I'm just learning CMH and I was wondering if anyone has been able to perfect the technique with their back to the audience... like if you were really handcuffed? I was messing around with it a bit, but I shot the rubberbands all over the place and couldn't really see how it looked in the mirror.

Also, does anyone have any tips for not getting that twang sound when I do the moves?

And since I'm going crazy for cmh... anyone have some good party patter for it? Or do you think the illusion is strong enough without it?

Ok - I've seen a lot of other posts on this topic and have some pretty good ideas for patter now... but what about the other 2 questions?

<sigh> One more question that I didn't think of... how do I get that rubber band taste out of my fingers?!

The degree of twang really depends on the type of rubber bands. I use #19s from Staples. You will get a smoother performance from gold crepe bands (you can order these from Viking office supplies online).

As far as behind the back and patter, I don't think either is necessary. As part of a series of penetrations, or on its own, CMH always impresses. I have been doing the following routine for a couple weeks now, and I like it a lot:

- Jo-Dan link (from Elastrix vol 2)
- Back Together (from Dan Harlan's video vol 1)
- CMH

For this routine, it is usually enough patter to ask the person if she's ever seen 2 rubber bands linked before. If I really need them to look at my face, I say something about the history of rubberbands, Charles Goodyear, or something about mobius bands. Then after linking and unlinking them, you explain that it is just as easy to penetrate both strands...

Ben:
To get rid of that degree, as you refer to it...you should consider that rubber bands actually sound different depending on where you buy them. For instance, those bought on the West Coast have a more muted sound than those bought on the East Coast. And you should take care never to mix them.

It's true...I mean, the noted magician Rudyard Kipling referred specifically to this phenomenon, writing:

"East is East, and West is West, and ne'er the twang shall meet."



(sorry, I couldn't resist.)

The amount of "twang" could be controlled by the direction you move your right hand in. If you move it more to the right instead of away from you it doesn't sound at all.

Funny how I've never had a "twang" problem. But I'm in Malaysia which is in the Far East so maybe what stevepr104 said is true, ".... never the twang shall meet" (I couldn't resist either..)
Seriously though, as far as patter is concerned, do what Eugene Burger advises, research and use your own experiences. Get the technical side down pat of course, but you don't wanna be performing like someone else character wise. Simply be yourself. So, what storyline comes to YOUR mind when you see two rubberbands linked and unlinked like that?
Or you could just walk up to someone on the street (actually not ON the street but on the sidewalk!) and say "Look, look... Watch, watch..." (I'm kidding... Sorry DB!)
As far as doing it behind you as if "handcuffed", the audience must first realize that the trick is called "Crazy Man's Handcuffs" to make that association with your action. I don't think most do though....
That's all I have. Hope it helps some..

Well, I was just thinking of the behind the back thing, if I was using a story about how they were handcuffs.

I've heard so much talk of CMH, that I've finally been driven over the edge. I can only go on what I've assumed, but what is the effect of crazy man's handcuffs? From the descriptions it appears to be different than the linking rubberbands effect that I know. The one where a rubber band on each hand is held as if it were going to be shot (wrapped around the thumb and pointer finger) and then the rubber bands on each hand penetrate each other. Thank you for your time.

Lucas that is exactly what it is. However, the rubberbands do not "link", they penetrate. the major source of confusion comes when people say "make them link". The bands appear to pass through each other completely. The effect is called penetrating bands and was popularized by Ammar as Crazy Mans Handcuffs.

Definitely use #19 rubber bands. You want them real thin and about 3" in diameter.
I have never had twang problems with bands like these. Also, don't try to go too fast. Be natural.

I love this trick and am really trying to set up "MY" patter for this effect. I don't have the twang problem, if I do I never noticed because I am usaully talking when I do the move.

I think the patter for this effect is a must. Usind key words like penetrate, or melt. It gives the spectator a belief thats whats happening. To gain a bit of misdirection, I ask a couple of questions so they have to look at me (just for a moment) to answer.

I have tried the effect with and without the patter to see what effect it has on spectors. The patter is a must, on a second repeat performance...change patter and angle slightly and the trick is twice as strong.

Also one last thing, this trick does not have to be rushed, it can be done so casually with the right patter...the laymen will always be floored with this one.

Get "The Linking Rubberband Mystery" by Bluestone, a student of Slydini.

There is a ton of info on misdirection and posture, hand/arm placement and movement.

