Devilish Imagery In Magic

This article originally appeared in Jan 2012. However, I have some things to add and alter from the original version, so I've updated the article here. There are lot more links in this article than the previous one, so I'd encourage you to check those out as well.

The Devilish Connection

Magic has a long history of being associated with the devil and the dark arts. The book, Discoverie of Witchcraft written by Reginald Scott in 1584 came about specifically to show that what witches often did was bunk and what conjurers did was certainly not in a league with the devil. The book was written during the reign of King James 1. This is the very same King James that commissioned an edition of the Bible that still carries his name. He was aware and concerned about witchcraft and demons at one point in his life. He wrote a book on that very topic in 1597, but eventually came around to see that the claims of witches were often grounded more in folklore than in fact.

Let me be clear, though there is a history of association, there is no actual association with the devil. Magicians are not devil worshipers, nor do they conjure up demons in order to present their effects. A number of conjurers over the years have implied this link in order to make their effects more mysterious. The reality is they do not use nor require demonic assistance to create a theatrical magic illusion.

Magicians and conjurers of the 1500-1700s were mostly street & outdoor faire performers. Their use of advertising would have been limited, due to the lack of technology mainly. Whatever early pamphlets or fliers there might have been would have had only words and no graphics or very primitive graphics. But that changed in the 1800s and the use of playbills and posters would eventually be the primary source of advertising a magicians performance right up into the early 20th Century.

I'm not sure who the first magician was to use the devil/imp idea in their marketing & advertising, but it may have come out of the old Phantasmagoria Shows of the early 1800s. These were magic lantern shows, where images of angels, demons, devils, or simply recently departed people were projected onto a wall, or screen or thru smoke giving the illusion of movement. They were a popular form of entertainment in the their time. Magicians were often on the cutting edge of science & technology and so many of the people demonstrating the magic lanterns were from the magic trade.

By the 1840s, European magicians began using devilish creatures in their advertising in limited amounts. The 1848 poster advertising Robert Houdin's performances at the St. James Theater in London even has a few imp creatures on the poster. Though I couldn't find anything like that on his French advertising material.

In America, Robert Heller made more blatant use of the demonic imagery. His early posters were primitive and usually in a single color, but towards the end of his career he began to use two color playbills and posters with the devils appearance becoming more prominent. At one point in his career he adopted the slogan "Go To HELLers!" and printed fliers with this headline and information about the show. Some of these fliers were specifically sent to local churches. The clergymen would attend the programs to see what was going on and often return to tell their congregations about the wonderful entertainment they had seen. I can't help but imagine this scheme had to backfire a time or two, but it was a bold ploy and it worked for Robert Heller.

At the same time Robert Heller was performing in the United States, John Henry Anderson too arrived with a show that was very similar, both men had copied Robert Houdin's act. John Henry Anderson, who went by the moniker The Great Wizard of the North, may have used demonic imagery at some point. But interestingly, I saw a poster of Anderson's that used the opposite approach, rather than have devils and demons, he had a poster with the border covered in angelic beings. In Anderson's Second Site poster an angelic being can be seen hovering behind the performers.


Why Devils and Imps?

I couldn't help but wonder why this fascination with demonic forces. I still can't explain the earlier uses by Robert-Houdin and others. However, I'm sure I've figured out the connection to Herrmann, Kellar and beyond. If you look at the devilish figure in the Herrmann poster below, or in the famous posters with Kellar toasting the Devil, or even the devilish images that appear in some of the Servais LeRoy posters,  this devilish character is Mephistopheles who comes from the stories of Faust and German folklore.

The Faust story has been written by numerous authors like Marlowe and Goethe and interpreted in plays, poems, novels, and movies. The story in a nutshell is that of a learned man who sells his soul to the devil for magic powers and ultimate knowledge. Mephistopheles is a servant of the devil whose job it is to collect the souls of the damned. In the original story of Faust, Mephistopheles does not tempt Faust, but because he senses he is already damned accepts the deal that Faust offers him. Bingo! This is the imagery that Herrmann and Kellar and others are capitalizing on. Making a deal with the devil for magic powers and secret knowledge.

I'm only speculating here, but because magic as far back as the time of King James had an assumed connection to the devil, this notion may have continued, even though it was disproven over time. However, magicians decided to keep the notion going by adding the imps and devils and in some cases other magical creatures from folklore like gnomes and fairies*. It made the magic more mysterious and mystical, but in a mostly playful way. Even though I'm sure the more religious segment of society still stayed away from their performances.

In addition, the image of the Devil with horns and pitchfork is from the Greek mythological creature called The Satyr. These creatures were famous for being part man, part goat and being drunk and chasing nymphs. If one were to color the Satyr red, he would look exactly like the typical image of the Devil. The Satyr Head Trick, popular in Victorian times, looks to be a devil. We have grown accustomed to the horned red suited character with the pitchfork or trident as the Devil. But I believe that his image came from the Satyr and morphed into the Devil. In biblical texts, the Devil is only described as a fallen angel, and the most beautiful of the angels. So the image we are used to seeing, a horned red suited character with a pitchfork, was an artist rendition that continues to today.

Magicians & Lithographs

The explosion of devilish advertisements took place when magicians moved from using simple printed playbills to elaborate full color lithographs. The lithographic process dates back to 1796 but the use of color in lithographs wouldn't begin until 1819 and even then wasn't quite perfected until the 1840s.

The first two prominent performers to use full color lithographs and devilish imagery were Alexander Herrmann and Harry Kellar. Which one of them used the devil images first is open to debate. My guess would be Herrmann, after all he looked just like the Victorian eras depiction of the devil himself. In addition, Alexander's older brother Compars had used 'imp' figures in his promotional material as far back as 1862.

Regardless of who first created this devilish depiction, both of these performers used the imagery heavily in their promotions. Alexander Herrmann died in 1896 and his nephew Leon Herrmann, who bore a striking resemblance to Alexander,  joined with Adelaide, Alexanders widow, to take over the show and the hellish pictures continued. After Adelaide and Leon split up their act, Adelaide used a devil at least once before moving to a more contemporary look.



Harry Kellar's first use of a devil on his posters was in 1884. The poster is for a levitation and depicts Kellar being lifted above the heads of the audience by angels, while on stage is a winged demon. This poster would insinuate magic more akin to the supernatural or assisted by the supernatural.

Another poster from 1884  shows two devilish figures and a third devilish face on a poster for his Spirit Cabinet.  This can be seen on page 242 of Kellar's Wonders by Mike Caveney and Bill Miesel. It wasn't until 1894 that Kellar really begins to commit to this design idea. His iconic poster (below) with the whispering imps is probably the most copied posters in the annals of magic. Kellar continued to use the imps in his advertising throughout his career, an image of many different Kellar posters can be seen here.

