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.

Book Review: The Metamorphosis - The Apprenticeship of Harry Houdini by Bruce MacNab

I just finished reading Bruce MacNab's book The Metamophosis last night. I bought the book from Bruce almost a year ago and it's taken me this long to finish. But the reason it took so long is not because of the content of the book but because of my performing schedule and an eye site issue that was making it harder for me to read for long stretches.

But I'm happy to say the book has been read, cover to cover. I have to say this book was an eye opener. Very different from any other Houdini biography I've ever read. This is maybe the first bio of Houdini where he isn't 'the greatest'. In fact, he is a struggling performer during the months in 1896 that are covered in this book. He stumbles upon things that will later be iconic parts of his act in years later, but during these early days they are so new that he is testing the waters to see what works and what doesn't.

A great example is an outdoor stunt that he was promoting where he would be tied to a horse and would free himself. The stunt quickly got out of hand when the horse took off running and Houdini could do nothing but hold on for dear life until the animal tired. Eventually, it did and Houdini was able to free himself. Unfortunately, the crowd of spectators also tired and had left before Houdini was free. He learned a huge lesson this day about staying in control of his challenges. The only thing hurt was his pride thankfully.

I loved the chapters with Samri Baldwin. I had written a bit about Samri Baldwin recently and was so excited at what I thought was a real 'find'. Then one of my readers pointed at that this info and more was in the Metamorphosis book. Indeed it was and it's great to read. Apparently, Houdini and Baldwin were going to team up on a tour at one point, but sadly it never came to pass.

The book does a great job at pointing out what a real grind show business can be. From renting the hall or theatre, to promoting and then waiting to see if your hard work has paid off. Often, things beyond your control come into play to prevent a crowd from attending. Houdini faced more small crowd venues on this Canadian tour than he did large crowds. And yet, in three short years Houdini would meet a man who would help Houdini become famous. That man was Martin Beck, who told Houdini to drop the magic and stick to escapes.

Yet, during the Canadian run in 1896, Houdini was doing every kind of magic imaginable, even a levitation and mind reading! Along the journey, we get to meet other performers and artists, some famous, some not so well known. It's not often that this much new information comes out on a performer who has already been written about in dozens of biographies.  The author Bruce MacNab really did his homework and researched this topic and dug up information that no one else had seen. He even describes situations where he searched and searched for documentation on a particular event but none could be found. My hat goes off to Bruce for such a fine job.

I know by now, most of my readers have probably read this book. But if not, please get yourself a copy and enjoy the journey of Houdini and Bess on Tour in Canada in 1896. Wonderfully done! Click the link at the top of the page to order the book from Amazon!

MAGIC Magazine Great Historical Column

As promised, I wanted to give equal time to MAGIC Magazine, after my article on Genii. This month (May) the cover story is about The Magic Show on Broadway 40 Years Later. It is a great article on how The Magic Show came about, what Doug Henning was like in the very early years, how the various touring versions came about and the actor/magicians who worked in those shows. Plus in the digital version of the magazine there is a video link to the first 7 minutes of the movie version of The Magic Show. But as great as all of that is, the icing on the cake a 25 minute long video taped interview that David Charvet did with Doug Henning, it was Doug's last interview. It is a MUST WATCH!

When it comes to history and MAGIC Magazine, there is one guy who has the corner on the market and that is Mike Caveney. His column is called Classic Correspondence and it always has some interesting gem. It's a relatively short column and yet it's packed with great historical content.

As for non magic columns, I always enjoy Mark Kornhauser's column called For What It's Worth, always funny observations on his life as a performer. Loving Mentalism by Ian Rowland has had some really stunning material in it lately. But the best of the bunch is Mike Bent's column called Bent on Deception. Mike is a comedy magician, kidshow performer and a truly creative guy.

By the way, Stan Allen has just introduced a NEW digital version of the magazine which you should really check out called M360. To find out more about MAGIC and to subscribe, go to http://www.magicmagazine.com/

Genii Magazine Fantastic Historical Column

One of my favorite columns in the Genii Magazine is called The Chamber of Secrets by John Gaughan. Every month, John shares with the readers a piece of magic apparatus from his collection. In the May 2014 of Genii, he shares the Coin Casket. Back in June of 2012, I wrote a piece on the Coin Casket as well. My column included some video. I would encourage you to check out John's column because he gives a lot more historical details than my column did. But then check out my column also because I've included video so you can see the Miraculous Coin Casket in action!