It's a really interesting pamphlet that's cheap and a good read for applying to all magic.

When I do CMH, I like to keep the illusion going as if they're still together. And by rubbing them together onto themselves in a circular motion, when you pull them apart seconds later, they forget about the move. "my 2 cents".

I do a single band effect, magically clone it into 2 bands, do CMH, and maybe Kenner's Missing Link. That's about 5 minutes with a rubber band!

My two cents worth...

I am a HUGE fan of CMH. It's my own personal party trick and I think that impromptu magic doesn't get any better than CMH.

Having said that, if you would like some additions to CMH, look for Jon Allen's video called "Spectator's Don't Exist." He's got a rubber band trilogy that is great! He starts with a rubber band penetrating his own wrist, then goes into his modification of CMH where the bands actually begin clearly apart and then "link", and then he "unlinks" them using CMH (with the proper credit to Michael Ammar!). Finally, he does a cool broken and restored band effect around the spectator's wrist. He's also got some killer patter that will get you headed in the right direction.

"Spectators Don't Exist" is well worth the $$ and time to watch.

Cheers!

CMH is given the complete treatment in The Magic of Michael Ammar. Everything you need to know including handling details, subtleties and routining.

Great great book, with a great section on the CMH.

Let's read more books.

I throughly enjoyed this tread. Paricularly the comments regarding the elimination of the "twang" and the named reference materials.

There is a GREAT "broken and restored" rubberband effect by Harry Lorayne called
"Snap". The audible sound of a stretched rubber band snapping really sells this effect. I don't know if this was sold as a separate effect or in a set of lecture notes by Harry. I found "Snap" in a "A New Jinx Publication" entitled "HEX" (by Bill Madsen and Al Forgione-copyright 1969). I obtained the book in about 1981 so it might be out of print. It is well worth looking for. No switches. Single rubberband.

I like to do this effect as a quickie interlude and frequently use the after-effect for misdirection. I "restore" the broken rubberband by "heat fusion" and then pass it out as a souvenier.

On the off-beat, as the rubberband is being examined, talked about and passed around, you have enough time and misdirection to bring David Copperfield's Vanished Jet on stage. I'm not strong enough to bring the jet on stage by myself and I can't afford the crew necessary to do so, so I use the time for subtle bits of "business".

BTW, Where can I obtain the other rubberband effects mentioned in this thread? i.e.

BEN CREITZ: ("- Jo-Dan link (from Elastrix vol 2) - Back Together (from Dan Harlan's video vol 1) -CMH")

FRANK STARSINI: ("The Linking Rubberband Mystery" by Bluestone)

JOSEPH: ("Kenner's Missing Link")

SNEAKERS: ("Jon Allen's video called
"Spectator's Don't Exist."")

MANIX: ("CMH is given the complete treatment in The Magic of Michael Ammar.... Great, great book..." Is CMH also on a Michael Ammar video?)

What I'm looking for are the names of dealers known to carry these items, or more importantly, learning if the item is only sold by the originator or by an exclusive source or only as lecture notes from a prior lecture or is out of print/production. Knowing this information would help me immeasurably by not having to spend time looking for "something that isn't there".

Thanks for any help or suggestions in this.

Turk

P.S. to Steve Friedberg: (stevepr104)

I almost snapped when I read your comment about east v west. However, I rebounded quickly. I was going to tell my wife your awful pun but thought better of it-I didn't want to rubber the wrong way.

I see from your profile that your interest lies in cards. That being the CASE, "May the FORCE be with You". I can see your magic slogan now: "Magic-a carding to Steve". Later.

Is CMH really an Ammar effect? I was under the impression that Ammar only took the effect and reintroduced it with his own presentation. Doesn't Vernon have a penetrating bands routine too? I'm just ignorant, forgive me.

More to the topic, I think Ammar's video, Classical Renditions #2, deals with this gem more than you could want. If you're a visual learner, this is a must for perfecting all the subtleties involved. He covers roughly the same ground in his book, but it's a lot easier to see what he means on video in my opinion. That tape has a great bonus - John Cornelius' Vanishing Nickel. Not a major stunner, but the effect comes as close to real magic as conceivably possible.

reference:
Tarbell #7p214 "The Uncanny Penetrating Rubber Bands, Copyright Date 1972

no credit of origination other than a reference to Lou Tannen