Houdini's Water Torture Cell by Doug Henning

In the 1970s Doug Henning was making a name for himself, first in a show called Spellbound and then on Broadway in The Magic Show. Soon, NBC came calling and the First Annual Doug Henning's World of Magic was about to debut. The 'hook' for the show was to be the recreation of the Houdini Water Torture Cell. A very un-Doug Henning like effect really. However, according to the book Spellbound by John Harrison, the idea of the Water Torture Cell was Doug's.

The first thing to notice is the slight alteration in the look of the cell. In the Houdini Cell, only the front had glass, the other sides were wood and metal. The Henning Cell looks more like a phone booth.......(a phone booth was a tall rectangular box with glass and all sides and a door. Inside was a phone that you could use that accepted coins as payment...I figured I'd explain that to the younger readers) There was a specific reason the tank was built with glass on all sides. Doug and his crew feared the audience wouldn't have as good a view and it wouldn't look as strong on television if it only had glass on the front. But on all sides gave a great view from every angle.

The cell was built by Owen Magic in California and they actually developed the intricate mechanics to make the thing work. The reason for this, no one had a clear idea of how Houdini's Water Torture Cell worked.

Henning also chose not to present an actual escape, but rather present it as an illusion because he wanted to piece to appear more magical, according to John Harrison in Spellbound. In the escape version, the performer would be put into the cell, the entire thing covered with a cloth and eventually the performer would be free, the curtain dropped to reveal indeed no one was in the cell any longer.

The illusion version was different. It started the same way as the escape version and the tension built up in the same manner. But just as the tension reached it's peak, and it seemed like the performer was unable to get free from the tank, a masked assistant came over with an ax and pulled down the curtain revealing the performer was gone. Then the masked assistant removed his robe/mask to reveal that he was the performer, Doug Henning!

No 'reward' was issued for anyone able to obtain air while hanging upside down in a tank of water. But they did make sure to promote the aspect of the escape being performed "LIVE". There is a sentence at the bottom of the poster which reads "Remember: This will be a "live" broadcast of a breathtaking feat never attempted before under these circumstances."  Interesting, except the Water Torture Cell is ALWAYS performed LIVE. It's just it was never presented on LIVE tv.

Doug Henning only performed this escape once to my knowledge. If memory serves, the Tank was later sold to illusionist Brett Daniels and then from Brett it went to escape artist Dean Gunnerson.

Below is a video of Doug Henning's performance of Houdini's Water Torture Escape.

The UnMasking of Harry Houdini Part 5

Even though Houdini is recognized as the most famous magician in history, he often gets a bad rap in the magic world. The Houdini-haters, and there are lots of them, like to say he was not a very good magician and many still hold a grudge over his book The UnMasking of Robert-Houdin. Still others dislike Houdini because they feel other magicians deserved to be remembered over Houdini, like Thurston for example. I honestly wish that other magicians were remembered by the public, along with Houdini. I was surprised at how many people had forgotten Joe Dunninger, given the fact that Dunninger was a very popular performer for years and years. Dunninger even performed on Television, which is something Houdini never got to do. But, very few remember Joe, and that is sad.

Origins of Houdini's Act

I suppose the pinnacle of acheivement for Houdini was the creation of his Water-Filled Torture Cell.

I've read that the Water Torture Cell was a combination of the Milk Can, Glass Lined box, The hanging Strait Jacket Escape, and even the Double Fold Death Defying Mystery. It all makes sense to me. Whether or not this was how Houdini developed it, I'm not really certain. But it sure looks like a logical progression.

I've written about the WTC before (by the way, Houdini referred to his escape as the USD, short for Upside Down). I'm fascinated by the WTC on many levels. It was supposed to be a death-defying feat, something for audiences to really freak out over. You want the truth? Hang upside down in a tank of water, you'll find out who is really freaking out! It takes a lot of rehearsal to get over the fear of hanging upside down in confined tank of water. And HOUDINI was the FIRST! This was his baby, his creation. Everyone, and I mean EVERYONE who has done it since Houdini was copying the master.

When the WTC was first rolled out to audiences it came with some amazing posters! Look at the graphics on these posters, they really send chills up your spine. I was just thinking, I always heard it called 'The Chinese Water Torture Cell' but looking at the posters, it doesn't ever appear to be listed that way. Rather, Water-Filled Torture Cell or simply Water Torture Cell appears most of the time. Does anyone know the origin of adding the 'Chinese' part to the title? (see comments below for answer)

Hollywood loves the Water Torture Cell because they imply Houdini died presenting the escape in countless movies, starting with the Tony Curtis version.  In reality, Houdini presented the Water Torture Cell Escape many many times. I guess that is all part of the attraction and mystery of the escape is that it does carry the 'possible death' theme right to the edge.