When Howard Thurston purchased the Kellar show and became Kellar's successor he continued using the imps and the devils in his posters. And not to be left out, Carter, Raymond, Dante and Blackstone all used devils in their posters. Even Houdini was not immune to the effects, though it looks as if he only used the devils once and that was in his poster promoting his Prison Cell & Barrel Mystery.

After the Golden Age of Magic the use of the devilish figures diminished though they have not vanished entirely. A few years ago, Ricky Jay used a version of the whispering imps poster to promote his Ricky Jay and his 52 Assistants show. David Blaine has included the use of devils in some of his posters.

Recently, Dan & Dave put out a t-shirt with the Kellar imp emblazoned on it. In 2012, magician and TV producer Chris Chelko created a series of playing cards called The Whispering Imps. The illustrations for the cards were done by Mark Stutzman, the same illustrator who does all of David Blaine's poster work.

*If you're wondering who the magician was that used gnomes, it was Edward Maro. He never used devils in his promotional materials. In fact, there is a cartoon from an old issue of The Sphinx showing Maro patting the head of a little imp and the caption below has to do with the fact that Maro never uses the devils in his work.

After 100+ years of using this imagery in magic posters, it's now part of magic history and people who use it today are really connecting back to the Golden Age of magic.

If you're interested in ordering one of David Blaine's very cool posters, they are available at http://shop.davidblaine.com/collections/posters
Also, if you'd like to see a cool site with over 100 pictures of magic posters with imps and devils on them please check out this link to Rhett Bryson's site.


Blog comments are welcome and encouraged. Also, if I happen to get some fact wrong historically I do appreciate having someone set me straight on that. I try to get the best information possible, but even I can miss something. If you want to discuss a blog in detail, please email me at  carnegiemagic@aol.com

My First Experience With Blackstone Jr.

The first professional magician I ever saw was Harry Blackstone Jr.. I remember it as if it was yesterday. I had just come back from a trip to Al's Magic Shop in Washington D.C.. and I had purchased an issue of Genii Magazine. While looking through this magazine, the first one I ever bought by the way, I saw an add promoting the Blackstone touring show. I looked over the list of cities the show would be appearing in and lo and behold they would be in Washington D.C. in the not too distant future.

My Dad bought tickets for the whole family and we sat in the third row at the Warner Theatre to see

Blackstone! What a life changing moment that was. Here was a real magician with a commanding presence on stage. He walked out with his birdcage and well, you know the rest. What an incredible show that was. So many great moments, like the Dancing Hank, The Floating Lightbulb, the Buzz Saw, The Circus act with the Girl from Cannon into Nest of Boxes. I was mesmerized by the whole show.

I never expected that years into the future I would own items from that very show. I purchased a number of costumes used in that show. I also bought one of the illusions they toured with, though it was not in the show I saw that first time.

Fast forward a number of years and I'm back at the Warner Theatre, this time to see Masters of Illusion, a touring show produced by Gay Blackstone, Harry's wife. What a thrill it was to meet Mrs. Blackstone after the show. I had actually met Gay, once before at the Magic Castle, but here we had an opportunity to speak with her. It was as if life was coming full circle. Actually, full circle would be Being IN The Masters of Illusion Show produced by Gay. (and we're working on that, trust me).

Carnegie, Gay Blackstone, and my assistant Denise.

I always thought that Harry Jr. would go on to be a huge name not just in magic but in show business. Clearly, he was a big name in magic, but I'm not sure he got the notoriety he deserved in the overall world of show business. Magician's rarely do get that kind of fame. But Harry really truly did deserve it. He was the quintessential theatrical magician. He was the whole package, he had the look, he had the skill, the talent, the presence, and he had the likability factor like few before or since.

Just today I came across an audio interview of Harry Jr. that a gentleman named Bill Smith had preserved. I heard so many interviews of the years with Harry. I remember listening to an interview he did for the radio with Larry King and others. So this brought back a lot of memories. IF you would like to hear this interview, please click the link and enjoy 20+ minutes of Harry Blackstone Jr. talking Blackstone Magic History! http://www.linkingpage.com/magicnewsfeed/2012/7/6/mnw-332-harry-blackstone-jr.html

Houdini In Minneapolis

My family comes from Minneapolis. Basically, my family tree in America starts in Minneapolis and branches out from there. So, I've always been curious about Mpls. I've visited there many times, gone to the magic shops in town. I remember driving by the theaters on Hennepin Avenue years ago wondering if Houdini had performed there. Well, now I have my answers and along the way a huge shock!

Houdini's career actually begins in the other twin city St. Paul MN. In March of 1899, Houdini was working at The Palm Garden when he met Martin Beck and his career was forever changed. But his first appearance in Minneapolis (Mpls) wasn't until 1915. He was performing at the old Orpheum Theatre the week of September 26th, 1915.

Mpls Morning Tribune Paper

On Thursday, September 30th, at 12:05pm Houdini was strapped by his ankles and hung upside down in a straitjacket in front of the Minneapolis Tribune Building on 4th and Marquette Streets. The straitjacket was furnished by the Mpls. Police department. He freed himself in front of crowd that covered on city block. For this stunt he received press articles on Sept 29, 30th and October 1st. This was one of the earliest hanging straitjacket escapes that Houdini ever presented. Possibly his second hanging straitjacket.

The evening of October 1st, Houdini would face a challenge posed by the shipping department of the New England Furniture and Carpet Company. They built a packing case that they were sure he could not escape from. In the Mpls Tribune Newspaper Houdini is quoted as saying "I do not say I will definitely get out. But I have never failed in an attempt. And tonight I will give it my best." He got out! If you want to read more about his 1915 exploits across the country, check out this link WildAboutHoudini.com

The next time Mpls would see Mr. Houdini would be in February of 1923. And this is where the whole things gets personally interesting to me. It was February 7th, 1923 and Houdini was supposed to be raised 100 feet in the air above the Tribune Annex building downtown. When he arrived, he discovered that they wanted to hang him from a sign that was only 40 or so feet off the ground and Houdini refused. He said he promised to do it from 100 feet in the air, plus with 3000+ people watching, he'd need to be up higher to be seen properly. The rigging was thus moved to a higher location. Houdini was then strapped into the Police issue straitjacket. One of the two men strapping him in was Ole Berg. This is the name of my Great Great Grandfather who lived in Mpls. for a time. Was it MY Great Great Grandfather? I have no way of knowing for sure, as I know there were several Ole Berg's in that area then. It very possibly could have been. But I'm also sure that I had other relatives present at this event. Most of my relatives lived in Mpls. or nearby during this period of time.