While I'm at it, there is another historical column that doesn't appear every month, but when it does show up it's always a treasure. That column is called Memoirs of a Magic Dealer by Al Cohen. Al's Magic Shop was the shop I grew up going to. And Al Cohen was the coolest guy ever to demo magic tricks. He was always so captivating and entertaining and mainly because he was just being himself! Check out his column, great stuff!

While I'm at it I also need to mention three other columns that are not magic history but always superb. Jim Steinmeyer's column called CONJURING, Tom Stone's column called Lodestones and finally a new column by Jonathan Pendragon called Panmagium. Conjuring has been missing of late, probably due to Mr. Steinmeyer's schedule. But Tom Stone's column is a bit Steinmeyer-esque this month and worth checking out. And Jonathan's column is nothing short of brilliant. So please, by all means go check them out. And I'll be doing a similar thing with MAGIC Magazine soon, pointing out the historical columns! In the mean time, enjoy.

UPDATE on Coin Casket: I cannot tell you how excited I am to have just purchased a Miraculous Coin Casket!!!!! What an ingenious piece of magical machinery and to think it came out of the 19th Century. It will become part of my new show very soon! 6/13/2014

Houdini's First Straitjacket Escape in Washington D.C.

I was going through some old files today and came across an image I had set aside 'for the right time'. As I looked at the date on the image, April 19th, 1916 (98 years ago today) I figured THIS must be the time for this article...except, I apparently already wrote that article a year ago. So, this is a follow up to what I wrote then.

First, let's begin with this little blurb to my right, from the Washington Times, April 18th, 1916. It describes the escape that Houdini has planned for the following day and invites people out to cheer him on. For historical accuracy they mention that the escape will take place in front of the Munsey Building.

I remember the first time I found out about this detail. I had no idea where the Munsey Building was and it took a fair amount of time to figure it out. As fate would have it, even after I found out where it was, I still made some minor errors in my assumptions.

The Munsey Building was in the 1300 block of Pennsylvania Avenue. The Munsey Building was where The Washington Times Newspaper had their offices. That would explain the extra special coverage Houdini was getting from their paper.

Munsey Building in 1919. (Smithsonian Institution)

The photo above is pretty much what the Munsey Building looked like when Houdini did his escape. The smaller building to the left is the old Washington Post Newspaper building. And hidden by the trees on the right is where the National Theatre resides. The Munsey Building was torn down in the early 1980s, the Washington Post building was torn down long before that. In place of the Munsey building is a Marriot Hotel.

I will reprint the front page of the April 19th, 1916 Washington Times Newspaper for you, enjoy...

HOUDINI GETS OUT OF JACKET 100 FEET IN AIR

More than 15,000 Persons Cheer as "Handcuff King"

Frees Himself Hanging Head Down

FREES SELF IN 2 1/2 MINUTES

More than 15,000 persons saw Harry Houdini hanged today in front of the Times Building. In just 2 minutes and 30 seconds from the time he was swung into mid-air, trussed up in a strait-jacket from which there is said to be no escape, Houdini wiggled himself free, waved his arm and was lowered to the ground.

As Houdini freed himself from the jacket, the crowd sent up a cheer which could be heard for blocks. As a moment later, Houdini waved his arm to the yelling, applauding throng, and while the cameras and motion picture machines clicked, the men who held the ropes let him down.

CROWDS JAM STREETS

Persons who saw the great throng from windows of nearby buildings said it was the biggest crowd ever assembled in Washington at one place, except for the inauguration of a President. Pennsylvania Avenue and E Street from Thirteenth to Fourteenth Streets were literally jammed. Human beings were packed as tight and close as sardines in a can.

Had To Get Police Aid

There came near being no Houdini hanging. There were too many spectators. The "handcuff king" and Manager Robbins, of Keith's Theater found it necessary to call for police aid to get through the mob that assembled in front of the Munsey building. Robbins was left behind in the automobile, and Captain Peck conducted the star performer of the day to the platform that had been built for him by main strength.
"That's worse than getting out of a straitjacket" said Houdini, when he reached the platform, puffing and setting his clothes back in place, from (continued below)

(click image to enlarge)