Here is an interesting thing I just noticed. On several of the posters there is a $1000 Reward Notice at the bottom of the poster "To Anyone Who Can Prove It's Possible To Obtain Air In The Upside-Down Position While Under Water". However, look at the poster to the left. The reward was $200. The answer is simple enough. The poster to the left came out in 1912 and was one of the first to advertise the sensational invention. The poster above is from 1913. So obviously, Houdini and Company realized there money was safe with this 'Reward' so they upped it to $1000.

I'm working on another Water Torture Cell article for the 30 Days of Houdini which will cover Cells presented by other performers.

Finally, please check out this piece written by John Cox on the Double Fold Death Defying Mystery, as he does make a connection to that effect and the Water Torture Cell. http://www.wildabouthoudini.com/2014/07/houdinis-double-fold-death-defying.html

Tony Pastor's Theatre - 30 Days of Houdini

Tony Pastor was a theatre owner who helped to usher in the age of Vaudeville in America. In fact, he is known as the Father of Vaudeville. His theatre, just down the street from Hubers Dime Museum was located on 14th Street. It was actually in the very building that once housed Tammany Hall. 

Houdini worked at Tony Pastors very briefly in January of 1895. They were excited about the opportunity as it was a step up from the Dime Museums. The Houdinis, Harry and Bess, worked at Tony Pastor's for a week. According to the Kenneth Silverman biography on Houdini, they received the following 'glowing' endorsement from Mr. Pastor, "The Houdinis act as performed here I found satisfactory and interesting." I guess they should be happy they didn't stink up the place, lol.

Below is a photo showing the Tammany Hall building. If you look closely you'll see a theatre sign for the Olympic Theatre. This is the spot that Tony Pastor would lease for his 14th Street Theatre. This image is actually from AFTER Pastors was in that spot, but I wanted you to see the whole building. I believe the first theatre in that spot was the Germania theatre, and then Pastors and then the Olympic. Also, take a look at the building on the left hand side. This is an important building in the history of magic as well. This was the old Academy of Music building, the third Opera House in NYC. Many an old time magician performed there prior to Vaudeville. 

Now below, you can see the same spot occupied by Tony Pastors Theatre. The Houdini's actually performed at Tony Pastors more than once. Also of note, Tony Pastors is shown in the Tony Curtis HOUDINI Movie. 

Sadly, the Father of Vaudeville fell prey to the circuits that would open, Keiths and others. It was very difficult for him to compete. I was not aware at first, but Tony Pastor sang in his theatre at every show for years. He died August 26th, 1908 and the theatre was closed at that point. 

The building was torn down in 1927. Today that space is the location of the Consolidated Edison Building.

Dime Museum Harry - Chicago

Dime Museum Harry at Kohl & Middleton's Chicago

The Houdini Brothers were fortunate enough to get booked during the 1893 World's Fair in Chicago. They worked the Midway for about a month and then Harry was able to book the act in a local Dime Museum,  Kohl & Middleton Dime Museum.

There were three locations for Kohl and Middletons. Harry played at the 150 North Clark Street location and also the 294 South State Street location in Chicago. They worked there for a short time before returning to New York. He would return to Kohl and Middletons again as late as 1897.

Click here to see a photo of what the Kohl & Middleton looked like in Houdini's day. None of the original buildings exist any more. However, below is a picture of the location where the Kohl and Middleton Dime Museum on Clark Street once stood. Today the location is filled by Bank of America.

Kohl & Middleton's Dime Museum Once Stood Here.

Dime Museum Harry - Huber's NYC

I think it was Kenneth Silverman who first pointed out that Houdini didn't care for his days in the Dime Museums and even hated being called 'Dime Museum Harry'. Unfortunately, we all have to start somewhere and Houdini got his start in the Dime Museums. One of the first was a place in NYC called Hubers. It was located on 106 East 14st Street and remained open until 1910, when the owner sold the location to a restaurant.

Hubers Dime Museum was a mixture of arcade, freak show, lecture hall, showplace, wax figures, and actual museum housing various curiosities and historical memorabilia. For the beginning performer, this kind of venue is gold, well not in the monetary way, but in gaining valuable performing experience. Houdini first performed there with his partner Jacob Hyman doing fairly simple magic, card tricks and their sub-trunk. They didn't just do one show per day or two, sometimes it was up to 20 shows in a day. Now, keep in mind, 'show' probably meant only a few minutes of material. But doing multiple shows back to back like that is going to make you good really fast.

