I got a new camera that can do some slow motion video recording, and it looks pretty neat while juggling. This is just some test footage I took, but there was enough splice together to music so I thought I’d put it up.
I was recently browsing around the rec.juggling user group, and searching for my name to see if it popped up anywhere. Jugglingjon did for sure, but I also tried searching for my last name, Cronin. To my surprise, a single result appeared, a thread debating where illuminated juggling originated. The final message in the thread referenced a patent for illuminated juggling equipment filed in 1897 with the US patent office, by a man named Morris Cronin: Read On »
I’ve always loved the idea of the juggling shell game, and I’ve made a video trying it before, but the problem has always been how do I keep the audience from knowing which ball is which while I’m juggling, while I can still tell? I tried marking the balls before, but even then you have to make the mark very small, and it’s hard to find. As I was going through some of my juggling props, I found my Dube silicone balls and thought “wow the orange ones look just like the pink ones”, and it hit me! Go black and white! So here it is, I show you which ball is which in color, and then you have to follow it in black and white, brilliant! This is an extended version with a little footage I took with a second camera tacked on at the end, enjoy!
Music: Hey You by Pony Pony Run Run
Can you juggle in your dreams? I can’t. Whenever I’m juggling in my dreams I’m uncoordinated and slow. I wonder why that is? When you’re dreaming, you can do most anything else, I don’t see why juggling is different. In fact, juggling is so dependent on muscle memory I’d think it would come naturally. Maybe it has something to do with juggling relying on a real environment (with gravity) to make it possible, and your mind can’t recreate that perfectly. I was thinking about this the other week when I was watching Inception. If you could juggle in real life, you wouldn’t even need that personal object to test if you were in the real world. You could just try and juggle, and if you were awful, then you’re dreaming. Or you’re just an awful juggler.
I’d say that the number one criteria for any music I listen to is that I have to be able to juggle to it. Juggling to music is fun, it feels more dramatic and matching the music is neat to watch. You juggle in different ways to different types of music: what tricks do you use to match the feeling of slower classical music? What patterns let you keep tempo with electronica/dance music?
Me juggling with my new silicone juggling balls. It’s probalby the longest video I’ve done, and for that reason it’s not very heavily edited (it would have taken a long time to really sync it up). There are some patterns I’ve never really recorded before in here, including burke’s barrage, mills mess, weave, and boston mess variations. There are a few pretty fancy double throws in there as well.
Backcrosses are much easier than they appear, and they are good way to practice for other tricks that require more time than the average throw to perform. Once you get better with backcrosses, they actually become recovery moves. Sometimes, when I start to lose control of a more difficult pattern, I will throw a ball extra high so i have time to recover, and in the meantime I’ll throw a backcross in just to make it look like a trick.
Simply put, a backcross it just a throw behind your back, to your opposite hand. In preparation for this trick, it’s probably a good idea to practice the behind-the-back throw a bit. You need to be able to do it quickly, without losing control, and get your hand back to its normal position as soon as possible.
You will start in a cascade, and the throw before your backcross, you will make extra high. For example, if you wanted to do a backcross with your right hand, then you would throw the ball preceeding it (from your left hand) higher than normal. This will give you more time to execute the backcross throw, which is especially important when you are learning. Other after the backcross throw, your right hand will return and catch the extra high throw, and your left hand will catch the backcross throw. At this point, you should be left juggling normally.
Rubenstein’s Revenge is often thought as one of the most (if not the most) difficult three ball pattern. While it is certainly not easy, it is much more maneagable if you break it down into its component parts.
Rubenstein’s Revenge is really a combination of two movements. The first such movement is a recrossing of the arms, followed by two throws. When done correctly, this motion leaves you in a position to repeat it in the other direction. If you want to learn Rubenstein’s Revenge, you must be able to do this motion without thinking. You’ll have to add in an extra throw soon, and if you can’t do this motion alone, thne you’ll never get it right.
The second half of rubensteins revenge is a simple sweeping throw. The tough part is finding spare time within the first motion in order to make this throw. While learning, make your sweeping throws extra high, to give yourself more time to execute the first motion. You should start from a Mills mess pattern as you practice Rubenstein’s Revenge as it is the easiest pattern to transition from.
A misconception about Rubenstein’s Revenge is that you must start it from the Mills Mess pattern, when this is not really true. If you are good enough at transitions, you should be able to get to Rubensteins Revenge from other paterns such as columns, burke’s barrage, or the windmill.