Following his successful escape from the straitjacket, Houdini promptly headed to the Hennipin Orpheum for a matinee performance. During this performance he featured his escape from the Water Torture Cell. The photo below was from the Mpls Tribune, but I believe he was still being raised when this photo was taken because the newspaper said he was raised up to the 5th floor window level.

Photo used with permission Hennepin County Library Special Collections

A Forgotten Houdini Associate

While recently reading Dorothy Young's booklet about her time with the Houdini Show, I stumbled upon a name that did not ring a bell. In fact, when I looked him up in the Silverman book and the Kalush book on Houdini, neither of them mention this person. I eventually found a small mention of him in Houdini The Untold Story by Milbourne Christopher. Then another mention in Pat Culliton's great book Houdini: The Key. In fact, it was a piece in Pat's book that tipped off another bit of info that I'll cover here too.

The man's name is L. Lawrence Weber.  He was born in 1869 in NYC, New York. According to Wikipedia he was an American Sports Promoter, stage show producer, and theater manager. In 1915, he was involved in the founding of Metro Pictures, which years later would morph into Metro-Goldwyn-Mayer.

He seems to have been involved in both early motion pictures and theatrical stage shows. Then in

1925, he went into a partnership with Houdini. Weber would be the producer/promoter for the BIG 3-1 Show.  The Christopher book mentions that Houdini was in meetings with Weber almost daily. They had a tour to figure out, new promotional materials to design and approve, and a show to put together, a very big show.
The new Houdini theatre show, sometimes known as the 3 Shows in One Show,  opened August 1925 at the Maryland Theatre.  In The Untold Story, Milbourne Christopher says the show opened at the Maryland Theatre in Baltimore. This had me very excited. I was able to track down the location of that theatre and some photos. Unfortunately, The Maryland Theatre in Baltimore is long gone. AND, it turns out it's also the incorrect theatre! Christopher got that part wrong.

I knew there was a Maryland Theatre in Hagerstown MD, and that one still stands. However, after much digging I found the Hagerstown Maryland Theatre was also not the location. Thanks to something printed in Pat Culliton's book Houdini: The Key on page 398 there is a review of the very first Houdini 3-1 show. In the article it mentions Cumberland Maryland. After, more digging I finally found where there had once been a Maryland Theatre in Cumberland. It was on 37 Mechanic St. in Cumberland. The Cumberland Maryland Theatre opened on Nov 21, 1907 and had 1800 seats. It is now long gone, it was razed in 1964.

In the article printed in Houdini: The Key it says, "Opening the show last night, Houdini referred to Cumberland as marking an important epoch in his life and said that if he ever wrote an autobiography of his life, he would devote a chapter to his experiences in Cumberland inaugurating a new phase of his career as a public entertainer." In the same article on page 398, it goes on to say, that L. Lawrence Weber sent a note to Houdini following his opening at the Maryland Theatre which read, "Hope that today in Cumberland was but the dawn of a long and happy partnership between us and that future years will bring you new and greater honors which you so honestly deserve."

Here is an image of the theatre where Houdini began his big touring show in August 1925! Houdini's  big time theatrical debut took place right there on that stage. No more Vaudeville for Houdini.

Getting back to L. Lawrence Weber. He had a very successful career producing plays. His last was The Man Who Killed Lincoln which ran in 1940. Mr. Weber had one other connection to Houdini. He was one of the Honorary Pallbearers at Houdini's funeral. The others included: E.F. Albee, J.J. Murdock, Martin Beck, William Morris, Lee Shubert, Mark A. Luescher, Charles Dillingham, Richard E. Enright, Adolph S. Ochs, William Johnson, Adolph Zukor, Orson Munn, Arthur Prince, Bernard M.L. Ernst, Professor Brandon Matthews, Joseph F. Rinn, Sophie Irene Loeb, Bernard Gimbel, Francis Werner and Oscar Teale. 

*Please check out the comments below as John Cox/WildaboutHoudini.com had found out some information on L. Lawrence Weber that I missed. It adds another dimension into the Houdini/Weber relationship!

The Wonderful Dorothy Young's Book

In 2003, Dorothy Young self published a booklet called Touring With Houdini. The booklet is 26 pages long and is a quick read. It covers her brief time with the Houdini show. As I began to read the book my first thought was, 'this should have been made into a children's book with great illustrations'. I think kids would love it frankly.  And frankly, it still would make a GREAT children's book! A book about a Grandmother, who tells a group of kids about when she was a teenager and ran away to be part of the the great Houdini's show! Or something along those lines.

My second thought was, 'I wish there was more.' I really wanted to know more about Dorothy. The last page gives some biographical information. Not counting this book, Ms. Young wrote two books, Diary Without Dates and Dancing On A Dime. The latter was made into a movie starring George Murphy.  I didn't know anything about that and would love to have read more about this book and movie. I'd also like to have learned more about her dancing career after the Houdini show. She has a great story to tell, and maybe someone will eventually tell her story.

I realize she was trying to just stick to Houdini and her time with the show. She left the show after the Summer break of 1926. Of course, no one had any idea that the show would end abruptly only a few months later with the death of Houdini. But this woman obviously had a full life and many adventures and that would have been fun to read about.

Don't get me wrong, I liked the booklet. I just would like to have learned more about it's author. She does mention something in the booklet that I'll be digging into further, but I'm not going to say what that is right now.

I don't know how many of these booklets are left. If you have the opportunity to get one, I would. I got mine on eBay, which seems to be the only place they are being sold. Dorothy Young died March 20, 2011, only a few days before Houdini's 137th birthday. Click here to check out Dorothy's obit in the UK Daily Mail, there are lots of great photos of her in the article. If you'd like to read more about Ms. Young, I encourage you to check out an interview that John Cox posted on his blog.

There is another book by a magician's assistant that I would encourage everyone to read. This one is by Adele Friel Rhindress and is called Memoirs of an Elusive Moth. Adele worked for Harry Blackstone Sr for a short period of time. Her book runs 117 pages and is just wonderful. You can read my short review of her book, here.

Another Margery Book!

After finishing the book The Witch of Lime Street by David Jaher, I wanted to read more about Margery. I quickly found another book called The Medium Who Baffled Houdini by Elaine Kuzmeskus, and ordered it! I was unaware when I ordered the book that Ms. Kuzmeskus was a medium herself, so this book was likely to have a unique bias that the other book did not.

I suppose this 'other opinion' is what made reading this book so interesting to me. We, as magicians, all take the Houdini account as gospel. Yep, Margery's fake, Houdini said so, she's fake. Yet there are a number of books that give a different account. Do I believe those different accounts? Not really, but I'm willing to hear what they have to say. And I'll add this, I now want to check out some of the other source material that the author used to write her book. She references the Bill Kalush/Larry Sloman Houdini book on occasion. That source is easy to check as I have several copies and the notes to the book. But I do not have the book Margery the Medium by J. Malcolm Bird which is mentioned a lot in the end notes of this book. Knowing what I know of Bird, I'll take what he writes with a grain of salt, still I'd like to find out what's in there.

