Daryl,
First I'd like to thank you for taking the time to this. Your a class act.
I have studied the ACR inside and out including your routine. I think you used great structure. Its an outstanding routine.
I wondered when you faked the top change at one point if you did this to get your spectators to think "switch" as a possible solution?Or was just a gag?
Thanks again for your time.
Jeremy

Jeremy: I’m not sure, it depends on where my head was at the time. I understand the basic structure of my routine, but I tend to play a bit with the audience as I go along. If I did the fake Top Change action just before handing the card to a spectator on my left (in preparation for the LePaul Bluff Pass), then I did it so that the spectator would have a REASON to look at the card. I then say, “I would have looked too!” This gets a laugh, it puts all the attention on the Ambitious Card and it creates misdirection to cover the Bluff Pass action.

Brilliance. Simple brilliance in what many will only see as a gag or "blow off". It bears repeating... Brilliance.

Thanks Daryl. yes this was when it was done just before the bluff pass.It good to there was reason.
jmac

Daryl,

I have been doing my version of your routine for some 15 years now. I thank you for the inspiration. You can check it out here. Please comment.
http://www.youtube.com/watch?v=kU-60XXJ5m8

So if you didn't want to go for the laugh you could of left out the fake top change without hurting the routine. Correct? Simply handing them the card is enough misdirection for the Bluff Pass.

, Jonathan

Jonathan, beauiful work. I usually get bored by many versions of the ACR. Your version got the reactions it should get. BRAVO!!!

Thanks Chris!

Jonathan: Thank you for sharing your routine. It looks GREAT! I particularly liked the bit with the “X” on the back of the indifferent card that turns into the Ambitious Card. Excellent!

You’re absolutely right about leaving out the fake Top Change action gag and not having it hurt the routine. It’s one of those things that I do if the mood strikes me but I don’t if it doesn’t. It’s all part of the fun.

Daryl,

Thank you for the compliments . That means a lot coming from you . I have always admired your work and loved your lectures.

, Jonathan

Hey Kamm: LOVED that routine! Smooth as a baby's bottom.

Kamm, has some nice chops that's for sure.
jmac

Daryl, Here's the quote from Daryl's first (?) book, Secrets of a Puerto Rican Gambler. I think it was written up by a Stephen Minch.

Not far into this work you should be ready to observe the workings of the Second Rule of Darylism. He calls it "canceling". The formula runs thus: "Each time you do something in a routine, try to figure out what possible method a spectator might surmise for its explanation. Then structure the next portion of the routine to knock over, or cancel, this possibility in the audience's mind." (...)

That said I thought maybe you used the feint on the top change to cancel the thought of the card being switched. This also lets the spectator place THEIR CARD card IN THE DECK. I think that's a nice touch.
Your rule shines though the routine inside and out. I liked how you lead the spectator in, and the ultimate conviction you get by the end of the routine. "its really thier card" "its really in the middle" "its really on top" and you "did nothing" to get it there.
Do you feel those four things make the ACR complete? Outstanding routine.
thanks again for your time.
jmac

Hey Kamm, looks great!

My only concern is the length of the routine. Do you always do that many phases for lay people? It just seems like lay folk get the point after 3-5 times. I used to have a ton of phases but the more I performed the more I realized that sometimes less is more. You know the old saying "leave them wanting more".

I would like to hear your thoughts on this Kamm and would love it if Daryl could shed a little light on the subject of ACR phases, how much is too much? I remember Daryl once saying that he likes to "jazz" this effect. Is this what you do Kam? How bout others?

Hi I would also like to pick your brains regarding where to go with my ACR whilst there is a gathering of expertise on the subject. I currently do a simple routine with a card to mouth and finishing with the braue pop-up move as a finale. I would also be interested to hear your thoughts on ideal duration when performing for lay-people and what points of reference I should have in order to take my ACR to the next level. Any advice will be greatly recieved as I love the premise of this trick.

I am a restuarant walk-a-round and bar performer. My ACR is my flagship routine. If they have never seen me before they get my ACR. My ACR can be 1 phase or up to 14 phases last I checked. But that's the beauty of the ACR its perfect for my working environment. It can be stopped at anytime for what can be many interuptions in a restuarant or if you have the time and they are enjoying it you can do a full extended routine. It is my most valuable routine. The routine you see in the video is the standard number of phases I use. If I see they are preoccupied, not interested, or not enjoying the magic I can pull the middle phases and go right for the ending. I would say "Yes" an ACR is certainly a jazz routine.

, Jonathan

Hi Jonathan,

Great video of ACR! What is the move (and where can I learn it!) that you do when doing the routine with the card face up where you show the backs of the cards then the AC is 'flipped' and appears on top?

Larry

[quote]On 2007-09-25 12:51, Daryl Easton wrote:
I particularly liked the bit with the “X” on the back of the indifferent card that turns into the Ambitious Card. Excellent!

I agree with this to some extent. I think the "X" bit is a great effect, and a very nice handling. But done in wrong context. Lets say this, if the spectator is truly thinks their card is the out jogged card. with no "X" and a different card is selected and an "X" is placed on it on the top of the deck. Than it becomes the Ambitious card. Could this lead an intuitive spectator to beleive that the out jogged card wasn't really their card. Or maybe the magician could move the ink from one card to another somehow. Just my thoughts, JMAC

[quote]On 2007-09-26 13:21, JMAC wrote:


In my experience I don't find that to be true and as the video demonstrates this phase is the strongest phase of the routine and fits the context of the routine very well. I have had people grab for the card that is sticking out. But not to look at it, only to put their finger on it so that it doesn't go to the top. This makes me giggle but it does show how much they are believing the illusion.

, Jonathan

Jmac: Yes, you’re right. I do the little things I do for many different reasons. It is not necessary to have only one reason for your actions. There are different levels of play going on here. It’s all part of the fun!

Hart: Your question about how many phases are too many is a very personal thing. I do not believe that there is any right or wrong answer to this. It depends on MANY different things such as you, your performing situation, your audience, your level of skill, your ability to make each phase stronger than the phase before, etc., etc., etc. I agree that often less is more and that it’s a good idea to leave them wanting more. Having said that, there is also something very satisfying about leaving your audience with absolutely NO CLUE as to how you could have done something that is both simple and yet impossible. If I feel that my routine is not creating interest and getting stronger after two or three phases, I’ll immediately finish with the Pop Up Move and then move on to something else. Jazz magic rules!

Magic Fingers: I think I have some great advise. Follow you heart! Do what you feel is right for you. I don’t believe that there are cut and dried answers to these types of questions that apply to everyone. Nor should there be! Ideal duration? If you suck, then one minute is too long. If you’re a master and you’re killing your audience, then an hour may be too short! FEEL your audience and if it seems their attention is waning, bring it to a close and move on.

Jonathan: Thank you for your post. You hit the nail on the head and it’s obvious to me that you truly understand the beauty of this effect. When you cause the Ambitious Card to visibly rise to the top while the card is face up, that’s the only time I use “that move”. I usually say something like “I’ll do it in slow motion so that you will actually see the card come to the top” then I’ll do the fastest “move” I can. If anyone says they think they say something, they’re hooked and I move on to other phases that use different techniques. The game continues.

The routine I use most often is about the same length as yours. I will admit that for a week at the Magic Castle (about 20 years ago), I performed a routine that was 39 phases long. I did this for my own amusement – just to see if I could get each phase to build - and I have NOT performed a routine this long again since.

I also agree wholeheartedly with your last post. If your audience likes what you’re doing, then you MUST be doing something right. One could over analyze this trick to death with theories, but in the end, let your audience reactions be your guide