The UnMasking of Harry Houdini Part 3

Time to examine more of Houdini's MAGIC and where it originated. Today, I'll cover some of the bigger effects in the show. The real news-makers!

The Origins of Houdini's Magic

First off is the Vanishing Elephant. Here is something that on the surface seems very outside the realm of what Houdini might do. But then again, he isn't merely doing a trick. He is setting a world record for vanishing the largest object in history! The routine has a lot of emotional appeal as well because it is a living creature. And it's being presented at the Hippodrome, on one of the largest stages in the world. When you look at it that way, it's a huge publicity generating illusions, yep, that is pure Houdini.

Was the Vanishing Elephant Houdini's creation? Nope. It was the idea of a British magician, Charles Morritt. Houdini had paid Morritt for the rights and plans to build and perform the illusion. He also paid for other illusions, one which Houdini called Goodbye Winter, which was a Vanishing Lady illusion. The Elephant Vanish was based on Morritt's Vanishing Donkey but on a much larger scale. Morritt never presented a Vanishing Elephant, so Houdini once again could claim it as his own. It was probably not one of the better illusions, but the positive publicity was enough to make Houdini happy.

Next, we have Walking Through a Brick Wall. Again, a very unusual illusion and right up Houdini's alley. It was presented in typical Houdini fashion, with a brick layer building the wall right in the middle of the stage. People could come and inspect the wall and find no trickery. After, having successfully walked through the wall on more than one occasion, he invited some brick layers from a local union to come and inspect the wall and they challenged Houdini to walk through a wall that they would build. They did and he did!

But the illusion wasn't an idea of Houdini's. It was sold to him by another British magician, Sidney E. Josolyne. There was a bit of controversy surrounding this purchase as another British magician, P.T. Selbit, claimed it was his illusion. Despite the controversy it became known as a Houdini illusion and put another feather in his magic cap.

More to come...

The UnMasking of Harry Houdini Part 2

Fatty Arbuckle and Houdini

I hope everyone who read Part 1 understands, I'm not criticizing Houdini or passing any sort of judgement on him. He was and always will be an iconic performer. I'm just giving some background as to where some of his material originated. Make no mistake, though he may not have created everything he did, it all had his unique stamp on it. A Houdini trick was a very specific sort of thing and he really knew how to find and develop those routines that fit him. In many cases he did create something original. Here are a few more for you to enjoy.

The Origins of Houdini's Magic

Once again, I refer to Houdini-The Key, and Patrick Culliton's knowledge. In the book, he says the East Indian Needle trick originated with a magician named Ramo Sami in early 19th Century London. This information came from Houdini. Interestingly, Long Tack Sam, who was a friend of Houdini's was very well versed in the Needle Trick, having learned it in China. So, maybe the trick came from China and found it's way to Europe or vice versa.

Houdini made a masterpiece out of the trick and because of this it became one of his signature routines. This goes back to what I was saying in Part 1. A good performer takes a routine and does it so well that it becomes associated with him. Houdini did add one other thing...according to Long Tack Sam, Houdini copyrighted his presentation which prevented anyone else in Vaudeville from performing it. I can't say I really blame him either.

One piece of Houdini's act that I was surprised to find he did not invent was the Galvanized Milk Can Escape. This was actually the idea and creation of Montraville Wood. You can read all about the Milk Can and it's inventor by clicking here. I will say, that although Houdini did not invent the Milk Can Escape, in this instance he surely was the first to present it and that alone makes it a Houdini Original in my book. He created the iconic performance that other performers try to copy. But Houdini did it first and it was a huge hit for him for many years.

Another Houdini original was the Straitjacket Escape. Houdini was the first to escape from a straitjacket. However, it was his brother Hardeen,  who stumbled upon the idea of doing the escape in full view. Houdini's original presentation had him being tied and secured in full view and then put into a curtained cabinet to escape.

In the Hardeen version, he did the entire escape out in the open. Houdini quickly added that feature to his escape as well. And yet another bit that took the straitjacket from an indoor escape to an outdoor spectacle was the Hanging Upside Down Straitjacket escape. Oddly this too, was the idea of someone else and not Houdini.

