aside, it seems to me that many magicians simply move too fast. They don't give the audience time to see and comprehend what is happening. I think slowing down is especially important with rope magic. What say y'all?
55Hudson
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"Fool them, without making fools of them!" Well said, Dick. I am looking forward to your book.


Hudson
JayF
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Quote:
On Dec 9, 2014, Dick Oslund wrote:
HI JayF!

I haven't read Genii since Bill Larsen Jr. told John Todman (another school assembly magician, like the writer--(me)--that he (Bill) didn't consider school assembly magicians were really magicians.

I wrote Bill and told him, I could no longer subscribe as I "wasn't a magician", according to him.

Interestingly enough, his wife's first husband, John Daniels,I think, had done school shows (with her as assistant)!

So, I haven't seen Mr. Giobbi's C&R rope routine. From your description, it appears that Giobbi proves once again, that, it's the performer and his presentation, not the prop. So, I thank you for mentioning it.



Hi Mr. Oslund,

It is an honor to "correspond" with you on here!

Well, I've done school assemblies. Ray Hyman thinks I'm a real magician. Jerry Andrus seemed to think so too when he was still here. Since Richard Kaufman now owns Genii, maybe it is time to re-subscribe?

The Giobbi routine uses a different method than the "typical" C&R rope routine (no sw***h of the middle for a section near the end). The presentation is about how Houdini may have performed the trick. The presentation has kind of a mild "sucker" aspect in that the audience is led to think you may have accomplished the trick using some fancy sleight-of-hand, and then they are shown that you did not use the method they thought (kind of like the silk-to-egg or torn-and-restored napkin).

Since Genii subscribers can access old issues online, I would imagine some compeer should be able to let you see the description of the routine. If not, please PM me. I think you'd appreciate Giobbi's routine.

Best wishes,
Jay
Dick Oslund
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Hi Jay!

Thank you, but, I think the honor is mine!

I know of Ray Hyman, but, we've never met. Jerry Andrus! I met at some convention, and he really fooleld me! About 30 years ago, I was touring Oregon and Wshington, and, was able to spend an entire delightful weekend with him. He definitely "marched to the beat of a different drummer"!

Last night, a friend in the UK PM'd me and sent detailed information of Giobbi's routine. It looks very clever. At this point in my life, I'm not breaking in new material,but, I do enjoy the opportunity to look over the ideas of those magiciand whose knowledge and wisdom I respect. Giobbi is one of them.

Thanks for your input!
SNEAKY, UNDERHANDED, DEVIOUS,& SURREPTITIOUS ITINERANT MOUNTEBANK
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