Another bonus for Houdini was meeting George Dexter, who was managing Huber's and was also a magician. According to The Secret Life of Houdini, it was Dexter who taught Houdini the techniques of rope ties. There is no telling what unusual techniques he picked up from other performers that would later come in handy in his work as an escape artist.

Eventually, the Houdinis (Harry & Bess now) moved up and out of the Dime Museum's and into other venues. But there is no mistaking the value of the time spent in front of live audiences perfecting his craft that was obtained during the Dime Museum days.

Incidentally, in 1910 when Hubers was closing, Houdini attended the auction and purchased a couple items from the vast amount of curios. It was more to have a memento of the place that he first got started in show business.

The location of Hubers today. Nothing remains of the once popular Dime Museum

Houdini's UnMasking - Bonus

Now I know how John Cox over at WildaboutHoudini.com feels. I received this wonderful image of Houdini promoting his book The UnMasking of Robert-Houdin from John Hinson. I split the image into two, so first you'll see the photo Houdini used to promote his book, The UnMasking of Robert-Houdin. The second image is a receipt and copy of the ad that was to appear in The New York Dramatic Mirror on May 2, 1908. Incidentally, the image of Houdini in the chair is signed by Houdini, midway through the photo, 'Harry Houdini 1908'.

 

Thank you John, for your generosity and allowing me to share this great photo with my readers!

The UnMasking of Harry Houdini Part 4

I remember the early days of learning about Houdini. One of the things that I always assumed was that Houdini started the whole Anti-Spiritualist Exposure Shows. I had no idea that many performers had done this before Houdini. Actually, the whole Spiritualism thing helped to expand the branches of magic. Spiritualism really gave rise to the Escape Act, that Houdini would make famous. Though feats of mental magic already existed, quite a few really clever techniques came out of the Spiritualism world which revolutionized the Mentalism field.

But it's the Spiritualism or Anti-Spiritualism acts I want to discuss. I mentioned before that Wyamn the Wizard is credited as the first magician to do spirit or seance type of magic in his act. He had an immense knowledge of how the mediums did their work and added their techniques into his shows. A slew of performers followed like John Henry Anderson, Robert-Heller, Samri Baldwin, Harry Kellar, John Nevil Maskelyne, and on and on the list goes. Some would demonstrate the spirit effects, others would demonstrate and expose them. Magicians used it as some kind of 'high ground' to say you shouldn't be fooled by such charlatans. Though, they were using the same techniques, lol. But in the defense of the magicians, their job is to entertain by fooling, not to swindle people under false pretenses.

The methods of the spirit mediums were fairly well known in magic circles by the time Houdini came along. In fact, Houdini even did some of this mediumistic work early in his career but soon understood how it had a great power to deceive in the wrong ways, and he discontinued it.

Later in life, it's been written that he turned on the whole Spiritualism movement when he found they were unable to contact his mother. I suppose even the great Houdini, in a moment of deep emotional grief wanted to believe the claims of these people. But his vast knowledge of deception wouldn't allow him to be fooled by the same kinds of parlor tricks he had been doing for years. So he went on the attack. Well, that would be the condensed version of it. In truth, Houdini doesn't really turn on the Spiritualists until the 1920s. So even though he never received a message from 'Mama', that alone wasn't enough to cause him to crusade against them. It was an entirely different event....and that I will discuss at another time.

Houdini certainly wasn't the first to expose spirit mediums and their techniques. But he was the most famous for doing so. His celebrity status combined with this very aggressive approach made his battle with the Mediums front page news. Then, to top it off, he made the Spirit Exposure the highlight of this 3 Part Act during his final tour.

I can't help but wonder what Houdini would think about all these Hunting for Ghost Shows on TV these days. I don't think any of them are out there exposing fake phenomenon, but rather trying to prove such things exist, and on a weekly basis. I have a feeling Houdini would have a different take on it all.

John Cox and the Lost Scrapbook

In a few short days, August 23rd 2014, Potter and Potter Auctions is having a huge auction of  Houdini items.
Among the items up for auction is a recently discovered Houdini Scrapbook on Spiritualism. It was none other than my buddy John Cox from WildaboutHoudini.com that first revealed the news of the Lost Spiritualism Scrapbook earlier this year. You can read all about it here.

Now, this Scrapbook is available to the highest bidder.  The estimates for this item are in the $15,000 to $20,000 range, and it could go even higher. What an incredible resource for the Houdini researcher. I can only imagine what new revelations might come out on Houdini and his battle with the Mediums from this collection of notes and newspaper clippings.

