Friday, November 2, 2018

Houdini Gets Stabbed

I found an interesting bit of information about a Houdini mishap at an Orpheum Theater show in California. Thayer's The Magical Bulletin of Jan. 1916 reported, "HOUDINI met with a peculiar accident while playing at the Orpheum in this city. While doing his Turban trick, Houdini holds the cloth for a gentleman from the audience to cut. On this occasion the gentleman jabbed at the cloth with the scissors and made a severe cut in Houdini's hand. Houdini was forced to drop this trick from the act and wear a rubber glove in his escape."

Houdini wasn't the first, or the last, to have a scissor mishap. David Copperfield accidentally cut off the tip of his finger with sharp scissors while doing the Cut & Restored rope in the 1980s. The audience thought it was part of the show, but he had to be rushed to the hospital and the fingertip was reattached.

Tuesday, February 13, 2018

The Expert at the Card Table (Study Guide)

Looking for a high-quality copy of Erdnase that is easy to study? Look no further than this new unabridged edition that is affordable and easy to read. 

No need to hold the book down with one hand and a deck of cards in the other. This copy of The Expert at the Card Table is coil bound so it lays flat and is the perfect solution for the student. Every word and drawing is there and it is a beautiful reproduction of the original 1902 book. The book is printed on a heavy 100# paper with a 100# cover that mimics the original. 

205 pages - 5" x 7" - 101 black and white illustrations.

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Monday, August 28, 2017

Deconstructing Houdini's Grave

I really enjoy John Cox's Houdini site - WILD ABOUT HARRY. I heartily recommend it anyone interested in Houdini. Every time I visit the site I have the urge to look back at some old Houdini story or delve a little deeper into some new item John has dug up.

Recently there was an entry on Houdini's grave site in Machpelah Cemetery. I found a story in the November, 1927 issue of The Sphinx magazine that goes into some detail of the materials used to construct the Houdini monument and exedra.

The story describes how the original Houdini bust was cut from Carrara, Statuary Marble. The famous Michelangelo statue of David is carved out of white statuary marble. This type of marble is 98% calcium carbonate and often has little veining, making it ideal for sculptures and statues.

The Sphinx reporter wrote that Houdini's bust was carved by A. Merli. My research has uncovered the sculptor's full name was Amadeo Merli (shown below). Merli, along with Alex Nicolai, conducted business from a studio at 23 Macdougal Alley in New York. One of the studio's better known commissions was carving the six figures for the pediment of the New York Public Library on 5th Avenue.

The SAM emblem was a Mosaic imported from Venice, Italy, by C. Francini. Unfortunately, I couldn't find out more information on this element of the exedra.

The large monument itself is made of Barre Granite. Barre is a fine granite, composed of quartz, fedspar, and mica. This work was done by The Adler Monument and Granite Works, Inc. at 148 East 57th St. The records I found showed the firm operated until 1986.

It is well-known that Oscar S. Teale, Architect, and a Past President of the Society of American Magicians, designed the original exedra, as well as the added features after Houdini's death. Teale is shown below at the grave site.

I have never been to Machpelah Cemetery, but maybe someday I will have the experience of visiting the final resting place of the great Houdini.

Thursday, May 4, 2017

Houdini and Jennie the Elephant (and Lucy, and Fanny)

In the Spring of 1922, Houdini was at the Times Square Theatre promoting his film, The Man From Beyond.

The Evening Telegram - New York newspaper from April 8, 1922 reported, "After the film Houdini appeared in person on the stage and went through his many mystifications. He makes a lady disappear. He gets out of a straight-jacket that is seemingly impregnable. He swallows four packages of needles and then he swallows the thread and presently produces that same thread from his smiling mouth with all the needles duly threaded.
“No wonder he has nerves of steel” commented the girl in the front row.
Finally, he makes an elephant disappear. Of his two elephants, only Lucy came on for her act. Fanny was captivated by the bright lights of Broadway and refused to enter the Times Square Theatre. Meanwhile, Lucy suffered from an attack of temperament and liberal rations of gum drops were necessary before she could be induced to do her act."

Lucy? Fanny? I never heard of these two pachyderms, only Jennie. Anybody else know if this was just a reporter's embellishment or a fact? 

Saturday, April 29, 2017

The Houdini and Chaplin Seance

Charlie Chaplin and Houdini were two of the 20th century’s most iconic figures. The well-known photograph of Houdini and Charlie Chaplin shown above is believed to be taken in 1915 during a visit to the studio by Houdini. Unbeknown to me this wasn’t the only time the two men met. In fact, Chaplin is said to have attended a seance conducted by the great Houdini in the Hollywood hills.

E.J. Fleming reports in the book, Paul Bern: The Life and Famous Death of the MGM Director and Husband of Harlow, that in July, 1921, Houdini was in Los Angeles working on The Soul of Bronze. Houdini enthusiasts will recognize this title as the Georges Le Faure short story Houdini acquired with plans to distribute through the Houdini Picture Corp. Little is known about the film.

