RUN-UP
This clips shows a short sequence that I filmed to describe a few things, including my handling for the overhand run-up technique from the Dai Vernon Poker Demonstration, and to share a routine in which I put it to work. It may be a little hard to understand just from the clip but the card removed and placed aside at the beginning is selected by a spectator. I wanted to share it here to illustrate an example of using one of my favourite tools: estimation.
In the clip above, although I have a number of ways to bring the slug into position, I estimated and dead cut the final cut before dealing. NO CRIMPS, NO MARKS, NO WORK.
If, like me, you like to find opportunities to think on the fly and test your estimation skills then this routine is a great starting point. I have written extensively elsewhere about using and developing estimation skills, but here there is an added advantage. If you watch the clip carefully, you will notice that immediately after the run-up shuffle, the shuffle cards are somewhat loosely gathered at the bottom of the deck, compared to the squared remaining cards. In a five player scenario, you'll always cut EXACTLY twenty cards from the bottom to the top. The shuffled cards equal fifteen, which means that you need to add an extra five cards during the cut.
If you choose to use this method the estimation needs to be EXACT. BANG ON. Now, estimation is often considered an unreliable tool, but if you practice it enough you will know without needing to check whether or not your cut is at the right position. It's a developed "feel". In this example I don't nail the cut 100% of the time, BUT I always know when I have nailed it, so it is a practical "working" method. Provided you are comfortable using outs, there is no heat or pressure if you miss. After all no-one but you knows exactly what comes next anyway. If I miss (or suspect I've missed) I simply spread the deck face up to show the audience that the aces are distributed throughout the deck and are not simply grouped on top or bottom as sometime people suspect. It is then easy to visually count the number of cards that must be transferred before dealing. Then I run that number off, or jog a card as they are gathered again, and cut before beginning to deal.
ON THE HAYMOW
When I desctribed the workings of this routine in writing, a friend helping edit the book questioned the term Haymow shuffle to describe the action of the milk-build. Until then I had not questioned the term, and had seen it referred to as that by others including Charlie Frye, so I contacted Charlie to ask about the correctness of the term in this context. He described very clearly his thoughts on it being a good description of the move, and mentioned an incorrect description of the Haymow in Erdnase that many may have read causing them to question the term "haymow" to describe the milk build. He also mentioned Steve Forte as among those who agree with it's use to describe a milk build.
DEMONSTRATION versus EXPOSE
It is said that Marlo made the following distinction between demonstration and expose. The latter he considered to explain each action, rather than simply mention and demonstrate an idea or technique. Slowing down and executing the second deal for example, so an audience can see and basically understand the technique would be considered an expose. Executing it at speed while mentioning false dealing among other tehcniques could be considered more of a demonstration. Following those guidelines I prefer to present this as a demonstration. But that shouldn't put someone off trying this out because they are worried their techniques are not up to scratch. The nature of the routine allows for some room to move in how you'd deliver each of the techniques. For example, if your shuffle was done much slower, the routine would still make sense, and could be presented as more of an expose. Vernon openly described the technique to the audience during his Poker Demonstration. Marlo's stance on demonstrations versus expose's is outlined in Marlo Without Tears.