Save up your dollars because this incredible piece of Houdini history could be YOURS....or David Copperfield's...but let's hope it's yours.

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!'

The Floating Ball Illusion History

 
HISTORY
The Floating Ball was the creation of David P. Abbott. Well, actually, the original version was the creation of Harrison Davies and appeared in the September issue of The Sphinx in 1905. This information was uncovered by Teller and written up in his Prologue to The Floating Ball Illusion Chapter in the House of Mystery-Volume 2 by Teller and Todd Karr and David Abbott. This book, House of Mystery is basically an expanded edition of David P. Abbott's Book of Mysteries. It's a MUST READ for anyone interested in magic history. But within it's pages is contained the full explanation and step by step instructions for the Abbott Floating Ball routine. His routine was unique in that it was a one person version that he only performed in his home, so he had control of all conditions.

David P. Abbott taught the routine to Howard Thurston and Theo Bamberg. Thurston included it in his show and Okito would use the Floating Ball in his own show and develop a routine that set a new standard for the time.

The Thurston version of the Abbott routine was part of his Spirit Cabinet routine. Interestingly, the Thurston routine has a slightly different method to the Abbott version. Thurston routine begins with the ball floating forth from the Spirit Cabinet. It moves and floats about the stage and at one point is hovering above the stage. It's at this point that Thurston walks away from the ball while it is hovering in mid-air. The ball eventually floats back to the cabinet.

Theo Bamberg, known as Okito, used the Abbott version as the starting point but worked to develop his own moves and sequences. In his book, OKITO ON MAGIC, there is a 5 page chapter where Okito discusses the history of his routine. Interestingly, he never divulges his routine but he does divulge that his routine was ten minutes long.

Okito passed his routine onto his son, David, known professionally as FuManchu. In the book, ILLUSION BUILDER TO FU-MANCHU by Robert Olsen, a section on the Floating Ball is included. The chapter is mostly written by Edmund Spreer, who learned the Floating Ball from Okito and even hand made the Floating Ball for David Bamberg. The chapter gives a lot of details to the Fu-Manchu routine, which we can assume was identical or at least very close to his father's routine. The photo to the right is yours truly holding the Spreer made Fu-Manchu Floating Ball and below that the plexiglass box that mysteriously opened on it's own to allow the ball to float out or float back in.


Moving to the later part of the 20th Century we have Doug Henning's Floating Ball routine. The Doug Henning version came from Charles Reynolds who got the routine from a source I won't reveal. Well, it's not that I can't, it's that I have no idea what Gaeton Bloom said on the Luis Dematos Floating Ball DVD! And frankly, I so enjoyed the talk that Luis and Gaeton had about the ball, that I don't wish to spoil it. (You can read more about the DeMatos Floating Ball and DVD below.)  I can say that the Henning version always thrilled me but it seems the actually working of the routine was very different from what I thought it was. Let's just say the routine was 'All Doug'. Now, you take a moment to watch the following video of the The Henning Floating Ball.

That was part 1 of the Henning Floating Ball. Part 2 was something he only included on his TV Special. He would walk over to a large empty box and place the ball inside. Suddenly, the ball would emerge from the top of the box, but this time it was enormous. As it began to float up and down, it would begin to illuminate and the figure of a person could be seen inside. As the ball lowered it split in half revealing actress/dancer Joey Heatherton. This was really two different Floating Balls combined into one routine.

After Doug Henning, the next person to really bring the Floating Ball to the forefront was David Copperfield and Don Wayne, his magic consultant. The Copperfield version of the Floating Ball appeared on one of his early specials and featured the floating of a large disco mirror ball. The method for the Copperfield routine was the idea of Don Wayne. Following the TV special, Don Wayne sold a smaller version of the ball to magicians, along with a booklet on this Don Wayne method. His method, a two person version, opened the door to some amazing moves and sequences with the ball that were previously more difficult to do. The Copperfield routine was probably the most theatrical routine of all the versions combined. Like the Henning routine, Copperfield cleverly mixed different methods into a longer sequence. The Copperfield ball was covered at the end, floated upwards and then vanished as in an asrah levitation. You can enjoy that video now.

Peter Loughran put out a version not that long ago that was the creation of Steven and Michael Pignataro, it was called Voyager and was the first Floating Ball to include a lot of the 'hidden stuff' needed to create the full illusion.  

Next we have the TELLER Floating Ball. I have sadly, never seen the routine in person. I believe he calls his version 'The Red Ball'. The Teller inspiration came from the Abbott routine. Whether or not he uses the Abbott method or has developed something of his own, I really don't know. I'm not even sure the ball floats! From what I've read, it's more along the illusion of it 'coming to life'. But I do know that the 'secret' is told to the audience just before the routine is done and it still retains a very magical quality. Though with Penn and Teller, can you really be sure they've told you the secret????

