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The Magic Cafe Forum Index » » Knots and loops » » Professor's Nightmare help! (0 Likes) Printer Friendly Version

close-up
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Please keep in mind when responding, I'm not looking for what someone would consider the best PN routine ever put together. I already have my own routine. What I'm interested in is purely from the spectator's perceptive. Keeping in mind, usually the simpler and less convoluted, the better. I'm looking for the most deceptive set-up of the 3 ropes at the beginning of the PN routine. That is, displaying the 3 different lengths of ropes, when the ends are brought up into the hand prior to stretching them to all the same size. Specifically, I looking for the most deceptive, from the spectator's point of view handling.
Bill Hegbli
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All I do is reach for the small rope behind my left hand fingers. This covers the required placement of the rope. I then just slide my hand, while holding the small rope down, then lift the small rope up to make it even. No one has ever questioned my handing as it is at the beginning and happens so fast it is simply seen as grabbing the rope between the index and thumb. Note: My second finger tip helps in the lifting of the necessary rope.

Many have discarded this move for the Karroll Fox placement found in one of the Supreme publication's, which eliminates lifting and matching of the rope ends altogether. I feel this removes an important part of trick. Others don't. It also shorten the trick down so much that it is not much of a miracle.
cmccrea
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Richard Sanders does a version on his DVD Fibre Optics Extended. It doesn't require you to bring the ends up. Just a little move when you are replacing the ropes in your hand after examination and you are set. Worth looking into.
Bill Hegbli
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Quote:
On 2014-02-20 19:17, cmccrea wrote:
Richard Sanders does a version on his DVD Fibre Optics Extended. It doesn't require you to bring the ends up. Just a little move when you are replacing the ropes in your hand after examination and you are set. Worth looking into.


That is Karroll Fox's great handling, I guess Sanders' did not give credit, or no one bothers to read the credits at the end. Don't own Sander's DVD. Also most of this material is taken from Jose De La Torra book, he passed away a few years ago.
Dick Oslund
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I have used Karrell's handling on the PN since Karrell showed it to me. (Long before the book came out.) If I remember correctly, Karrell had noticed that the U.F.Grant move for Grant's "50-50 Cut and Restored Rope" would work for the PN.

Karrell also developed a very neat "return" to the odd size ropes. I've used both of Karrell's ideas for (I think)at least 30 years.

I had bought the PN from Gene Gordon in the spring of '59. I liked the effect, but I didn't like the original set up move. To me, it looked too contrived.

BTW, Slydini didn't like the "return to different sizes". He felt the climax was the stretching.
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Bill Hegbli
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My experience with this secret move is as I stated, there really is not beginning. Dick Stoner now uses it more as a close-up trick, thus he hands the ropes out for inspection. He feels that this is all important to this rope trick. The trick, in my opinion, loses something in the presentation if you just take 3 different size ropes and then magically stretch them to all the same length, and use the gag optical illusion explanation for the ending, showing 3 different size ropes again.

Never performed this as a close-up trick, only stand-up in my rope tricks section. Introducing - matching, I personally feel give the "fairness" to the trick, and thus, it is not necessary to hand the ropes out. I handle the rope at my finger tips and my count is very slow and very open. Not to mention fool proof as well. I personally don't go for the trailing rope from hand on the 2nd and 3rd counts. I guess I have to backtrack a little, I have shown the trick close to a spectator standing right next to me. When I worked in a magic shop and when performing the trick not on stage, I would hold my hands open so the person could look done on my hands and rope as I counted the ropes.

I have to say, with all the arguments for different handling of the beginning moves mentioned, are outweighed by the after show comments I have received. This is one trick they consistently remark about from the show. This has been my experience over the years.
Julie
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Gene Gordon's original storyline about your college professor provides a logical and entertaining reason for returning to the three different sizes and leaves you in a natural "applause cue" position...

Julie
Pete Biro
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In my book, "Give a Magician Enough Rope" I show how to start with one rope and finish with one rope. javascript:InstaSmilie()
STAY TOONED... @ www.pete-biro.com
bowers
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I pass my rope's out for inspection
also before performing this.And use
Karrell's handling too.
Todd
David Fillary
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"BTW, Slydini didn't like the "return to different sizes". He felt the climax was the stretching."

I would have thought that too, but I always get a second, louder gasp when they return to normal.

When performing for kids and highly sceptical adults, they have told me afterwards that they thought I must have switched the ropes when I took them back from inspection (even though they never left their sight; but they reasoned if I could get a lemon under a cup in plain sight, a rope switch wouldn't be so hard!). However, turning them back negates this, so I think this is why it gets a bigger reaction.
rklew64
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Check into Dan Tong's working.
Bill Hegbli
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Quote:
On Mar 1, 2014, rklew64 wrote:
Check into Dan Tong's working.


Why?
MRSharpe
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If you use a handling where you let three spectators each examine one of the three ropes, take back the smallest first, then lay the longest crossed over it, you can then lift up the lower end of the smaller and drop the upper end of the longer rope on your way to get the medium rope back. Simply lay it over the other two and then all three appear as they should if you were holding them in one hand without being looped together. Then you can pick up the lower ends one by one, longest to shortest for the stretching sequence. It looks very clean and visual. If this doesn't make sense, Daryl shows this on his rope magic videos if they are still available. The moves are probably in print somewhere, possibly in George Sands' books, but I can't say for certain.
Custom Props Designer and Fabricator as well as Performer from Indiana, USA
Dick Oslund
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>>>DAVID~! I agree! I just mentioned Slydini's opinion! I have always "completed the circle" --I return the three ropes to short, medium, and long. And, yes, I get a big mitt when I do. I need the long rope (mine is 51" long) as I finish the rope routine with "my" Norwegian YOYO. (YOYO is a juggling bit with rope. It's hard to describe. Denny Loomis asked me to put it on his "Dennis Loomia Knot Routine DVD. I got the bit in a session with a bartender (magician wannabee) in 1951. I've used it ever since!

From your posts, I think that you are really progressing. --Best wishes from this old "geezer"!

>>>MRSharpe! I like your description of the necessary set up moves for PN! Bob Csrvet's set up move was, IMO, the 'weak spot' in his fantastic rope trick. As mentioned above, I spent the huge sum of $1.00 with my dear old friend, Gene Gordon, in April 1959. I didn't put it in the show until 1971! I needed the EFFECT for the PUZZLING ENVIRONMENT TOUR. Denny Loomis, whom I was mentoring, and I, spent a day working on it and the result was a combination of Slydini's "cut" to achieve the three odd pieces followed by the Karrell Fox adaptation of a "Gen" Grant concept (his 50/50 C&R Rope) which was later used by Doug Henning (with Bill Cosby) on Doug's first TV Special,to set the ropes for the PN. The PN was "finished with a bluff restoration to one length of rope. --This was long before the CONWAY bluff restoration was published. The whole routine was used to "sum up" the points made in the PUZZLING ENVIRONMENT "lecture" program. It proved to be so strong, that I put the PN in my 'regular' show. --And, it has stayed in!!!

When I pick up the three ropes, I silently "thank" Bob Carver for his brain child, and Gene Gordon for showing it to me.
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