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I believe that performing dangerously should be only for flying trapeze artists, not for magicians.
I’ve told my colleagues about the Classic Pass, but let me tell it here again. I squandered my youth learning and trying to perfect it.
I was proud I could do it regularly at 60 times a minute in my younger days. Later, I felt like a midget when I discovered Michael Ammar could do it 120 times a minute, or twice as fast as my fastest speed.
Yet, Ammar said he doesn’t use the Classic Pass anymore. In Daryl’s eight-volume Encyclopedia of Card Sleights videos, the Classic Pass is famously missing. It’s not clear to me what Daryl’s reason was for not including it in his videos.
If you love challenge, by all means learn the Classic Pass.
Play around with it. It limbers the fingers and softens the muscles. If you can do it with some semblance of smoothness, you will amuse fellow magicians.
You will also feel a sense of fulfillment watching yourself in the mirror or shooting a video of yourself doing the classic pass. The Classic Pass is perfect for mirror viewing and video shoot where the camera is positioned frontally dead on.
But unless you have hands as large as Michael Jordan’s, be very wary of inflicting your pass on paying public. They are not mirrors and unlike cameras, they don’t stay dead center when watching. Some of them watch from the sides where the Pass is most vulnerable.
The difficult part of the Classic Pass is not the Pass itself (although the actions involved rank among the most difficult) but how to make it invisible.
I think this is the reason why the Classic Pass has been, for years, the measuring stick used to measure the proficiency of magicians. The Classic Pass encapsulates the lessons of magic, that a sleight should be invisible.
Sadly, I have yet to see a Filipino magician who can do the Classic Pass invisibly, and I have seen the best performers. Even the so-called Invisible Pass is visible to me.
The reason is perhaps because Pinoy magicians have small hands and, notwithstanding that, a good number of them tend to show off their Pass instead of hide/camouflage/disguise it. It doesn’t help also that I’m a magician who knows what to watch for during a performance.
So in a gathering of magicians showing off their Pass, the conversation runs like this :
Young Magician: Ho-hum the Great has a beautiful pass!
Leodini: How do you know it’s beautiful?
Young Magician: Because I can’t see it. It’s an Invisible Pass!
Leodini: Invisible? Really? How did you know he did the Pass if you couldn’t see it?
Young Magician: Uhm…aah…gee…I don’t know.
Actually, he saw the Pass. In fact most people can observe the Pass when done by most half-baked performers. Perhaps not the whole Pass, but a flash of it or a tell-tale hand or finger movement.
Luckily, most people are just polite. They don’t have the heart to hurt a magician’s feeling. As a result, magicians don’t get the kind of feedback they should get often.
Once again with feeling…The Pass is a secret move. It is supposed to be invisible and not shown off like a Rolex watch.
If somebody tells you “You have a beautiful Pass”, take that as an insult and not as a compliment.
It means you are flashing your pass.
This post doesn’t mean I’m discouraging beginners from learning and mastering the Pass. The Pass is useful in many ways if it’s employed as a secret tool, and not as a macho badge to wave in people’s faces.
I’m just trying to emphasize the following points: one, the Pass is a difficult sleight to execute; two, it is a difficult sleight to cover; and three, it is not indispensable. Meaning, in most cases where a pass is called for, a substitute sleight can do a similar job. Not all the time, but most of the time.
Stay magical,
Leodini
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Bezalel Hermoso said:
I dont care whether my pinky-break get-ready is readily detectable by magicians. As long as spectator’s does not see it, I am satisfied. I dont care whether I do my Double Under Cut. It may be readily recognizable through the eyes of a magician, but it is totally innocent to the eyes of the one that we are trying to amaze – the spectators.
Try remembering the time when you were just a layman. Try to remember one magic trick that you saw David Blaine, Criss Angel, David Copperfield or whoever it is did on TV or on stage. You were probably amazed and you dont have any idea how it was done.
Now, switch back to your magician-mode and view the same performance. Now compare how you look at magic presentations now that you are a magician. Can you see the big difference?
Did you notice Blaine’s bad DLs ( as what magicians calls what they consider obvious DLs )when you were just a layman? You did not.
What magicians see in a performance is not the same as what the spectators see. So dont take take comments coming from magic critics too seriously. But mind you, dont ignore them. It still helps.
An invisible Pass may not escape the eyes of a fellow magician, because magician’s are hundreds of steps ahead any spectator.
They know the psychology behind magic and its deceptive concepts. That is why he can readily recognize which moves constitutes to the trickery; the obtaining of a break, the look of a hand which is palming a peso coin, whatever. But the spectator simply cant detect it. And that is what matters.
So please fellow magicians, stop trying to impress fellow magicians and please stop trying to fool them. Stop showing-off your Passes to each and every one magician that you know. If you do, you are too off the right track. You are setting your crosshair on the wrong target.
Im not saying that showing and asking whether your Pass is good enough. Just choose the right magicians to question. Dont take “Sorry, but I can see your pass” comments or “You got an Invisible Pass” from magicians seriousyl. Because they are simply not the right persons that you should ask.
On contrary, I disagree with Leodini about taking “You got a beautiful Pass” as an insult. You might be right at a certain philosophical point Leodini, but it just doesnt matter in the real-performance world.
