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The Magic Cafe Forum Index » » The May 2006 entrée: John Carney » » Carney on pass » » TOPIC IS LOCKED (0 Likes) Printer Friendly Version

green
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What do you think about using pass as a control? I know that a lot of famous magicians like Ammar and Daryl doesn't use pass any more. But, in my own town, pass seems to be a basic sleigh of hand on card magic. Many people are crazy about practising pass and show off.
John Carney
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Hey there green,

The pass is a great move, but not right for every circumstance. If you are fixing a watch, you wouldn't use a sledge hammer......but its a great tool to have when nothing else will do. It will also teach you the discipline of sticking to something difficult until you get it. Analyzing why does it flash, why does it make noise, how to do smoother, how to do it faster, how to cover, how to misdirect...........like learning your scales, these developed problem solving skills will serve you well in other things. The way is in the training.

There is a great sculptor named Robert Irwin who suggested not just thinking about the picture, but the frame that it is in, the wall that is on, the room it is in and the building that contains them. If you think in context of each individual trick, sometimes a crimp is best......sometimes a short card or a cull. Don't try to shove round pegs in square holes. Each trick will suggest its own problems and solutions. Each has different possibilities, weaknesses and variables. Each has opportunities for misdirection.

I have learned hundreds, if not thousands of tricks and variations on plots, but when it comes down to it, I have about ten I feel pretty confident with. They are the strongest effects I know, practical under the most conditions and angles. When its time to perform, I might do THREE cards tricks. One will have the pass.

But it is also a utility move..........I can call on it when I improvise or am trying to get out of a tight spot.

I used to have a pass that I felt was up to "exhibition level". You do it for the boys at the club and they "ohh, and ahh". That made me feel pretty good, but I had missed the point. It would be better if they missed it because of your misdirection and they said, "OK, when you going to do it?"

Misdirection is THE most important part of the pass or any move. Without misdirection, it is just an exhibition of sleight of hand. This is fine if it is your intent. But if MAGIC is your intent, you have to paint it into the background, camouflaging the method.

best of luck,
Carney
michaelvincent
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Quote:
On 2006-05-11 22:29, John Carney wrote:

Misdirection is THE most important part of the pass or any move. Without misdirection, it is just an exhibition of sleight of hand. This is fine if it is your intent. But if MAGIC is your intent, you have to paint it into the background, camouflaging the method.

best of luck,
Carney




Hi John.

I found this thread fascinating.

When learning the Pass, I couldn't quite see the point other than self-indulgence.

Now after all these years, The Classic Pass when use intelligently is an awesoem concept. Let's take the Ladies Looking Glass. Is there any other technique in card magic that will produce the required outcome as elegantly? This effect incedently helped me to appreciate an important distinction about the Pass. You can use the Pass as a "control" or "to create" an effect. In each case, the pass is used with a specific outcome, that is to create a moment of magic.

I think the pass is one of those techniques in which it gives birth to our ego and then part of the journey is returning to our initial purpose and that is "art concealing art". It's a process we have to go through in order to attain mastery.........over our self (ego).

Just a thought.

Michael Vincent
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John Carney
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Michael,
Right you are.......

I use the pass as a control, but I also use it as part of an effect. In Erdnase "Acrobatic Jacks" routine, the red jacks in the middle change places with the black ones on the outside. Instead of trying to completely cover this, Vernon suggested that this is an ideal place for the Erdnase one handed shift. I misdirect them right before and try to do it as ideally as possible. But if there is a little flash, it has become part of the effect, and I ask, "Did you see them jump?"

Roy Walton has lots of great stuff, but The Smiling Mule is part of my everyday, working repertoire. I always use the Erdnase one handed shift for the finish........if they see nothing, great.......if they see a flicker, nothing is lost, as the cards have "jumped!"

Context is all important......context and intent.

jc
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