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Rudy Tinoco

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Reply with quote  #1 
One of the best lessons that I've learned from Harry Lorayne is how to keep rolling through a blunder 😉

In the video below, I goofed, but was able to get out of it ok.

This is "Royal Impossiblity" from Harry's book "Special Effects" as well as volume 2 of The HaLo Project - The Magic of Harry Lorayne.



Rudy

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Anthony Vinson

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Reply with quote  #2 
And... You recovered with a great and underused Harry Lorayne utility move!

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Rudy Tinoco

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Originally Posted by Anthony Vinson
And... You recovered with a great and underused Harry Lorayne utility move!

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Good eye, bro!!

I’m not sure what happened, but it wasn’t the first time that the last card was off by one. I took note of it’s position the first couple of times that I louses it up and just hoped for the best when it happened again. Luckily, in this case it worked!

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Rudy Tinoco

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The reason why I goofed on the last card is because I didn't faro the cards correctly. It needs to be an in-faro.

Rudy

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EndersGame

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Reply with quote  #5 
Nice recovery though - well done Rudy!
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"Instead of attempting to learn a great number of tricks, concentrate upon a few good tricks and master them so that their technique and their presentation is so excellent that those who see them will want to see them again." -Expert Card Technique
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Rudy Tinoco

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Originally Posted by EndersGame
Nice recovery though - well done Rudy!


Thanks EndersGame!

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Stevie Ray Christian

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Reply with quote  #7 
For me, the most valuable piece of advice I received from Harry Loraine, is to practice sleights within the context of the effect.

That being said, I routinely practice a false shuffle sequence, the spread cull, peeks and the top change. Maintaining those four moves, increases my confidence that I can jazz my way out of any mess I might create.
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Dave Campbell

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Reply with quote  #8 
I've been working on making a habit of spread culling all 13 sets in order, and repeating any failures, and trying to do that twice a day. Eventually I hope to get smooth at it .. because as you've pointed out, there are many uses for it!
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Stevie Ray Christian

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Reply with quote  #9 
Wow, Dave! That is quite a drill!

I go for random fours of a kind. Jason Ladanye features that type of cull in one of the routines he teaches… It not only makes for an amazing production, it really does prepare one for the inevitable screwup.
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Dave Campbell

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Whoa...

Methinks you may be giving me more credit than due after reading your kind comments and my post.

What my drill is...

I cull all the aces, and if I didn't screw up, I then cull all the 2's, etc. through the Kings.

Can't imagine culling all the quartets in order... aieee… now my headache is coming back 😉

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Stevie Ray Christian

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Reply with quote  #11 
I think we are both giving each other too much credit! I do like the discipline of your exercise… I’ll spread the deck spot a random card and cull the mates.
In the context of the Ladanye routine, I need only cull three mates.

Here’s how I use it if I foul up and have no idea what the missing selection is… “This happens every once in a while… I’ve lost your card.” I begin to spread face up… “Help a magician out… Tell me which card you selected please... I need a do-over”

As I cull the mates, I have a spectator re-select their card face up...

“See, while far less entertaining, this makes it impossible for me to fail.”

I take the card from them while visually emphasizing its singularity. “Sometimes the cards get stuck together, making the magic very difficult to perform.…”

At this moment, I use a flash production, of my own devising (And by that I mean Ed Marlo thought of it in 1957) and all four mates appear in the spectators’ palm or the table top.

If I get a chance to attend the Saturday session, I’ll demonstrate this.
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Anthony Vinson

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Reply with quote  #12 
Quote:
Originally Posted by Stevie Ray Christian
For me, the most valuable piece of advice I received from Harry Loraine, is to practice sleights within the context of the effect.

That being said, I routinely practice a false shuffle sequence, the spread cull, peeks and the top change. Maintaining those four moves, increases my confidence that I can jazz my way out of any mess I might create.


I like Harry's advice and believe it to be practical most of the time. But as you illustrate, there are certain utility moves that require constant, consistent practice to maintain muscle memory and mastery. I, too, spend time daily culling quads, practicing my Top Change - which is still far from perfect despite the practice - in-the-hands false shuffles, and a couple of controls. I also routinely practice the Biddle Steal just to keep it fumble-free. Beyond those, other sleights are practiced only within the context of tricks requiring them. Works for me.
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Stevie Ray Christian

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Reply with quote  #13 
I should say, ultimately, I found a way to incorporate all of those sleights into select routines. The top change is a good example. I use it in an “ambitious” sequence leading into Williamson’ s 52 cards to pocket.
I have the move timed with a laugh line. I remember reading about the top change from expert card technique and Derek Dingle while thinking, “I’m going to be so busted when I try this move” Turns out, it’s The presence of spectators that helps one gain confidence in the move.
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Rudy Tinoco

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Quote:
Originally Posted by Stevie Ray Christian
I should say, ultimately, I found a way to incorporate all of those sleights into select routines. The top change is a good example. I use it in an “ambitious” sequence leading into Williamson’ s 52 cards to pocket.
I have the move timed with a laugh line. I remember reading about the top change from expert card technique and Derek Dingle while thinking, “I’m going to be so busted when I try this move” Turns out, it’s The presence of spectators that helps one gain confidence in the move.


I've seen Steve do this. He's obviously put lots of practice in to make it look so good.

Rudy

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Stevie Ray Christian

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Reply with quote  #15 
Thank you Rudy!
There is a saying amongst musicians… “Real growth takes place on the bandstand.”
I believe the same holds true for magicians… And bold moves like the top change prove the point.
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