It was believed for a long time that a young man named Randini, shared the idea with Houdini. But WildaboutHoudini.com has presented an article about a man named Mysterio who did the hanging straitjacket escape even before Randini.

I think it's safe to say however, that no one received the kind of press for the Upside Straitjacket Escape that Houdini did.

To be continued....

The 30 Days of Houdini

I've started a little thing I call 'The 30 Days of Houdini'. Thirty days of Houdini articles as a sort of a countdown to the big movie event on the History Channel. I guess I started with what my friend Mark calls, 'a soft roll out'. The first few articles appeared with no fan fair at all.....very un-Houdini-like of me.

To be honest, I'm not sure I can even pull off 30 articles in a month. I also have 40 performances to do, and more work on my Steampunk Illusionist show and the iWonder Show. So, time will tell if it can be done. I know that the articles will likely be short. The first ones, about the Origins of Houdini's act, are broken into Parts 1, 2, 3 and probably 4. A lot of cool things are planned. On Day 23 which is August 23rd, the Potter & Potter Houdini Auction takes place. I have no affiliation with them, but I will surely help promote it! If there is anyone out there who would like to contribute an article or two, that would assist me in getting to 30. I've had a few guest bloggers in the past, so let me know. You can reach me at carnegiemagic@aol.com

I'm working on something special for Day 30, which I can't quite divulge yet. I hope you enjoy
The 30 Days of Houdini!

UPDATE: As of today, August 10th, I've continued to put out a new piece each day. I have material written for about a week in advance, so I'm covered until next Sunday. I'll begin researching things for the last two weeks of August shortly. I've got a good feeling I'll make all 30 articles!

The UnMasking of Harry Houdini Part 1

In 1908, Harry Houdini published a book called The Unmasking of Robert-Houdin., The book attempted to show that Robert-Houdin was NOT the Father of Modern Magic and in fact, he had stolen many of the ideas and concepts from other performers. It has gone down as not one of Houdini's better moments.

Personally, I find the book fascinating. Sure, Houdini's angle on Robert-Houdin was all wrong, but he does record quite a bit of history about other performers in those pages.  I'd like to take a moment or two and trace the origins of Houdini's act.  I will not be accusing him of pilfering his material from other performers. He was not the first escape artist, nor the first to do many of the effects he claimed as his own.  What he did do was what many performers do, including Robert-Houdin. He took a lot of existing material, made it his own and did it so well that everyone associated it with him. I think there is nothing wrong with that! Plus, Houdini did have some things that were uniquely his.

The Origins of the Escape Act

Escapes generally came out of the Spiritualist Movement. Folks like the Davenport Brothers were the first to be tied into a cabinet and cause odd manifestations to take place. The truth was, the brothers had discovered a special way to be tied so that they could untie themselves and then get back into their bonds. The Davenports began their act in 1854, a good 20 years before Houdini was even born. The Davenports presented their show as apparently genuine mediums, so they were not escaping, but the technique of freeing themselves was very much the same.

In the March issue of The Sphinx, John Mullholland points out that it's very possible Wyman the Wizard was the first magician to present these fake spiritualistic effects in a magic show. So there is the jump from pseudo-religious use to entertainment. In fact, John Wyman was also on a committee in Boston in 1857 to investigate the Fox Sisters, the originators of the Spiritualism Movement. Other performers soon jumped on the spirit phenomenon train, like John Henry Anderson, Robert-Heller, Samri Baldwin and a fellow named Horatio.