Chapter 1 had me worried pretty quickly when she stated that Margery was the reason that Houdini and Conan Doyle were no longer friends. It's safe to say 'spiritualism' is what ended their friendship but their friendship was already on the rocks long before she got in the picture. Margery just made things worse for the two former friends.

The first several chapters do a good job of letting the reader know who Mina Crandon was prior to becoming Margery. And despite his name being in the title of the book, Houdini doesn't really show up until around Chapter 9. I'm sad to say that one of the unfortunate stories, which I don't believe to be true, finds it's way into this book as well. That would be the story of the ruler being hidden inside the Margery Box and years later Jim Collins apparently saying 'the boss told me to put it in there'. Again, I don't believe that. But this 'claim' comes from William Gresham and his book Houdini The Man Who Walked Through Walls.

One surprise I discovered in the book are the references to Anna Eva Fay and the assumption that she started her career as an actual medium, despite the fact that she admitted to Houdini that she was a fake. In addition, Houdini claimed that Fay told him all her secrets, but maybe that is not the case. Barry Wiley, the author of The Indescribable Phenomenon, the biography on Anna Eva Fay, says that is 'fantasy'.  This is an area I must research more. Fortunately, the book on Anna Eva Fay is still available and it's on my list of books to get.

I will say this, if the accounts discussed in this book are even half true, then Margery didn't really get going until after Houdini had died. She, via Walter, presented some very unusual spirit manifestations. Some of them sound like they came right out of a magic catalog, and others are almost too fantastic to believe. There was one that she did on multiple occasions where someone would bring wooden rings, of different types of wood (different colors). And Walter would link them. Some sitters claimed they could see a gap forming in the rings and then sealing up. The ring test was sent off to a researcher for verification unfortunately, the rings were damaged. Thanks Postal Service!

One of the more unusual effects is Margery's trance state in which she could be heard to snore, yet her Spirit Guide Walter, could be plainly heard and understood. Is this just someones imagination running wild or was this really the case? Oh, and the levitation of tables and other objects. Again, sounds like a magic trick, but it takes on a whole new dimension in the seance room.

One big drawback in this book are the number of grammatical errors and spelling errors. There are a lot of errors. There are also some mistakes with dates, for example Houdini's mothers death is listed as July 17, 1914, not 1913. But overall the Houdini information is good, with just a couple exceptions.

A final interesting fact about the author, Elaine Kuzmeskus, was actually hired to be the medium for one of the Official Houdini Seances held at the Goodspeed Opera House in Haddam, CT. I'm guessing there was no word from Harry, again.

Overall, I enjoyed the book. It is clearly pro-Spiritualism, however the author includes many examples of fakery and spirit fraud, even with Margery. I believe my next book will actually be the booklet below. I need to get Houdini's take on this whole affair and compare it with accounts in this book and The Witch of Lime Street!

HOUDINI BIRTHDAY AUCTION Announced

Haversat & Ewing Galleries, LLC announced they will be holding a Houdini Birthday Auction on March 23-24, 2016. Here is what their email says, "Handcuff Harry will celebrate his 142nd birthday this coming March 24th and in celebration, Haversat & Ewing Galleries will host a catalog auction featuring interesting items from his storied career. We have a number of great consignments from major collectors that we're sure Houdini aficionados will find inescapably interesting and desirable. In addition we have a great selection of unique photos, letters and conjuring collectibles from the greatest names in magic. The auction starts at 11:00 AM on March 23rd and ends at 5:00 p.m. March 24th. So join us as we celebrate this great magician! Preview available in March. "

Their website is http://www.haversatewing.com/ 

John Cox also mentioned another Houdini auction on via his website. 

Evanion, the Royal Conjurer and Magic Historian/Collector

I was recently going through my copy of Houdini The Untold Story when a picture jumped out at me. It's a photograph that I have seen many many times. But it occurred to me that I didn't really know anything about this individual. Unlike my previous article on Alexander the Conjurer, this fellow did not have his photo taken with Houdini. However, Houdini did meet the man and he was important in Houdini's life for a brief period of time. His name was Henry Evans-Evanion.

As I dug into his life story, I was struck by a number of things. He had a modest amount of success during his time.  He was an avid collector of anything to do with the theatre, both magic related and theatre in general.

However, the end of his life seems to have not been good. He was forced to sell off his collection in order to make ends meet. Even then, I get the impression that the funds did not really cover all the expenses. Who was Evanion? Read on...


Henry Evans was born 1832 in Kennington, South London. He became interested in magic in his youth and performed in his teens for neighborhood friends. By 1849, he presented his first full show
at the Rock Inn, Kemp Town, Brighton. He used his real name Evans as his performing name.

In 1857 he altered his performing name to Evan Ion, and then the following year, perhaps through a printing error went with Evanion. He legally changed his name to Evanion as well.

What kind of magic did Evanion perform? Well, from the illustrations used in his advertising posters I can see he did a verison of the Robert-Houdin Suspension which was copied by pretty much every working performer of that time. He presented the Inexhaustible Bottle which was another popular trick from that period. Evanion presented the production of bowls of water very likely with goldfish, a production of numerous items from a top hat, The Flags of All Nations, Production of a Firebowl, and the Growth of Flower Trees illusion. In an article by James Hagy in, The Perennial Mystics No 18 page 2.9 is states, "Evanion's performances continued to feature not only conjuring but ventiloquism, an art which gave center stage to elaborate patter and wit which was reputed to have been Evanion's pride."

I do not profess to be an authority on Ventriloquism, far from it. But I get the impression that what we think of as Ventriloquism today and what was presented in the Victorian era are two different things. That is to say, I don't think they were using Vent Dummies or puppets the kind that we are familiar with. Rather, the concept of 'throwing your voice' or making it appear your voice is off in the distance is what they likely were doing along with comedic scripts.

On the surface there doesn't appear to be anything remarkable about his show. Not to say it was a bad show, it's just very much like the programs that the other players of that time were doing. He did perform for royalty, the Prince and Princess of Wales. So that was a huge feather in his cap that he could brag about. In fact, he billed himself as The Royal Conjurer. And this royal conjurer appears to have performed right up until shortly before his death. His last recorded performance was in 1905 for a school party in the English countryside. The Annals of Conjuring does point out that his fee at this later date was a pittance compared to what he received in his heyday.

