Folks have talked about Reed McClintock's ground-breaking final loads for the Cups and Balls in "Defiance II". Indeed, that was the reason that I bought the booklet in the first place. About them, I can only say that they are "almost practical" -- tersely described and leaving altogether too much to the imagination. The first time I tried the routine (for a friendly crowd) I was signalled in no uncertain terms that the method would NOT work as I had understood it. With a bit of restructuring (perhaps of my understanding rather than the routine-as-given) I was able to more than make up for the original failure on the second performance. The [i]idea[/i] is ground-breaking, and, frankly, I needed that ground broken.
I've been doing the Vernon routine since High School, watched Gazzo every summer when he visited Halifax, and studied the Mendoza, Elmsley, Wonder and Carney routines. But until reading "Defiance II", I was NOT inspired to make the Cups and Balls part of my working repertoire: I needed to KNOW that the response to the routine would be sufficient to justify the toting around of those big hunks of metal. I am now convinced. That's how good "Defiance II" is.
The clincher for me is not so much the final loads but the audience involvement. I've seen too many performers turn the Cups and Balls into a "watch how well I can do all these moves" spectacle. Reed's routine inspired me to develop a routine that [i]really[/i] involved a volunteer, and for that, I'm immensely grateful.