Ask Experience Itself – experiment on your self first and when it comes to the point that you are quite satisfied, experiment it to the laymen, no to magicians.
Only through the eyes of the laymen you can see whether your magic is good or not.
Astonishing your spectators is only what matters and counts – not fooling fellow magicians.
Sorry to those who I offended because of this comment. I just want to speak out my mind.
Alel
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leodini said:
Hi Alel,
Thanks for sharing your thoughts.
Don’t be so apologetic with your comment. You are welcome to speak your mind here, even if your views are contrary to ours. I always believe that when two persons agree with each other all the time, the other one is dispensable. I also believe that we learn quicker if we examine an issue from different angles.
The “You have a beautiful pass” as an insult is said tongue-in-cheek. It’s an inside joke between me and magician friends.
Again, thanks for sharing with us your ideas.
Stay magical,
Leodini
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Bezalel Hermoso said:
Ah…I see…hehe
By the way, I want to add that I think when some of you magicians out there want to practice making your Pass, there is nothing wrong with it. But always remember, a Pass without the slightest misdirection is always visible and recognizable through the eyes of your fellow magicians. It is just simply impossible.
The best Pass that I ever saw was Akira Fuji’s. Very subtle. Yet, it is still sliiightly recognizable. But it is undoubtedly very invisible through the laymen’s eyes.
The Pass works best if done with a subtle misdirection. An in-your-face face-to-face square-off showcase of your Pass would be inevitably recognizable. A side-ward swing of your upper body from left to right as you Pass and talk really helps. Also a clockwise whole-body spin as you move towards the right hand side of your spectator ( or the “major” spectator in the crowd ) really helps too. It could be under the guise of you moving closer and positioning them slightly over our left shoulder to show the fairness of the situation. It is very much workable in the streets. But obviously, it does not work on a formal-ish setting where you got a table in front of you. If that is the case, I recommend the swing misdirection. Just pick up the exact moment to do the Pass as you do the swing or spin. I do the Pass with the spin misdirection when I am completely surrounded. I am never called on it.
But it is also good to set your limits high. You will get a better Pass that way. But remember, fooling those who know the Pass themselves is impossible; unless you can get to misdirect them from seeing it.
If you want to see a magician that can really fool you with his Pass, see Daniel Garcia do it. Very deceptive misdirection. It works even if you have a poor Pass.
Happy Passing! *smile*
Alel
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leodini said:
Hi Alel,
Thanks again for dropping by and sharing your knowledge. I’m sure our readers can take some serious lessons to heart from the insights you shared.
Have a magical day.
Leodini
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Bezalel Hermoso said:
No sweat Leodini…hehe
But to the guys who are really totally focused on the Pass, you are missing a lot.
Please dont overlook the power of other card controls; the Over-Hand Shuffle, the Double Undercut, James/Ellis Move, the Double Lift ( I think the Double Lift is more convincing than the Pass ) and lots lots more.
I used to always do the Pass. But I later realized that there are other equally effective moves; but less the difficulty. Check them out. ]
If you have the idea that people will think that you are doing some sneaky things when you do something with the deck – you are wrong. Just do it with every essence of noncholance and you will be better off than doing the Pass.
The Pass is not a requirement to being a great cardist. Knowing the Double Undercut and the Over-Hand Shuffle is enough.
It is quite alarming that some magicians treats the ability to do a Pass is a status symbol in cardistry. It isnt.
You can brag all you want that you know the Pass. But it doesnt really matter.
Remember, the ability to control a card is very important in card magic. But it doesnt need to be the Pass.
Alel
Note: I have a pretty good Pass. But I dont use it any longer in real performances. I find that the Over-Hand Shuffle + Double Undercut is as effective, more convincing, and much much more easier.
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leodini said:
Hi Alel,
That’s the point of my article, but you articulated it far better than I did.
I wish I had the same keyboard you use typing your thoughts. It seems words flow more cogently from your keyboard than from mine.
Just kidding.
Stay magical.
Leodini
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Bezalel Hermoso said:
Probably you forgot to take off your thumb-tip while typing Leodini. That was my problem once, until I noticed that the Space Bar in my keyboard was missing. I found it only when I took a bath…*smile*
Alel
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leodini said:
Finally, I’ve met my match!
Leodini
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Bezalel Hermoso said:
Ohhh!MySpaceBarkeyvanishedagain!hehehe
Alel
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Peter Jakobsen said:
Hi Leodini,
I’ m looking around on your site. Cool site and a lot of fine thoughts 🙂 I too practiced the classic pass for years, but never used it. Until I learned the spread pass. In informal close-up situations it is completely undetectable and you can do it in slow-motion:-)
A comment on performing dangerously… There is ONE good reason why it is important to perform dangerously in the meaning to use difficult skills, to take a risk: It gives you energy and charisma. It you only use easy stuff or self working tricks you will not have the same inner pride and the spectator can sense that.
Keep on the good work,
-Peter
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leodini said:
Hi Peter,
Thanks for your visit. It’s nice of you to share your success with the spread pass, especially because you can do it slowly. I always love to watch magic done slowly than fast.
As to performing dangerously, you have just suggested to me a topic for a future article.
Thanks again, and stay magical,
Leodini
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Cynthia Sharp said:
Great article! The length of time have you been operating your website?
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