“The second phase is a tutorial for how you did the first phase”
-Eugene Burger
I want a genuine and rational debate
- Thread starter 010rusty
- Start date
“The second phase is a tutorial for how you did the first phase”
-Eugene Burger
Can't stand that meme. The dude in the picture is known for being transphobic.
It's all about the structure of the performance.
When I busked I used to use CO as the second card trick. The first was "Pre-Cannibal Cards". So they'd see the fronts and backs in the first trick, and see a card teleport from one place to another. Then I'd hand the deck to someone and turn my back, tell them to go through the deck and find any card they liked, tell me when that's done. Turn back around, do phase one, and BAM! Magic moment when back design changes. Set that stranger card aside and have everyone pin it down with their fingertips. Another card selected, lost, and BAM! card changes under their hands.
I used that for ages and it really set the tone for the rest of the performance. They were assured I knew what I was doing and they'd have a good time.
It's all about the structure of the performance.
When I busked I used to use CO as the second card trick. The first was "Pre-Cannibal Cards". So they'd see the fronts and backs in the first trick, and see a card teleport from one place to another. Then I'd hand the deck to someone and turn my back, tell them to go through the deck and find any card they liked, tell me when that's done. Turn back around, do phase one, and BAM! Magic moment when back design changes. Set that stranger card aside and have everyone pin it down with their fingertips. Another card selected, lost, and BAM! card changes under their hands.
I used that for ages and it really set the tone for the rest of the performance. They were assured I knew what I was doing and they'd have a good time.
The picture is of Stephen Crowder who is a Canadian/American Comedian/Commentator. Stephen goes on college campuses to have civil discussions with people about controversial topics and urges people to "Change His Mind" on the topic.
@010rusty is using a picture of Stephen's "Change my Mind" table and asking for a debate on the virtues (or lack thereof) of the Chicago Opener card trick.
I can completely see where you're coming from. It isn't a great routine when done by itself. It doesn't have a ton of room for presentation by itself and is somewhat slight intensive. I could probably rant about how it isn't great here.
But instead, I'm going to play Devil's Advocate, because it's fun. There are some big points that the trick gets right. I'll try and keep it short.
Firstly, it is entirely visual, and if done correctly, seems to go instantaneously. The routine itself is set up to have almost all the work done a step or two ahead of the spectators.
Next, it's easy. It's a great beginner's trick, leaving you little opportunity for messing up once you get a couple moves down. It may be slight intensive at every step, but you're never grilled while doing the slights, which are themselves quite basic.
It can also take place outside of the magician's hands, giving you that opportunity for patter, and also making it much more personal.
It also allows for complete customization to suit you. It is a very basic set up that anything can be added to. You can add a single step and take it to a whole 'nother level. I especially like @obrienmagic 's "Chicago Closer" rendition of it. It can be used to start a routine, end a performance, or just be a linking routine from one thing to another.
So in and of itself, it's hard to work with, yes. But it truly works as a blank canvas which you can add anything to and perform it how you like to drive a routine home.
But instead, I'm going to play Devil's Advocate, because it's fun. There are some big points that the trick gets right. I'll try and keep it short.
Firstly, it is entirely visual, and if done correctly, seems to go instantaneously. The routine itself is set up to have almost all the work done a step or two ahead of the spectators.
Next, it's easy. It's a great beginner's trick, leaving you little opportunity for messing up once you get a couple moves down. It may be slight intensive at every step, but you're never grilled while doing the slights, which are themselves quite basic.
It can also take place outside of the magician's hands, giving you that opportunity for patter, and also making it much more personal.
It also allows for complete customization to suit you. It is a very basic set up that anything can be added to. You can add a single step and take it to a whole 'nother level. I especially like @obrienmagic 's "Chicago Closer" rendition of it. It can be used to start a routine, end a performance, or just be a linking routine from one thing to another.
So in and of itself, it's hard to work with, yes. But it truly works as a blank canvas which you can add anything to and perform it how you like to drive a routine home.
I would argue that the double turn over is not a basic sleight, even though most books treat it as such. It's actually fairly difficult to do well.
I think the Chicago Opener is one of the best tricks out there. I love it. I don't like many of the so called improvements out there.
Surely I'm missing something with the Eugene Burger quote. I've been doing the trick off and on for over 15 years, I don't remember the last time an audience wasn't completely stunned by it.
I've had more issues with the rub a dub vanish than I have the Chicago Opener.
Surely I'm missing something with the Eugene Burger quote. I've been doing the trick off and on for over 15 years, I don't remember the last time an audience wasn't completely stunned by it.
I've had more issues with the rub a dub vanish than I have the Chicago Opener.
It's been a while since I've reviewed Eugene's comments on the trick, but the gist of it is that all the moves are done at the worst time possible - basically when the audience will be looking at your hands, specifically, and that the second phase gives away how the first phase is done if the audience is paying attention and thinking about it.