Search results

I would personally say no

Pialli (hello) and Ximopanōltih (welcome) who are some of your favorite magicians/mentalists/performers and a non-magic question, who are some of your favorite bass players?

Aren't you the one that admitted Criss was your idol :cool: :D

With this effect, which I have never cared for, depends on what you want to sacrifice for performance do you want to touch the deck, do you want it to be shuffled and inspected before, can you process formulas and mind-techniques fast, etc with Asi's, you have to touch the "deck" and if your...

One I have always used since before I knew it even existed is "Pughe's Pass", Chris Brown has some work on it for his Orbit Control (the control to cop is underrated) with some finesse, you can do it surrounded there is always a Straddle pass, something you can always use to get into a palm

4for4 Switch - Chris Kenner https://store.theory11.com/products/4for4-switch-chris-kenner

I would say the Classic Pass... yes.. in the way that some people obsess about making it "invisible" and their entire practice is them in a mirror or a camera and it shrinks the entire "space" of their focus and performance, so in a live situation the entire "focus" is shrunken down to this...

*lights Molotov*

to add on to the above advice ^ Yes, to think of it more as direction vs misdirection, the last thing you want is for an audience to feel they have been forced to "look" a certain way, or place, or forced in a certain direction and then something happens, versus a natural "direction" that has...

yeah, I believe him and Bob were friends before Bob died

this most "difficult" thing about Asi Winds version I would say, is the mind work+math plus the "move" it requires fluid, smooth and correct pacing to achieve it also, you can look into "Flip Shift" by John Born

http://marketplaceofthemind.com/products/artfment2/

what situation are you going to be in? stage? close-up? parlor? what is the context of the routines, because different methods would look more natural than others

there is a lot of.. outdated material out there... and also a lot of "modern" material that is overpriced and just redoing "older" principles/methods it really depends on what kind you want to perform, and what you are willing to "sacrifice" to get there... meaning: understanding what you need...

once you have certain... "tools" and "techniques" you can pretty much do anything, because you can apply them and combined them I would recommend the "Acidus Novus" as a peek to learn and work, also Peek Performances and Peek Encores by Richard Busch is a quality source for various "peeks" I...

Depends on what kind of Mentalism you want to do, are you looking for effects, or do you want theory, or do you want principles/methods etc

Yes, Stopped by the Cafe a couple of times, and it was Mostly Lorayne trying to sell every book he has ever written, the "established members" complaining about the "young magicians" and everyone using ******* for everything... RE: your "Election" presentation, yes, to me, at times, a lot of...

an argument at the Cafe... an argument with a children's performer... I am shocked ;) this is why I always have a lot of issues with "comedy magicians" a lot of them seem to try and apologize for their magic with comedy, it is one thing to not take yourself seriously (if that is your goal) but...

I would say it also depends on the situation, performance venue etc but we can take that further, how many "moments" are there and how much space between actual "magic" or I should really say "moments" how many mentalists have we seen where the speak for 30 minutes and it ends up being an...

agreed, "Light and shade" tension and release, however you need to describe it, and not only "words" need to achieve it, again as an example, look at Blaine and others who take a minimalists approach to the performance, but that is not saying they are only giving it 50% or going through the...