Houdini met the silent film star John Gilbert (1899-1936) in 1921 while working and living in Hollywood. Ironically, Gilbert would go on to play a Houdini-like magician/escape artist in The Phantom of Paris (1931). Houdini was living in Laurel Canyon and Gilbert lived as a guest in a mansion nearby on North Kings Road in Beverly Hills. The mansion was actually the home of Carey Wilson and Paul Bern. 

Wilson (1889 –1962) was a Hollywood screenwriter and producer of such films as Ben-Hur (1925) and Mutiny on the Bounty (1935). He also was one of the thirty-six Hollywood pioneers who founded the Academy of Motion Picture Arts and Sciences in 1927. Paul Bern ( 1889 –1932) was a director, screenwriter and producer for MGM.  He famously wed Jean Harlow in 1932, and two months later, he was found dead, the victim of an apparent suicide.

The trio of Bern, Carey and Gilbert were notorious around town for womanizing and hard-drinking. Nevertheless, they were also very inquisitive and educated. One of Paul Bern’s interests was spiritualism and the afterlife. Charlie Chaplin lived down the road from the Kings Road mansion and would often visit. 

Houdini, Gilbert, Chaplin and Bern

Reportedly, Houdini was invited by John Gilbert to come to the home and entertain some guests, including Chaplin, with a pseudo seance in 1921. During the course of the evening a table lifted off the floor, shook and crashed into the wall pinning a terrified Gilbert. Of course, Houdini explained it was all just a trick and explained how it was done.

Perhaps Chaplin and Houdini crossed paths on other occasions. We may never know, but the story of these two men sitting across from one another at a seance table is noteworthy. If only there was a picture of Chaplin and Houdini on that occasion!

By Love Reclaimed: Jean Harlow Returns to Clear Her Husband’s Name - Adrian Finkelstein; Valerie Franich

Hollywood Remembered: An Oral History of Its Golden Age -  Paul Zollo

Paul Bern: The Life and Famous Death of the MGM Director and Husband of Harlow - E.J. Fleming

Thursday, November 10, 2016

Joe Lee – Houdini’s Forgotten Advance Man

Joe Lee – Houdini’s Forgotten Advance Man

An article, I Knew Houdini, appeared in The American Weekly on June 20, 1945. It was written by Joe Lee who claimed to have been “the long and personal representative of Houdini.” Many magicians at the time wondered if Lee was a pseudonym for someone else, or just someone trying to cash in on Houdini’s legacy. In fact, Lee was Houdini’s advance man for a time and was largely responsible for keeping Harry’s name in the public’s eye and bringing audiences into the theaters.

Joe “Doc” Lee is a name Houdini enthusiasts rarely stumble upon. He isn’t mentioned in the master magician’s popular biographies, yet he did play an important role in Houdini’s success later in life. Lee, a highly effective ad man, utilized the media and promotional stunts to keep his clients in the public eye and bring people into the theaters.

Before working with Houdini, Joe was associated with Tom Mix and his European tour of 1924-25. Mix was one of the biggest silent movies stars in Hollywood during the 1920s, appearing in more than 300 westerns and making as much as $10,000 a week. Mix (Hezikah Mix) actually was as a cowboy and served as a soldier during the Spanish-American War. Lee cranked up his publicity machine and under his direction, Tom and his horse, Tony, toured around the world to wildly enthusiastic and packed houses.

Lee’s extraordinary knack for getting publicity did not go unnoticed. L. Lawrence Weber, a theatrical impresario, offered Lee the position of advance man for Houdini in the Summer of 1925. The job of an advance man in the entertainment industry is to visit locations before the arrival of a performer to make the appropriate arrangements and create a buzz for their upcoming performances.

At this point in his career Houdini had begun to wage war with the spiritualists and Weber (and Lee) thought it was a good idea to exploit the spiritualists in the cities the tour would be visiting. Lee accepted Weber’s offer and it was reported that his contracted salary was “nearly a record.” Joe signed on for 40 weeks with the Houdini show and went straight to work.

Like Houdini, Lee was a showman. He believed that any successful promotional campaign keep in mind three criteria: the public wants to be thrilled, it wants to laugh, and women love to cry. If the promotion contained all three components it would be a hit.

The headline “Houdini’s Show Starts Touring Road Monday” appeared in Billboard, September 5, 1925. The story read, “Houdini and his company left New York for Pittsburgh this week, where his road show is to open Monday, September 7. The show, which is being presented by L. Lawrence Weber, carries a 60-foot car of scenery and apparatus. Houdini will be assisted by 20 people. The show is to play at a $2 top and will be divided into three parts, consisting of old-time magic, escapes and spiritualistic exposes. Joe Lee is traveling ahead of the show as general representative for Houdini. William Howe officiates as agent and A.L. Smith is back with the company.”

Variety (Sept. 30, 1925) reported that Houdini took in $6,000 the first week and $5,500 the second. The entire season was successful and lucrative for Houdini. Joe Lee played a major role in Houdini’s success during the ‘25 season. He visited local papers, befriended any newspapermen he could find, and gave them all the Houdini news they could ever want. The newspapers gladly committed several columns of publicity in their paper’s pages to Houdini and his exploits.

