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KenTheriot

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Reply with quote  #1 
Jerry turned me onto an excellent gem from Bobo (the big hardback one, not the paperback) called Progressive Production (pg. 377).

I'm getting tripped up in one segment of the sequence, however, and was hoping there were others here who might be familiar with it.

After producing 2 coins, which are openly shown on the open left hand, there is a move from left to right that ends in displaying 3 coins openly on the right hand.

That move - left-to-right/2 coins to 3 - is not clearly described in Bobo. So I hoped that someone here had either tweaked it to their own handling, or could explain exactly what the left hand is doing after it displayed 2 coins, going into the left-to-right move.

during the production of the second of two coins, the left hand is brought down and the coins clink against each other in the left hand before the move in question. I'm interested in what happens in the left hand after the clinking coins are shown, and the tossing motion of the left hand.

Yes, I'm "talking around" the moves to avoid exposure. Hopefully you understand what I mean. I'm happy to either talk details in the Sessions room, or via PM.

Thoughts?

BTW, the rest of the routine is clear and awesome[smile]. I find myself giggling even when I'm doing it as the coins seem to multiply.

Cheers!

And thanks again, Jerry!

Ken
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Gerald Deutsch

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Reply with quote  #2 

As I explained to Ken, while I originally learned this from Bobo, I made changes to fit my own style - Perverse Magic.

I posted this to the Perverse Magic thread of the Genii Forum on October 1, 2004:

 I have two different presentations and in both presentations, it's just something that happens - I'm not doing a trick.

1          I ask a spectator for a quarter and when I get it, it becomes two, then three, then four and then five. Then, as if this is a natural way to get money and not a magic effect, I use the line that comes from one Vernon attributes to Malini (See Dai Vernon Book of Magic page 106) as I give the lender back her quarter, "Thanks, I needed quarters." as I put the other four in my pocket.

 2          I note a quarter in a spectator's purse or on the table and say, "Oh there's one!" As if the quarter is a special one.. I then make her quarter two, then three, then four and then five and I let her keep them all. (For the frugal it can be done with nickels.)

 

 

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KenTheriot

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Reply with quote  #3 
Reading and re-reading Bobo's description, I believe he must intend that the coins in the left hand go back to the original position even after the jingling and display. If anyone knows differently, let us know.

Ken
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Gerald Deutsch

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Reply with quote  #4 
Ken - it has to be what you're comfortable with.

My routine came from Bobo but I made changes to fit what I wanted. For example, at the beginning Bobo has the left hand "about chest high" and then the right hand "is brought down rather sharply" and for the entire effect I have my hands at waist level.

(As I've said, I've been a Slydini student for a long time and there is no way I could do an effect using Slydini's style. His principles yes but every effect I do must fit my style.)
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Harry Lorayne

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Reply with quote  #5 
      I'm reminded of a vignette that I've written about before. I had just finished a performance, getting my stuff
together ready to leave. And I saw Mr. Itzkowitz almost dragging his son, Saul (I knew their names because I'd met/remembered everyone in the audience) toward me. Saul was perhaps 15/16 years old - he seemed sort of embarrassed as his father brought him to me.

     And Mr. Itzkowitz said that he knew I was into magic and that so was Saul. And - that Saul had taken lessons from Tony Slydini. He turned to Saul, and said, "Now show Mr. Lorayne that coin trick Mr. Slydini taught you." Saul straightened up, took a coin out of his pocket, looked me in the eye, and said, "I'ma gonna fool you."!
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