The last Floating Ball belongs to Luis DeMatos.  The performance of the Floating Ball by Luis DeMatos is as close to real magic as you're likely to ever get. Having worked with the Floating Ball before, I was stunned at what he was able to achieve. I really was not sure what method he was using to accomplish his feat.

Luis has put out a DVD on the Floating Ball and his method as well as a history of the ball. He covers a number of historical things that I do not mention here.   As far as the Luis DeMatos Floating Ball DVD is concerned, I absolutely loved it. I've actually gone back and watched the performance part about a dozen times.

Luis DeMatos is not only selling a DVD but he is also selling his Mirror Ball, complete with DVD and all the necessary items needed to do his routine. I think that the Luis DeMatos version is not only the best routine of it's kind I've ever seen, it is also the biggest advancement in Floating Ball technology since the Don Wayne version. His routine might not be as theatrical as the Copperfield version, but it has a purity and elegance all it's own. For those interested, below is a somewhat edited version of his routine and you can start to get an idea that this is not your father's Floating Ball!

THE FLOATING BALL by Luis de Matos from Essential Magic Collection on Vimeo.

Potter & Potter Houdini Auction Catalog Is Now Available

Potter & Potter Auctions is having an incredible auction of Houdini items on August 23rd, 2014. The catalog is now available for download OR purchase. I just finished going through the catalog and my eyes are bugging out. The most incredible thing (and there are a LOT) is the Houdini Double Fold Death Defying Water Mystery Box!!!! Yes, the actual box. I had heard it was still around but had no idea where. Well, now it's up for David Copperfield, I mean, someone with lots of cash, to purchase.

Among the real gems is a costume belonging to Bess Houdini, several pairs of handcuffs, a film of Hardeen doing an Overboard Packing Crate Escape, and an unpublished manuscript by Houdini on Witchcraft. Oh what am I saying? Everything in that catalog is a gem! I can't wait to see what I'll enjoy loosing in that auction, lol. How is that for a positive attitude, lol. Houdini stuff tends to go pretty high.

IF you want to buy or download the catalog, go to this link http://us2.campaign-archive1.com/?u=875574c47a99767fdc579a024&id=d7a10af7ee

A Few More Details on Wyman the Wizard

Today, I'm once again exploring the life of John Wyman, known as Wyman the Wizard. I have written about Wyman before, but I continue to find new information that is quiet revealing. He was born in 1816 in Albany NY. His career as an entertainer began simply enough as a mimic. He could reproduce the sound of people's voices as well as animal sounds to such a degree people thought they were listening to the real thing. How this transferred to magic is not known, but before long he became a full fledged magician and mimicry was only a small part of his show.

The book, Annals of Conjuring says that Wyman was the first U.S. born magician to attain prominence. And the Illustrated History of Magic says that "he was the biggest money maker of the period." John Mullholland writing in The Sphinx, says "he was the first American-born magician to present a full evening's stage performance". 

John Mullholland actually reveals a number of surprising details about Wyman. Mullholland claims that Wyman was the first magician to include spiritualistic/mediumistic effects in his programs. He also claims that  in 1857, when the Boston Courier was investigating the Fox Sisters, Wyman was chosen as one of the people to be on the committee. And probably due to Wyman's participation on the committee, no reward was given out to the Fox Sisters.

I first became interested in Wyman when I learned he lived and performed often in my area,

Odd Fellows Hall Today

Washington D.C.. Wyman performed for Presidents Martin Van Buren, Millard Fillmore and performed numerous times for President Abraham Lincoln. As I mentioned in a previous article, one of the effects presented to Lincoln was the Cap & Pence, where several coins would mysteriously pass through the hand of a spectator, in this case, through Mr. Lincoln's hands. Those coins now reside in the collection/museum of David Copperfield. 

 Wyman lived on 6th St in Washington D.C. for a period of time. And his regular performance spot was a place called The Odd Fellows Hall, which was located at 419 7th St N.W Washington, almost exactly half way between the Capital Building and The White House.

One of the most fascinating things to me was Wyman's Gift Show. This was a show in which every ticket holder received some sort of gift. According to reports, these were often very nice gifts as well. I wonder how he worked this out financially to be able to provide quality gifts to every single person in the audience and still make a profit from his performances.

Wyman did make quite a huge profit in his lifetime. He was one of the few magicians in history to make a lot of money and keep it until his death. He also wrote an autobiography which was never published. The manuscript was apparently sent to George M. Cohan shortly after Wyman's death, but Cohan said he never received it. So that means the U.S. Post Office has been loosing packages for a very very LONG time!
 