Lee continued to build up Houdini in a big way in 1926 and play a major role in his making the public aware of Harry’s fights against the spiritualists. He traveled to Washington D.C. ahead of Houdini and set the groundwork for the Congressional hearing on House Resolution 8989, which would ban the practice of “fortune telling” in the District of Columbia.

Chicago newspapers were particularly fond of Lee’s “planted” newspaper tie-ins with Houdini’s exposure of the city’s mediums. These compelling stories and exposés attracted readers to their papers and increased their circulation. In turn, Houdini garnered more newspaper real estate than he could imagine. Because of Lee’s publicity machine, Houdini’s Windy City engagements were often extended and audiences had to be turned away because of capacity crowds.

Despite all his success promoting Houdini, Joe Lee rejected an offer to continue with the Houdini show in the Fall of 1926. Variety wrote that “Houdini received more publicity under Lee’s guidance than he had previously got in his entire career.” Unfortunately, Lee never had the chance to work for Houdini again. The great magician and escape artist died on October 31, a few weeks after starting his 1926 season.

In 1929 Lee became the savior of many of R-K-O’s poorly performing theaters in Brooklyn, New York. Using his considerable skills as a promoter, Joe revived these theaters back to life and made them turn a profit. His ability to turn around such movie-house earned him the nickname, “Doc.” By the end of the 1930s, Joe was working as the advertising and publicity director for the Fabian Theatre chain in Brooklyn.

A decade later word got out that Paramount Studios had registered Houdini’s name and was going to make a motion picture about his life. The Film Daily (April 4, 1941) reported, “And it was Joe (Lee) who during his years with the magician…put “sex” in Houdini…but how is Joe’s secret.” Lee had amassed hundreds of clippings and scrapbooks on Houdini and many thought he would be the best source for exciting stories on the master magician.

Joe continued to praise Houdini and promote his legacy long after his passing. On the 10-year anniversary of Houdini’s death in 1936, Beatrice Houdini and Dr. Edward Saint conducted a séance in Hollywood to get in touch with the spirit of Houdini. In New York City, on the same day, Hardeen attempted another séance in with the medium Lillian Starr Weed. Joe Lee, Rose Mackenberg, Elmer Ransom, and John Mulholland were also in attendance at the event. Both of the events were broadcast on the radio, but Houdini never made an appearance.

In the 1950s Paramount Pictures renewed their interest in producing a motion-picture on the legendary escape artist & magician’s life. Lee never had a chance to see the film about his old friend, Houdini. Joseph F. Lee died on April 2, 1951. Newspapers around the country in ran a blurb once again suggesting Paramount contact Joe’s widow, Florence, who “has his (Houdini’s) trunkful of data, which could not be gathered from any other source.” The studio never did contact Mrs. Lee, but the motion picture, Houdini, starring Tony Curtis, was released in 1953.

An interesting footnote to Joe Lee’s story is after his article, I Knew Houdini, appeared in The American Weekly, a Detroit-area writer and editor, questioned Lee’s credibility. That man was Robert Lund, a rabid collector an aficionado of magic. Many will recognize Lund as the man who went on to create the American Museum of Magic in Marshall, Michigan.

A few years later after Lee’s story was published Lund wrote about the author in the December, 1952 issue of The Sphinx. “A week or two later my path crossed that of Walter Gibson. Because certain technical touches in the AMERICAN WEEKLY story hinted that it had been written by Gibson, I charged him with writing it under the pseudonym of Lee. “Not so!” he exclaimed. Lee, Gibson explained, was the press agent who piloted Houdini’s last show.”

Much to Lund’s surprise, Joe Lee was living in retirement in his own home town of Detroit on 1280 Lemay Street. Bob thought Lee, who by that time was arthritic and had a heart ailment, was one of the few living people who could recount Houdini’s last weeks on earth before his untimely death. Filled with excitement, Bob arranged an interview with Lee and set a tentative date for the first week of April, 1951. Unfortunately, fate intervened, and Joe Lee died before Lund could talk to him.

Obviously, much credit is due to Joe Lee for promoting Houdini – in life and death. Lee’s publicity efforts added a great deal to the printed history of the escape king. Like the American Weekly story headline said, he did know Houdini, and both men were better for it.

Copyright 2016 Chuck Romano

Friday, October 7, 2016

HOUDINI - Car Salesman

I'm always amazed at how advertisers tie in magic with their products. They have been doing it for decades, and they are still doing it. Have a product that is amazing or fantastic? Use a magic theme to attract attention and have a good reason to use superlatives and hyperbole.

I recently purchased two attractive brochures that we used to advertise the 1976 Plymouth Volaré. The watercolor illustrations are attractive and well-done. I especially like the portrait illustration used on one of the covers.

The Plymouth Volaré won the Motor Trend Car of the Year award for 1976, and the cars could be seen on the road for about a decade. Then like magic, just about all of them disappeared.

Another legendary magician was used by an automaker to promote their latest creation. At the beginning of the mini-van craze, Doug Henning introduced the new Plymouth Voyager in television commercials in 1984 and 1985.