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Onehanded, Continuous Tumbles - The hat keeps tumbling, in your hand, continuously, infinitely, forever, or at least until you stop. This trick is an extension of the Tumble - so go learn that one now. You'll notice that after you have performed a tumble, you are holding the hat the wrong way round to perform a second tumble immediately after it. This is where the extension comes in. During the first tumble (which is a standard tumble), the hat rotates 1.5 times. The second tumble is similar, but the hat is thrown without a change in grip, it still does 1.5 spins, which means that it is now facing the same way as when you started! Inorder to give yourself space for the second tumble, it feels like you need to throw it a tiny bit higher or faster. Try to make it all flow together into a continuous movement, the hat shouldn't ever pause, the hand acts more as a guide to keep it rotating in the right direction. A nice variation on this is to tumble the hat infront of you, switching hands between tumbles.

Slide the back of the hand up your face to remove the hat with an inside grip. Do a forward tumble as you bow to your audience, and stick the hat back on your head as you stand up.

Steve Rawlings showed me this trick in Birmingham and said that he used to do it in every show, but now that he's older (and a little rounder :-) he can't get it every time any more. Steve uses a china plate for this trick, but it works with hats too which is why it's here! :-) Take the hat in your right hand, using an inside grip and hold it so that the crown of the hat is facing to the left. Throw the hat virtically with some spin, and then do the following while the hat is in the air... Put your right hand between your legs Take the hand around the back of the right leg Stand on your left leg and move the right hand & foot behind the left leg Then, catch the descending hat in your right hand, from that position. Without falling over. Top Tips: Practice the "tangle yourself up" bit first without the catch. Keep your eye on the hat as it decends, practice loads... Luke Burrage managed to get this on video within 30 minutes. I've been trying for weeks and can't do it. It's pretty hard.

The hatstand made its debut at chocfest 7, where I was compering. After a period of prototyping and refining, I built the version that worked. I demoed this a couple of times then it broke. I replaced the elastic and set it up for the big day, used it on stage and it worked, then broke next time I used it. Be prepared to spend significant tinkering time in between uses, and for frequent breakdowns. That said, it's never let me down when I've needed it. All in all I've found it a great way to get chicks[1], if you don't count the long evenings spent honing the design and strewing the house with geeky construction equipment, and the fact you'll be laughed out of most nightclubs if you go in wearing a topper. But on stage it works, and it has drawn admiring glances from fellow jugglers and even won us a bag full of croissants on one occasion. Sweavo, June 2003 [1] facts may vary From the TricksWithHats archive

Throw to Foot - Throw the hat to your foot as if it was a hatstand. Hold the hat crown up above the shoulder with an inside grip. Lift the leg and keep it straight, flexing the foot as much as you can. With a flick of the wrist throw the hat straight to the foot with a single spin. This trick looks best if the throw is as straight as possible. Foot to Head is a nice return trick from here.

the great unus performance

Vulfgang MagicYoYo - Luke Renner / crew Mac Baldwin (viola) / Charles Renner (grip) / Susy Baldwin (stand-in) - Special Thanks to MagicYoyo in Shenzhen! Filmed in Northwest New Mexico in December 2017.

A new pattern created using Aidan notation. The manipulators in this pattern are dependent, as clubs are taken by one manipulator and replaced by the other. 4 count static Y base, with B at the back of the Y, D in the middle of the Y, A on the left of the Y (from the point of view of D and B) and C on the right. Aiden notation for the pattern: A ps|ss|ps|ss|ps|ss B ps|ss|ps|ss|ps|ss C ps|ss|ps|ss|ps|ss D ps|ss|ps|ss|ps|ss M1 cD|--|sA|iA|cA|-- M2 sC|iC|cD|iD|cB|iB Starting: M1 starts back to back with D facing B M2 stands in front of C facing C We start with a ps and then the manipulators begin on ss. The manipulators start on the last instruction at ss as it is written above (M1 --, M2 iB) When M1 reaches the end of the instructions, M1 becomes M2 (having reached the physical location of M2 at the start of the M2 instructions). Similarly M2 becomes M1

Now the truth can be told. Simmering rivalry was put to the test in the only way that kendama gentlemen may respectfully settle matters. After the BKO weekend was out of the way, a stand-up duel was in order. Who would prove to be the better man? What a load of rubbish. :-) Filmed for a laugh in 30 minutes, Mr Jumpshoe and I threw this together for your entertainment. Salute to Rich W at 0:48. Click HD for 50 fps. Tune courtesy of the magnificent Scaramanga Six.

Zdeněk Polach (now performing as Zee Deneck) at 14th Cirque de Demain in 1991. He won a sliver medal./nAs far as I am aware, this act is unique in the world. If anyone knows another performer who juggles cylinders or sticks in this way, please comment below.