The remarkable thing about Evanion appears to be his collection of theatrical handbills and assorted ephemera. He had a huge collection of both magic and none magic theatrical papers.  He very well may have been one of the first to ever collect such things.  I've read in multiple sources that his collection may have been more because he could never throw anything away. However, in The Sphinx Magazine Vol 48 #11, it says "Evanion would miss a meal in order to purchase a programme or booklet. He was also known to buy a dozen, at least, of the same periodical in which there appeared an article on conjuring." I'd say he was a true collector.

In 1904 Houdini comes into the picture. Houdini was performing at the London Hippodrome and had come down with the grippe (the flu). He had been confined to his room by a doctor but did do a newspaper interview. The reporter mentioned the collection of handbills and clippings that Houdini had been acquiring for an upcoming book on the history of magic. The article that appeared in the paper mentioned Houdini's collection and this caught the eye of Henry Evanion. The 72 year old conjurer proceeded to contact Houdini at his hotel on the same day the article appeared in the paper. He very likely went straight to the hotel. Houdini agreed to meet him the following day.

The next day Houdini waited for the elder magician but he did not show. Later in the day Houdini decided to take a short walk. As he exited the elevator, the porter told Houdini that some old guy had been waiting in the lobby. Since early in the afternoon this man had been waiting but the hotel staff did not tell Houdini given 'the shabby appearance' of the old man. All of this comes from Houdini's book The Unmasking of Robert-Houdin. Houdini says that he spoke to the old man who had a parcel of old clippings and playbills to show Houdini. And here is where it gets truly interesting, in Houdini's own words..."I remember only raising my hands before my eyes as if I had been dazzled by a sudden shower of diamonds."  This was Houdini's reaction to seeing first hand, playbills belonging to Robert-Houdin, Phillippe, Katterfelto, Pinetti, Breslaw, Anderson and others.  He completes the description with this, "I felt as if the King of England stood before me and I must do him homage."

This really speaks to Houdini's love of magic and magic history. It's a terrible shame that his book on magic history turned into an attack on Robert-Houdin because it could have been one of the greatest books ever written.  But back to the story. The next day, Houdini, against the advice of Doctors, takes a cab to Evanion's home. Remember, Houdini had a bad case of the flu, but he was so engrossed in this world of magic history that he and Evanion lost track of time. It wasn't until an angry Theo Hardeen  and Houdini's Doctor showed up at 3:30 a.m. the next morning looking for Houdini, did he (Houdini) realize the time. They practically had to drag him out of there, not because he was too ill to walk but because Houdini was having such a great time.

Over time Houdini would purchase more and more of the collection. On June 7th, 1905, Houdini went to visit Evanion one final time, this time at the Lamberth Infirmary. Evanion was suffering from cancer of the throat and could hardly talk. Ten days later, Evanion died. Houdini helped with the funeral arrangements and set up a fund to help Evanion's ailing wife. Much is made in the magic press of Houdini's ego, but not much is made of his kindness.  This is a great example of Houdini's generosity.

Houdini did not get the entire Evanion collection, though he did get quite a bit of it. Evanion himself had been periodically selling off pieces of it even before he met Houdini. And a big section of the collection dealing with Victorian Theatre went to the British Library where it still resides today. I think Houdini, by writing of his visits to Evanion, did secure a place for the old Victorian magician in the annals of magic history!

* If you head over the WildaboutHoudini.com you can see some images of Evanion's home as it looks today!

Continued Clean-up of Robert Heller's Grave

I just received a note from Tony Selletti about a young man, Ken Biddle, from Philadelaphia who, along with his wife, have begun some additional clean-up of Robert Heller's grave. This has been a long project. I first started a push a few years back to help clean-up the grave. Thankfully, the Friends of Mt. Moriah who have been periodically cleaning up this abandoned graveyard, eventually found their way to Heller's grave and uncovered it. Let's take a look back at some of these images from Heller's site.

This first image was one was what we were up against. Underneath this brush and mix of twisted vines was Heller's grave. It sure appears to be a daunting task from the looks of it.

Next we have the first image of the grave in the 21st Century. I was told it was laying down flat on the ground when they discovered it.  This image comes from Ed Snyder.

Since the initial rediscovery of the grave, someone cleaned up the gravestone itself. Then we come to the photos I received from Tony Selletti taken by Ken Biddle. And finally, Ken standing next to Heller's grave. I'm guessing this last shot was taken before they started their work on the site as the photo above shows the area more open.

In 1878 Robert Heller died unexpectedly in Philadelphia. He was buried a few days later in Machpelah Cemetary in Philadelphia. But a few years after he was buried, all the graves in that graveyard were dug up and relocated to other locations. Thus, the search was on to find the grave of one of the great 19th Century magicians. Houdini located the grave in 1910 and the photo at the top of the page is Houdini standing near the grave.

Thankfully through the hard work of volunteers like the Friends of Mount Moriah and others, the grave of Heller and the entire cemetery is getting a gradual make-over. If you would like to contribute to the cause or be part of a future clean-up, you can click the Friends of Mount Moriah link and you can find out more information on how to help.

Who Was Alexander the Conjurer?

The photo above is of Houdini and Alexander the Conjurer. I've seen the photo before but it never occurred to me to ask, "Who was Alexander the Conjurer?". He was not Alexander The Man Who Knows. That Alexander was Claude Alexander Conlin who was a crystal gazer/mind reader during the Roaring 20s. This other Alexander, I am not familiar with, but some digging turned up some interesting details.

Alexander the Conjurer was born Dec 4, 1819* in Munster Germany. His real name was Johann Friedrich Heimberger. He was a contemporary of Robert Houdin and John Henry Anderson, the Great Wizard of the North. Houdini met Alexander on March 17th, 1903 while playing in Cologne. He records his entire visit and then some in his book The UnMasking of Robert Houdin. In fact, it appears that it may be because of Houdini that we still remember Alexander today.

From the book Annals of Conjuring I discovered that Herr Alexander got into magic in by being an

assistant to another itenerant German magician of the day F. Becker in 1839. And Becker had also started his career as an assistant to Bosco. Alexander only stayed long enough to learn all the magic and then was off on his own. Early on he presented magic combined with the exhibition of Phantasmagoria. It appears that he had a fairly short career but made quite a bit of money that allowed him to retire at and early age.

One of the reasons that Houdini records Herr Alexander is because of his claim to have invented the Suspension illusion in 1845 while on tour in America. This would be two years before Robert-Houdin if it's true. Apparently, however the only documentation is a flyer from Herr Alexander from 1850 showing the Suspension illusion. Houdini says that Alexander got the idea from reading about Indian Fakirs doing their sitting suspension which is probably the same place that Robert-Houdin got his inspiration. The The Annals of Conjuring says that Herr Alexander's version only had the person suspended upright and not at a horizontal position like Robert Houdin's version. Perhaps they both came up with a version of the same effect, but Robert-Houdin took the effect much further.

