A card inserted into the centre of the deck in a flourish swaps places with one clearly placed at the bottom of the deck.Ī Necktie appears in the action of taking off a hat.
#RIOT REPERTOIRE FULL#
A modular routine that's a superb deviation from the 'common card trick'.Ī quick flourishy production of a full fan of cards from a single card held at the fingertipsįrom a free flourish & control given to Black Club Members comes this full transposition effect. With a wave of the hand, the ring rematerialises back on the first finger. One further the rub, and the whole ring disappears. Instantly, the card has vanished - only to appear in the performer's back pocket, inside his hat, stuck to the back of the box - or wherever else he wants.Ī Ring is placed onto the finger - and then slowly melts off with a rub. A card is genuinely selected from a shuffled deck, the deck put aside and the card put back in the box and the whole thing is handed back to the spectator to hold. With a run time of over an hour of instruction and performance, I invite you to step inside that once forgotten leather notebook, and get ready for an influx of visual magic." Scattered throughout several of the routines are then variations based on those routines - I go into plenty of detail explaining every single nuance of every corner and crevasse these effects have to offer. Magic with finger rings, magic with neck ties and of course, playing cards. Inside you will find 6 pieces of magic in the form of routines, sleights and flourishes.
There is no way I will be able to translate just how visual some of these pieces are with words- It HAS to be seen. However, upon several Skype conversations, and test driving some of the effects in Los Angeles this past summer, it occurred to me they HAVE to be put to DVD. There is something about the written word that I love and always come back too. Once thinking about the idea of releasing these to the community, I started shifting towards print. I perform them regularly, but have never shown them to more than a handful of very close friends. I had a lot of these little things written down in an old leather notebook just tucked away on my book shelf, waiting for a chance, that perfect moment to present themselves. The composer predicted the controversy surrounding The Rite of Spring – but it ‘emerged’ in a more riotous way than he had hoped."This DVD is something I originally, never intended to put out. “From all indications I can see that this piece is bound to ‘emerge’ in a way that rarely happens,” he wrote in a letter to Nicholas Roerich, who helped form the ballet’s exposure of pagan Russia. It was primordial, elemental, full of complex technical innovations – and it was a brand-new ballet from the Ballets Russes, which had something of a reputation for shocking Paris audiences. Stravinsky knew that his ballet score was a landmark. There were anti-Russian, anti-Diaghilev and anti-Nijinsky factions at work in Paris, determined to disrupt proceedings before a note of music had been heard. Or did they simply desire to see something outrageous? Contrary to popular belief and contrary to the composer’s own account, it was likely not just the shock of hearing the music, nor Nijinsky’s exotic choreography, nor Roerich’s bizarre settings that prompted the riot that ensued in the theatre. “I went out, I said ‘go to hell’… they were very naïve and stupid people.” “The curtain opened on a group of knock-kneed and long-braided lolitas, jumping up and down. Stravinsky himself believed that the crowd “came for Scheherazade or Cleopatra, and they saw the Sacre du Printemps”, and were therefore upset at the level of dissonance in the score, the jerky movements of the dancers and the rapidly twittering sounds from the woodwind section.
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