Happy Birthday Harry Blackstone Jr

The SAM Facebook Page posted that today, June 30th was Harry Blackstone Jrs 80th Birthday. I can hardly wrap my head around that. Wow. I still remember when Harry passed away suddenly and that was shock enough. But to think he would have been 80 today is amazing.

I sure miss that guy. He was the first professional big name magician I ever saw live. I still remember that day as if it just happened. He was an amazing performer and from what I've heard he was quite a fine human being as well. I wish I had known him.

Happy Birthday Harry!

Robert Heller's Magnifecent Peacock

Robert Heller and his Peacock Automaton

As fascinated as I am by Heller, I must now admit, I also have an odd fascination for the so-called Peacock Automaton. I had seen one in the collection of Ken Klosterman (Salon de Magie) and assumed it was Robert-Houdin's Peacock. In his book 'The Memoirs of Robet-Houdin', the author mentions seeing the 'magic peacock' in a show presented by Phillipe. Researching this unusual creature I found that according to Harry Houdini, Robert-Houdin claimed to have created it. But Houdini, in his book 'The UnMasking of Robert-Houdin' makes the claim that Houdin did not create it but rather ripped it off.

Actually, it appears that though there were Automaton Peacocks prior to the Houdin version, his was different in operation and mechanics, so Houdini got that one wrong. I actually assumed, like Houdini, that all these birds were the same. But their appearance is deceiving. They do share a few attributes, one being the realistic look of a peacock and the ability to take the tail feathers and raise them and spread the giant plumage for display. But that is where the similarities stop.

from 1815

There is a playbill from 'The Unmasking of Robert-Houdin' that belongs to Mr. Louis's Royal, Mechanical, and Optical Exhibition. The bird figures prominently on the playbill with the following description. "A Superb Mechanical Peacock-As Large as Life, In it's Natural Plumage! Which imitates, so closely, the Cries, Actions, and Attitudes of that stately and beautiful Bird, that it is not infrequently supposed to be an absolute Animal properly trained to act as an Amusing Deception."The playbill dates to 1815, certainly before Robert-Houdin was born, as Houdini points out.

An even earlier playbill from 1803, belonging to a performer named de Philipsthal, also from 'The Unmasking of Robert-Houdin' reads as follows, "The MECHANICAL PEACOCK, which exactly imitates the Actions of that flately Bird, that is has frequently been thought Alive. It eats, drinks & at command, unfold its Tail in a brilliant circle, and in every respect seems endowed with an intuitive Power of attending to the Thoughts of the Company." Frankly, that sounds pretty amazing to me.


I believe the Robert-Houdin bird was different from the above automatons and I base this on the illustration used by Heller and a similar illustration used by another Robert-Houdin imitator. Let me point out that Robert Heller began his career by doing an act which was essentially a duplication or imitation of Robert-Houdin.

Heller obtained his props from a mechanic named LeGrand who worked for Robert-Houdin. This is the same man who sold props to John Henry Anderson as well. This duplication of props was going on behind the back of Robert-Houdin, and when he found out he called the authorities and LeGrand faced prison time because of his theft. But the damage had already been done and untold props from the Houdin show were now out and being used by his competitors. These included: The Ethereal Suspension, The Fantastic Orange Tree, the Peacock, and numerous other automaton.

Other performers of the time had Automaton Peacocks in their shows which can be seen in their advertisements. I think some of these were like the automatons listed above, true actual automatons, clock-work mechanical devices that could imitate a few actions of the bird. But the Robert-Houdin automaton appears to not be a true automaton, but rather what is referred to as a false automaton. This means it was partly mechanical but also relied upon human aid to perform it's functions. If the Heller illustration is any indication, the bird sat upon a raised platform and was able to grab selected playing cards with it's beak. It probably also moved it's head and raised it's plumage, but the action of grabbing a selected card may have been the work of a hidden assistant. That doesn't lesson the impact of the effect and to my way of thinking, is just as much a mechanical marvel as the others. Houdin was known to use both true automaton and false automaton in his show, so it makes possible that the Peacock was a false automaton. And Heller, who had purchased duplicate props of Houdin, was using The Harlequin as well as the Peacock, and the Harlequin was also a false automaton.