Houdini does make a small error in his chapter on Herr Alexander. He states, "I felt especially honored to stand in the presence of the only magician who, up til that date,  had ever appeared at the White House by the request of President Polk." I do know there have been others who performed at the White House, one was Wyman the Wizard who performed for Martin Van Buren, the 8th President of the United States, and thus predated the Alexander visit by several years. Still, you could count the number of magicians who performed for U.S. Presidents on one hand, so he was still in rare company.

Houdini's visit with Alexander is fascinating to read. Here was an 80+ year old gentlemen who, by

looking at the photo above and from Houdini's description, was 'bent with years'. But he came alive when talking about the history of magic. Herr Alexander knew many of the greats from his day including: Bosco, Robert-Houdin, Frikell, John Henry Anderson, Signor Blitz, Compars Herrmann, and according to Houdini, the original Bamberg of Amsterdam.

In 1904, Houdini paid a second visit to Herr Alexander and again he was greeted warmly. This time, the old magician gifted Houdini with some playbills and programs from his own collection. But this would be the final time the two would meet. At the conclusion of their meeting, Herr Alexander confided to Houdini that all preparations were made and he soon expected the Grim Reaper to come to take him. But death is often cruel and in this case, death came to take his wife rather than him. Alexander would live several more years and live to be 89. He died July 25th, 1909.

He was known professionally as Herr Alexander or as Alexander the Conjurer. In late 1843 he came to the United States to perform. The beginning of his tour left him almost penniless. Eventually, his lucked changed and the money and success began to roll in.

Some of the tricks for which he made quite a sensation included The Spirit Bell, the production of a very large bowl of water while in Chinese robes, and of course the Suspension illusion. Houdini mentions in The UnMasking of Robert Houdin, that Herr Alexander's performance of the large bowl of water production predates that of Ching Ling Foo. 

He continued to perform in the US until 1847 when he left for South America. Magicpedia states that Herr Alexander's daughter assisted him with his Second Sight routine and she died while on tour. This event is what caused him to return to his homeland of Germany. Houdini says that Herr Alexander returned to Germany in 1854, but The Annals of Conjuring puts the date at 1852. Whichever one, we know that he did not return to performing when he got home. He amassed quite a fortune in his few years performing and retired upon returning home.

He did write a book describing his early career called, Der Moderne Zauberer (The Modern Magician) which he claimed, according to Houdini, "is rated as one of the gems of German literature, as well as the best book ever written by a conjurer." However, in Annals of Conjuring it says "Der Moderne Zauberer, a book of no great interest save for its reference to the itinerant conjurers of Germany."

*In the book MAGIC-A Pictorial History of Conjurers in the Theater author David Price lists the year of Herr Alexander's birth as 1809. He also lists the 1852 or 1854 as the year he returned to Germany, so he too discovered the discrepancy.

NYPL and HOUDINI

The New York Public Library has opened their digital vaults. They have 180,000 images that are public domain and there are quite a few HOUDINI pictures. Though no where close to 180,000 Houdini images, more like 70 or so. But great photos they are. Also, there are some very clear images of a couple of the Houdini posters. The Houdini pictures come from the Billy Rose Theatre Collection. And they have a collection of magic posters and a few photos of magicians as well.

HOUDINI
http://digitalcollections.nypl.org/search/index?utf8=%E2%9C%93&keywords=Houdini#
Magic Posters
http://digitalcollections.nypl.org/collections/magic-scrapbooks-separated-posters#/?tab=about&scroll=5
Magicians
http://digitalcollections.nypl.org/search/index?utf8=%E2%9C%93&keywords=magician#

Happy New Year 2016 From The Magic Detective!

2016 is just hours away now and I'm very excited for the coming new year. I sadly fell a little behind in 2015 with keeping the blog up to date. But I'm hoping to do a better job in 2016. I get on my various 'kicks' from time to time, things that I'm very intrigued with and it seems now that I've finished The Witch of Lime Street, I'm on a big Margery kick. I just ordered another book on Margery and I need to pour over my notes from the late Norman Bigelow to see what keen insights he had shared with me.

I hope you all have a safe and Happy New Year and I'll see you in 2016!!!

The Witch of Lime Street -Book Review

The Witch of Lime Street by David Jaher is a book about the life of Margery the Medium. The subtitle of the book is ‘Séance, Seduction and HOUDINI in the Spirit World’. Houdini plays a part, but he is a secondary character even though his image and name appears on the cover of the book. Speaking of the cover, it might be the coolest book cover of ANY book with Houdini because this book cover GLOWS IN THE DARK! It’s very subtle, but I think the glowing in the dark cover and spine add to the already spooky subject matter.

When I heard that a first time author was writing this book, I had my doubts about the quality of the content. But having read the book AND listened to the audio version as well, I can tell you that Mr. Jaher did an outstanding job of research. The book is well written, entertaining and filled with history.

I had never been that big a fan of Margery until fairly recently. I think for me my interest began when I saw the actual Bell Box that was used in the Margery/Houdini Séances. I also got to see the so-called spirit-fingerprints that Walter, Margery’s spirit guide and brother, apparently created during a Séance. Shortly after this, I started to correspond frequently with the late escape artist and Houdini historian Norman Bigelow, about Margery. I wish Norm had lived long enough to read this book, I know he would have enjoyed it.

David Jaher does a great job of laying out the details for the reader of Margery’s character before becoming a medium and after and then during the last days of her life. It would seem that Mina Crandon was a fun loving individual. When she became Margery she developed a seductive air about her. She was overly flirtatious with many men on the  investigative committee. No doubt her suggestive behavior helped to take many of them off their game. Despite this she still had standards of behavior that can be seen when Malcolm Bird tried to bring a prostitute to Margery’s Lime Street home and he was abruptly chastised by Margery and turned away.

Margery was a complex woman. Early in the book, it’s apparent that she doesn’t believe in any of this ‘spirit nonsense’. Though skeptical, she still attends a séance with a friend and encounters a medium who shares a revelation with her that she has a future in the spirit business. Sure enough, she eventually becomes the best-known spirit medium in the country. Oddly, though she likes presenting séances she claimed she didn’t want publicity. She doesn’t even use her real name Mina; rather she uses a form of her middle name Margery. And though she doesn’t want the publicity, she is competing for the top prize in country, to be examined and proven to be genuine by a committee of investigators from The Scientific American Magazine. Yes, she was a complex woman.

Houdini is in the book because he plays a major part in the investigation of spirit mediums during the 1920s and he is an important player in the investigation of Margery. The author shares Houdini’s encounters with Conan Doyle and their early friendship as well as their eventual parting of ways. This helps to set-up Houdini  as an authority on fake mediums, for the reader. Even one of Houdini’s spirit debunking co-workers, Rose Mackenberg, gets featured in the book.