Houdini & Cooke

Actually, his full name was Horatio Green Cooke, known also as Harry Cooke. Young Harry, was a soldier in the Union Army during the Civil War. On May 1st, 1864, Harry found himself standing before an audience that included Edwin Stanton, the Secretary of War in Washington D.C., General William Tecumseh Sherman, General Hancock, Robert Ingersoll and President Abraham Lincoln. He had been asked to appear before the group because word had gotten out of the young mans unusual ability to free himself from restraints and they wanted a demonstration. After he was securely tied with 50 feet of rope, Cooke asked Lincoln to walk ten feet away. Then he asked him to return and before Lincoln got back, Cooke had freed himself from the confinement! According to the Los Angeles Evening Express Newspaper, Lincoln was amazed and jubilant. Lincoln said to Cooke "Here my boy, keep this to remember Uncle Abe by" and Lincoln then handed Cooke a two dollar bill. Harry Cooke kept that two dollar bill his entire life. Harry Cooke was then chosen to be one of Lincon's Federal Scouts. According to Harry Cooke's daughter, Cooke was a mentor of sorts to Houdini. 

Another close friend and mentor, was Harry Kellar. Mr. Kellar worked for the Davenport Brothers and eventually developed his own rope tie that allowed him to present the Spirit Cabinet. By the time, Houdini and Kellar became close friends, Kellar had retired. But Kellar was the most popular magician in America for a long time, and no doubt Houdini witnessed his performances and was inspired by what he saw.

Though, he never worked for the Davenports, Samri Baldwin was inspired by their performances and decided to create of his own based on the same concept. It was also Baldwin who made the claim to be the first performer to present a handcuff escape. He mentions it in a letter written in 1915 that reads "The first public handcuff escape ever given in the United States and elsewhere, was given by myself in the city of New Orleans during the first week I ever exhibited in public. This was 46 years ago, long before any so-called handcuff kings were born." The year was 1871. He no doubt escaped from genuine handcuffs. Gimmicked handcuffs were used in the world of the seance worker, in fact, that might just be where they originated and eventually found their way into the magic world.

Let's move to one of Houdini's signature tricks, The Metamorphosis. This was the creation of John Nevil Maskelyne and was known as The Indian Mail. Also known as the Maskelyne Trunk Trick, the Houdini's took it and added the element of speed and got their career going with this piece. I'm honestly not sure if anyone else presented it in the same fashion that they did, before them, but I do know that it's such a great piece that magicians still present it today. Where the trunk came from is somewhat of a mystery. I went to the best source I know, Houdini-The Key by Patrick Culliton. In there he states that 'Houdini borrowed the money to buy the trunk'. But then a page later he states that 'Walter Gibson claimed Houdini purchased the trunk from Joe Godfrey-The Man of Mystery'. However, over on WildaboutHoudini.com there is another quote from Patrick Culliton that states "Houdini had created the trunk with his own hands and with the help of Frank Allen.' Frank Allen was a propman who worked at the Kansas City Orpheum who met Houdini in the 1890s.  Not sure which story is the correct one. I'm leaning towards the latter. One thing for sure, Pat Culliton knows more about Houdini than most of us will ever hope to!

To Be Continued...

Houdini: Why Do We Still Care?

I saw something over at John Cox's Facebook page about this. He had done an interview with someone about Houdini and the question came up as to why is Houdini still important, or why do people still find him interesting. I thought I'd tackle that question myself.

The simple reason is, Houdini is the personification of a real MAGICIAN and people are attracted to the idea of real magic. He somehow has surpassed the rabbit and hat stereotype and instead when people hear the word 'magician' they often think of Houdini. His magic though was different from all others. What he did was real, at least in the minds of the lay public. And in many ways, his magic was real, but his magic stretches out beyond tricks and illusions. His magic encompasses his charisma, his magnetic personality, his seemingly superhuman abilities, and his international fame.

Who, today, wouldn't want to have those qualities? We all would, regardless of occupation. Being able to do magic makes it seem like life would be a breeze. Little do people know the hard work that goes into being magical. Houdini's magic included scrapes, cuts, bruises, broken bones, lots of pain, a constant struggle with fear,  and near death experiences. He could seemingly take on any challenge and come through triumphant. That kind of ability speaks to the human spirit in all of us.

So Houdini, continues to be an inspiration. He inspires because, he is one of us, but he went far beyond what anyone had ever done at the time. He inspires us to take chances, confront fear, push forward in the face of difficulty and to strive to be winners in life.

That's my simple view on 'Why People Still Care About Houdini!'