While doing research online for this article I came across a photo for an item listed as The

Magnificent Peacock. I found this same image on several sites, including Pinterest. The first place I found it was http://blog.dugnorth.com/2008/11/19th-century-life-size-musical-peacock.html All of the pages are unsure of it's origins and they only speculate as to the date of manufacture. One website in particular has a different photo but it's very blurry. It shows that the red base in the photo is actually on an ornate raised wooden or medal pedestal. What is amazing to me is, this looks exactly like an image I saw on one of the Robert-Houdin imitator's posters. So this image to the right could actually be a piece out of a magic show.

For those who might be curious, in the late 1800s, a company called Roulette & Decamps out of Paris France was producing the Peacock Automaton for the general public. They made three versions of the Peacock, a small, a medium and a larger version with a music box inside. All three of their Peacocks had the ability to walk, moves its head and raise it's plumage. One of the Roulette & Decamps Automatons can be seen in the video below. By the way, the Peacock in the Klosterman collection is one of these Roulette & Decamps Automatons. It is identical to the bird in the video, so my initial assumption that it was Robert-Houdin's was incorrect.

*I don't have access to all of the Robert-Houdin books on magic, so I'm unsure if his Peacock and it's workings were listed in a book I missed. If anyone knows and can enlighten me, please do. I make an assumption that Houdin's automaton was a false one, which I also found similar statements online. But with Houdin's knowledge of clockworks, it's just as possible the bird was 100% mechanical. 

Heller, Houdini and more

Photo taken during Houdini's visit to the grave in 1910

My fascination with Robert Heller began with Houdini. Specifically, the image of Houdini next to Heller's grave. Houdini referred to Heller in his Conjurer's Monthly Magazine, as "the most versatile magician who ever lived." Had it not been for Houdini, the whereabouts of Heller's grave would be likely be lost forever because it was Houdini who had rediscovered the grave.

When I began to research Heller back in 2011, I had no idea I would become so fascinated by the man. He is certainly an interesting character. I had done a ton of research on him and thought I had uncovered about all there was to uncover, but it turns out I was very wrong. I came across a wealth of new material this weekend on Heller, including playbills and posters and some images and illustrations that I'm not sure have seen the light of day for a very long time. So I will be delving back into the life of William Henry Palmer aka Robert Heller, to see what new mysteries and insight can be uncovered. In the mean time, I hope you enjoy the new photo of the Heller grave, taken in 1910, very possibly by Houdini. And enjoy the poster below, it's a beauty. All three images come from a Houdini scrapbook.

New Resource For Researching Victorian Magic History & More

This may be the coolest thing to happen to magic since the Top Hat!!!! Seriously, I am loving this new addition to AskAlexander.com. It's called "Victorian Popular Culture" and in their own words 'it is an essential resource for the study of popular entertainment in the 19th and early 20th centuries.'

Though it is not strictly magic oriented, it does represent conjuring quite well. I was looking at the list of participating libraries and they include the Harry Ransom Research Center at the University of Texas where a great deal of Houdini owned scrapbooks reside. Also, they list The Senate House at the University of London which contains items from the Harry Price Library of Magical Literature.

In addition, they cover Spiritualism, so anyone interested in that topic (NORMAN), might want to delve into it. There is a section on Music Halls, Theater and Popular Entertainment, a section on Circuses, Sideshows and Freaks, and a section on early Motion Pictures.

How in depth this is I don't really know yet. I just recently stumbled upon it. But AskAlexander is such a valuable resource that I would have to say this new addition must be great otherwise they would not have included it. I'm assuming you must be a member of AskAlexander.com to access the site. IF you are a member and have not looked into this new resource, please do! From what I have seen so far it will be a great tool when researching our unique art for historical purposes.

This is the link to get there, though if not a member the link may not work for you. http://askalexander.org:9000/Index.aspx

UPDATE: I just discovered this service 'Victorian Popular Culture' is a paid feature. So if you don't have an account/membership with The Conjuring Arts Research Library, you won't be able to view it, sorry. I did not realize that at first. I was able to view it because all Genii Subscribers were able to see it up until June 15th. Needless to say, June 16th, no go! lol. Genii Magazine used to run their online version of the magazine through AskAlexander.com. But now they have gone to their own portal, so it's no longer available for us to access. However, AskAlexander.com does offer very reasonably priced monthly subscriptions to their site so for as little as $10 a month you can view the 'Victorian Popular Culture' portal plus lots of other great research tools offered by AskAlexander.com and the Conjuring Arts Research Library.

An Inside View of Hammersteins Victoria Rooftop Theatre

A reader to my blog, posted a link to his article on Hammersteins Theatre in NYC. The photos are really fantastic and his blog article is quite interesting. As this was a favorite stop for Houdini, I thought you might enjoy checking it out.