There really is no better person to spot a spirit faker than a knowledgeable magician. I preface that with ‘knowledgeable’ because if the magician doesn’t know anything about fake spirit work, they’ll likely be as taken in as anyone else. Houdini was not the first to expose mediums though he was arguably the most famous debunker. Magicians were involved with exposing mediums since the very early days of Spiritualism. John Wyman, known as Wyman the Wizard at one point helped to investigate the Fox Sisters. John Nevil Maskelyne, in England, went after the Davenport Brothers. So magicians have been at the forefront of investigating fake mediums from the start.

One thing that puzzles me is where Margery learned her tricks of the trade? It’s clear that she used deception. But she was creating manifestations that no one else was doing. And she continued to evolve over time adding more and more unique effects to her Séances. A great example would be the ectoplasmic arms and hands that would mysteriously protrude from her body yet no trace of them could be found after the Séance.

I really enjoyed The Witch of Lime Street. I’m not the only one, as the movie rights to the book have already been picked up. Will we see a Houdini/Margery movie? Time will tell. But what a fascinating movie it could be. It’s a very unique chapter in history and frankly I think we owe it all to Houdini. Without him, I don’t think there would have been as much press exposure.  I also think this unique confrontation would have likely been forgotten over time without Houdini’s participation.

Chung Ling Soo Model Plane Maker

One of my favorite things about this blog are the readers who contact me with various bits of information. Earlier in the year I received an email from a reader about a magazine he had in his possession, called The Model Engineer from June 1949. Within the magazine is an article written by Donald Stevenson, who worked with Soo, and it's about Soo's interest in model aeroplanes.

There are some interesting facts that come out in the article. First thing that jumps out at me is the list of machinery in Soo's workshop: "One treadle fretsaw, one treadle circular saw, a 4.5 inch screwcutting lathe, and a pillar drill and emery wheels, also treadle-driven, a wood bench with vice, metal bench with vice, large assembly bench, a small forge and a good supply of wood and metal hand tools. All the small tools were hung on the walls in their own places, and there were also shelves all around the workshop". That complete description came from The Model Engineer Magazine.

Another interesting fact was that besides magic books and periodicals, it would seem that Soo's favorite magazine was The Model Engineer, in which this article appeared.  Stevenson goes on to describe how Soo would often come to the workshop with an idea and spend hours and hours working it out. Soo's illusion ideas were built from cardboard and wire first before they would be build from wood and metal.

Soo had an interest in model aeroplanes and would build working models from time to time. In 1911, he was approached by a company that was interested in having him build model planes. After showing the company samples of his work, Soo received an order for a weekly supply of model aeroplanes. Soo hired several new employees to help with the increased workload. This made his shop one of the very first in England to produce model planes. The work continued until the outbreak of World War 1 in 1914.

Soo continued to tinker with the models even after 1914. According to Donald Stevenson, Soo's favorite place was in his workshop.  Below is an image of a model plane that William Robinson/Chung Ling Soo built.

Thanks to Martin Griffiths, for making me aware of this and for mailing the magazine to me!

The Linking Rings, A Tricks Whose Time Has Come and Gone and Come Again!

I would love to blame my sudden fascination with the Linking Ring trick on Frederick Eugene Powell, but he is only partly to blame. I was already researching this ancient mystery when I saw his video 2  weekends ago. In his routine, at the 5:50 mark on the video, he does a remarkable move where all the rings fall and cascade off of one ring onto the floor. I had read about this move before but never saw it in action. Having seen it, all I can say is WHOA! That is awesome!!!

Just so you know, I will not be revealing the methodology of this trick. I know that 90% of the people who read my blog are magicians, but I do get lay people who read it from time to time and I am from the old school, a keeper of secrets.

The trick known as the Chinese Linking Rings is said to be 2000 years old, possibly older. I am not certain of it's origins, though I have read it can be traced to Egypt and other areas of the Middle East as far back as the first century. The Annals of Conjuring mentions that it could possibly be from Ancient Rome, but it also says that evidence is slight.  And still other sources point towards India and China as the place of origin for the Linking Rings.

The trick was introduced to the European magic world via a troupe of Chinese Jugglers and Acrobats in 1830 and thus I suspect the reason the effect is known as the 'Chinese' Linking Rings.  According to the book The Annals of Conjuring, 'they were from the Court of Pekin and performed at the Savile House, #1, Leicester Square.' A number of online sources list the French conjurer Phillipe as the first magician in Europe to do the Rings after the Chinese troupe came through, but apparently, an English magician by the name of Jacobs was doing the Rings two years earlier than Phillipe. That information also comes from Annals of Conjuring.

I think it's probably safe to say we'll never know the true origin . But at least we have a good idea of when they gained popularity, in the 1800s. The early routines presented by Europeans were done with a lot of rings, 8, 10, 11, 12 and more. I'm not sure there is anyone today doing routines with large numbers of rings. About the most you'll see are six or eight, as most sets sold in magic shops come in eights. Levant, in the book Roy Benson by Starlight speculates that the reason shops started selling sets of eight rings was because Modern Magic by Professor Hoffmann contained a routine with eight and twelve. Eight was easier and less expensive to produce and thus cheaper to sell a set of eight. However, Levant says on his DVD Levent's Ultimate Guide To The Linking Rings, that magic shops probably always sold a variety of rings, from 8-12. Today however, the set seems to stay at 8 or less.

From my research on Edward Maro earlier this year I learned that he too presented the Linking Rings but he used very large rings. I suspect he was doing either Robert-Houdin's routine or one of the routines featured in Modern Magic by Professor Hoffmann.

I first learned the Rings when I was a kid. But from the research I've done over the past week, I apparently never really learned the Rings, lol. I learned a routine, but to my delight there is so much more to this little effect than meets the eye. I was surprised by the amount of magic literature that covers the rings. For example: The Robert-Houdin routine can be found in The Essential Robert-Houdin by Miracle Factory, Tarbell #4 contains a couple sweet routines, one of which was the routine of Eugene Laurant, Greater Magic by John Northern Hilliard contains several different routines, Roy Benson by Starlight by Levent has the best possible recreation of the Benson Liking Ring routine available, and there are many other sources as well.

I've recently watched over a dozen routines on video including: Chris Capehart's brilliant routine, Pop Haydn's stellar 4 ring routine, Dai Vernon's Classic Symphony, Richard Ross's 3 Ring and 4 Ring award winning routines, Cellini's Silent but deadly two ring routine and many others. One of the best variations was Mike Caveney's Linking Coat Hangers.  I have watched videos by pros and by some not so pro but still well done. And I've seen a couple routines that I did not like at all. Two that I didn't like come to mind because I could tell, both performers knew how to do the rings, both had skill with the rings, but they chose to add dance and fast movements and it got difficult to follow the magic. Confusion is not magic and speed is not needed when performing the rings, in fact, the slower you go the more mysterious the illusion. 