Back in 2011, I wrote a piece on Hammerstein's as well. Here is the link to my article http://www.themagicdetective.com/2011/01/hammersteins-victoria-and-rooftop.html

Here is the link to the new article at the Hatching Cat Blog http://frenchhatchingcat.com/2014/05/23/the-dutch-farm-at-hammersteins/

Remembering The Passing of the Mantle of Magic

Today marks the 106th Anniversary of the Passing of the Mantle of Magic from Harry Kellar to Howard Thurston at the Fords Theatre in Baltimore MD. May 16, 1908 in Howard Thurston's own words,

"Before the final curtain had fallen Kellar led me to the foot- lights and in a most touching speech briefly mentioned his own career of forty-five years as a public entertainer, and finished with a generous and affectionate prediction of my future. Kellar had played Ford's Opera House for many years. He handed his arm around my shoulders, while the orchestra played 'Auld Lang Syne'. As the ushers carried many floral offerings to the stage, the audience sang with the music. Finally, the musicians stood, then the entire audience was on its feet repeating the refrain. Leaning heavily on my shoulder as the curtain dropped for the last time, Kellar cried—so did I."

What was the Mantle of Magic? Essentially, it was nothing more than a business transaction between Kellar and Thurston. But that is too boring, so they put a theatrical spin to the whole affair and created this idea of passing Kellar's Mantle onto Thurston. For the 1907-08 Season, Kellar and Thurston toured the U.S. together.  All of the posters for the tour featured an image of Kellar's face in the upper corner and Thurston's face in the opposite corner. The final poster above, was the only one with a full sized image of both Thurston and Kellar, that I'm aware of.

I'm not sure how long Thurston continued using the Kellar endorsement after that iconic event. But it's clear he did continue to use "Kellar's Successor" for some time. 

Library of Congress Image

Today, all parties associated with the event are long gone. Thurston and Kellar have low since passed away. Even the Ford's Theatre in Baltimore is gone. But we have the posters, playbills and history to look back upon and fondly remember an important event in the annals of magic.

Harry Blackstone Jr Anniversary

17 Years Ago, on May 14th, I was at Dulles Airport with my friend Adam Ace. We were about to take a plane to Mexico for shows. Before the flight I stepped into one of the gift shops and saw the USA Today Newspaper. There on the cover, a photo of Harry Blackstone Jr. and the words 'Has Died'. WHAT? How could this be? Sad, but true.

I never got to meet Mr. Blackstone. I was on an elevator with him once but other 'fans' were kind of crowding him so I didn't join the pack. I also sat in front of him at a conference once, but he was deep conversation with his wife, so again, I didn't intrude.

Needless to say, his passing was somewhat of a shock to the magic world. I only added 'somewhat' because we all new he had been ill. He had what seemed like a sudden and drastic loss of weight and he didn't look well. I remember seeing him on the Miss America Pageant producing Regis Philbin from a tip-over trunk. It was the last time I'd see him on TV. He was gone a short time later.

Harry Blackstone Jr. was one of the GREATS! I'll write about him more at another time. But for now, we remember his passing 17 years ago.

A Little Fu-Manchu Trivia

Some Interesting Facts About Fu-Manchu

When he performed he spoke Spanish with a Chinese accent.

His oriental robes were authentic. Many were purchased in Hollywood.

He adapted a principle from a novelty toy into one of the most amazing pieces
of magic ever seen. This principle sat untouched for many years until recently altered
and updated by Jim Steinmeyer. It was used in Fu-Manchu's Pit & Pendulum Illusion.

His father was Okito (Theo Bamberg). Fu-Manchu (David Bamberg) was the 6th and last generation of magicians known as The Bamberg Dynasty.

During his years in South America, he auditioned many women to be assistants in his show. One of the women who auditioned for him was Eva Peron, the First Lady of Argentina from 1946-1952.  She would later be immortalized in the musical EVITA.

The above poster is very unique and quite striking. There is another version of the poster which features an image of a woman's face and more text. It can be viewed here, along with one of Fu-Manchu's Movie posters.


David Bamberg in real life was a very nervous individual. But Fu-Manchu on stage
was as calm as they come. It's been written that whenever his assistants wanted to
ask for a raise, they always waited to ask Fu-Manchu rather than David Bamberg.

According to David, eventually the Fu-Manchu calmness creeped into his real life
and later in life he became less of a nervous wreck.

David Bamberg took the name Fu-Manchu from the Sax Rohmer novels of the same name. Because of this when he came to the United States, he was not able, due to copyright laws, to use the name Fu-Manchu. Instead he used FuChan. However, Bamberg was not the last to use the 'borrowed' name. A rock band now uses the name Fu-Manchu.