I believe my first real exposure to the rings was watching Doug Henning present them. Actually, my first true exposure was a theme park magician in Kentucky just a few months before the first Doug Henning Special. I desperately wanted to know how the trick worked so I bought a copy of The Amatuer Magician's Handbook by Henry Hay and found the secret, or so I thought. That's the great thing about magic, there is never one secret to any trick. A good effect has layers of secrets along with psychology and misdirection. Then there is the  magician who must interpret all those elements and bring something of himself/herself to the mix. One of the most beautiful routines I've seen with the rings is done by Tina Lenert. Her routine is so mysterious and magical and fun. Her's is done to music and she just captivates with her presence.

Having watched so many ring routines over the past week, I have a far better knowledge of the

different routines. I know that David Copperfield for example was doing Richard Ross's routine on one of his old TV specials. I know that Doug Henning and my friend Cesareo Pelaez from Le Grand David both were doing Dai Vernon's Symphony of the Rings. OH, and Dai Vernon's routine seems to have been based on Cardini's routine. I can see similarities in Chris Capehart's routine to those in the smaller Ninja Ring by Shoot Ogawa.  I would surmise that Chris developed his through the school of hard work and repetition. His routine, uses only three rings and features a repetitive link that simply looks impossible. He does the link over and over, right under people's noses and still it's impossible to see how he does it. The Capehart routine has a different feel from others, almost a more direct in your face sort of approach, and I like it.

Who has the best routine? I don't think there is a definitive answer. John Northern Hillard says in Greater Magic that Chung Ling Soo's routine was the best he'd ever seen. Many magicians point to Vernon's Symphony or Pop Haydn's 4 Ring routine as their favorites. In the 1970's, I would have to say that Richard Ross dominated the field with his beautiful Linking Ring routine. There are just so many great ring routines, it's impossible to choose a 'best'. One thing is for sure, a Linking Ring routine, well constructed and well performed is just as strong today as it was in the 1830s.

On the DVD, Levent's Ultimate Guild To The Linking Rings, Levent share's Robert-Houdin's routine with 12 rings, Chung Ling Soo's 12 Ring routine, Claudius Odin's 8 Ring routine, Cardini's 6 Ring routine, Dai Vernon's 4 ring and 6 ring routines, Paul Potassy's 8 ring routine, Jack Miller's 5 ring routine, Roy Benson's 11 ring routine, Richard Ross's 4 ring routine, and several of Levent's own ring routines that he created. He does these routines perfectly and they are all a pleasure to watch. If you want to learn the Linking Rings, Levent's DVD is a must have, but it's expensive, so the merely curious will stay away. His 4 DVDs are a college course in mastering the Linking Rings. One thing that sort of surprised me was that among all the various ring moves and sleights he displays, none of the four I created are among the bunch. Now, I did not reveal mine to Levent, but I had always kind of assumed that I was likely reinventing something someone else did, but apparently that isn't the case. So, it's nice to know I've got four Linking Ring sleights that are unique! One more think on Levent's DVD, it's FANTASTIC. I found the historical information and the recreations to be just as great as the teaching segments. He always does a stellar job.

Oh, and I was surprised to find that Houdini has a contribution to the Linking Rings. Though, it appears that Houdini's contribution may have come from Adrian Plate's notebooks that Houdini owned. The contribution appears in the book Houdini's Magic by Walter Gibson. The sequence is a very unorthodox linking of two rings that is brilliant and deceptive. I don't know if Houdini ever actually performed the Linking Rings in his show, but I'm guessing he probably did not (if I'm wrong, let me know).

UPDATE:  I had to mention this, I just watched Jonathan Pendragon's Linking Ring routine on video. I had seen it before but forgot about it. After watching so many ring routines over the past couple weeks and watching 7 hours of rings this weekend, I must say that Jonathan's routine is among the best there is. His routine is very well constructed. It's a combination of patter and music, part of the routine he interacts with the audience, part of the routine he is on stage performing to music. And his choice of music is the perfect fit for the routine as the rings act as almost a musical instrument interacting with the music. As with anything Jonathan does, it's a very physical routine and it goes to show how a performer takes a routine and makes it their own. Just great stuff.

UPDATE2: I forgot to mention I have two friends who do the rings. But they don't really 'do the rings' They make music with their rings. They're routines are a thing of beauty and you can sense the years of dedication and practice and love in every movement. They both do similar routines but yet the end results are different. My two friends are Glenn Gary and Keith Pass, two maestros with the rings.

The reason I did not personally continue with the rings many years ago was because I shifted to the Linking Hula Hoops, which is a variation of the Linking Rings. I have been doing the Hoops for 30 years and it's become my signature trick. Originally created by Dick Zimmerman in the 1960s. I took the original routine and added my own additional moves and figures. The only flaw, if there is one, to the Linking Hula Hoops is that it's a stage trick only. So now, I'm considering a return to the Linking Rings for smaller venues. I'd like to venture into one of the 11 or 12 ring routines because those are so rarely done.  For now however, I'd like to share my variation of the Linking Rings, done with Hula Hoops. This is actually a ten year old video, so my current routine is slightly different, but you get the general idea. I hope you enjoy it and I hope you liked my history of the Linking Rings!

Frederick Eugene Powell Extra!

I think I have a new favorite magician. I can't help it, I get drawn into these people when I learn about their life stories. Naturally, Houdini remains #1. But I need to add another new one to the list and that is Frederick Eugene Powell. If you read yesterday's article, you've already learned that Powell was part of Houdini's Wonder Show to help promote The Man From Beyond movie. I also mentioned that Powell was part of The Triple Alliance with Servais LeRoy and Imro Fox.

I felt so fortunate to find a list of the effects he performed when he worked for Houdini. But I never imagined that there might be video footage. I mean there is precious little video footage from some of the best names from that time period let alone the last remaining 'old timer'. But there is. In his later years, Powell lived with his friend John Petrie. Apparently, Petrie filmed Powell performing. This is not just a quick 30 second piece. This video is 11.5 minutes of material. It's very poor quality, but that's to be expected. The content is there and it's breathtaking! Powell does a number of the kerchief tricks that he did at the Wonder Show, including the barehanded production of silks which then turn into a flag! He also does the Linking Rings and there are some very unusual moves in his routine. At a later date I'll write more about the 2nd Dean of The Society of American Magicians, but for now, please enjoy his magic!!!

UPDATE: Sadly, this video appears to have been taken down. Uggggh. This was one of the coolest videos I ever saw. It was on the SAM's Vimeo page. Now gone :(