Tag Archives: magician

10 Magic Tricks That Went Horribly Wrong

By Alltime10s via YouTube

10 Secrets Behind Harry Houdini’s Greatest Illusions

By Steve Wynalda via Listverse

houdini 1140There is an unwritten rule among magicians never to reveal how a trick is done. So when a 2004 exhibition explained Harry Houdini’s illusions, magicians around the world were apoplectic. David Copperfield called it a breach of magic protocol, and performers declared that they would boycott the exhibition. Many claimed to still use Houdini’s tricks themselves.

But Harry has been dead nearly 90 years. Despite their claims, few modern illusionists use his dated techniques. And the great magician’s secrets had been revealed decades earlier. He had been in his grave just three years when his team began spilling the beans.

This list is for those who want to know Houdini’s secrets. Those who don’t want to know should stop reading now.

10 • The Radio Of 1950

Houdini developed the “Radio of 1950” illusion for his evening shows from 1925 until his death the following year. The radio was a novelty at the time, and the act featured what Houdini said the radio would be like in 1950.

According to Dorothy Young, Houdini’s assistant, the great magician began by introducing a large table with a tablecloth that fell halfway down the table’s legs. Houdini walked around the table, lifting the tablecloth to show that there were no mirrors or anything else under the table.

Then assistants placed on the table a giant radio approximately 2 meters (6 ft) long and 1 meter (3 ft) high and wide. The front of the radio had huge dials and double doors. Houdini opened the doors to show that there was nothing inside except coils, transformers, and vacuum tubes. He closed the doors.

Houdini adjusted one of the dials until a radio station tuned in. The radio announcer said, “And now, Dorothy Young, doing the Charleston.” The top of the radio flew off, and out popped a young assistant, who jumped down and danced the Charleston.

“Tune in to any station and get the girl you want,” Houdini said. “No, gentlemen, it is not for sale.”

The Secret:

The key to the illusion was the table. Called a “bellows” table, it had two table tops. The upper top had a trap door that opened upward. The lower top hung from the upper by springs that dropped under Ms. Young’s weight without going below the skirt of the tablecloth.

Young was inside the radio when it was set on the table. She then opened the trap and slid into the bellowed area between two table tops and waited there as Houdini showed the radio’s empty interior. While the master magician dialed the radio station, she simply climbed back into the radio.

The image above is of Houdini’s younger brother, Theodore “Dash” Hardeen, demonstrating Houdini’s radio with assistant Gladys Hardeen. Hardeen purchased the radio from his brother’s estate. Dorothy Young lived to be 103 and died in 2011.

9 • Metamorphosis

Houdini performed the “Radio of 1950” illusion at the end of his career (and life), but he performed the “Metamorphosis” illusion at the beginning of his career, when he and his wife Bessie took their act on the road in 1894. Houdini didn’t invent the illusion, but earlier versions of the acts had featured two men changing places. Houdini exchanged places with his wife. His version became a sensation, catching the attention of the Welsh Brothers Circus. In 1895, the circus took the Houdinis on tour.

The illusion was fairly complicated. Houdini’s hands were bound behind him, and he was placed in a sack that was knotted closed. The sack was placed inside a box, locked, and strapped closed. The box was placed in a cabinet with a curtain.

Bessie stepped into the cabinet and drew the curtain closed. She then clapped three times. On the third clap, Houdini drew back the curtain, and Bessie was gone. She was found in the sack in the box, with all the locks and straps still in place and her hands bound behind her.

The Secret:

The secret of the illusion is surprisingly simple: practice. First, Houdini was an expert on ropes and knots, and his hands were tied by a knot easily slipped. By the time the sack was pulled over his head, his hands were free. The sack had eyelets around the top edge that allowed the rope to feed inside and outside the bag. Houdini simply pulled on the rope from the inside to loosen it.

After Houdini was placed in the box, he wiggled out of the sack while Bessie locked and strapped the box lid. Once Bessie drew the curtain closed, Houdini slipped out through a rear panel in the box. Contrary to the audience’s assumptions, Houdini clapped, not Bessie. He clapped once then helped Bessie climb into the box through the rear panel (without disturbing the locks or straps).

On the third clap, Houdini opened the curtain. While he unlocked and unstrapped the box, Bessie, inside, wiggled into the sack and slipped the ropes around her wrists. Harry and Bessie practiced so thoroughly that Houdini was out and Bessie in his place in just three seconds.

8 • The Hanging Straitjacket Escape

This act was born out of sibling rivalry. Houdini’s younger brother Hardeen had his own show, and both brothers were performing escapes from straitjackets behind screens. When one audience demanded that Hardeen escape in front of them, he obliged and received a standing ovation. When Hardeen told his older brother, Houdini decided he had to outdo his brother and developed the Hanging Straitjacket Escape. He frequently performed the act a few hours before his evening shows to draw a bigger audience.

Houdini usually performed this out on the street above a large crowd. He was strapped into a straitjacket in front of the crowd, his ankles bound. A crane lifted him up so that the audience could see what he did, enforcing the impression that there was no trick to the feat.

The Secret:

Houdini himself revealed how he escaped from straitjackets in his 1910 book Handcuff Escapes. The key was acquiring slack inside the jacket as it was strapped on.

As the jacket slid onto his arms, Houdini made sure his arms were crossed—not folded—across his chest, his stronger right arm on top. As the jacket was brought around the back, Houdini pinched and pulled outward to loosen material around his chest. As the jacket was cinched and tightened, Houdini held on to this slacked material. As the jacket was buckled in the back, Houdini took a huge breath to expand his chest. Once the jacket was in place, Houdini had a fair amount of wiggle room in front.

Once in the air, upside down, Houdini used his strong arm to violently force his weak (left) elbow to the left and away from the body. This forced the slack around the right shoulder, allowing Houdini to pull the right arm over his head. Being upside down actually helped: He used gravity to pull that arm over his head.

“Once having freed your arms to such an extent as to get them in front of your body,” Houdini wrote, “you can now undo the buckles and the straps of the cuffs with your teeth.” Once the cuffs were freed, Houdini unbuckled the neck, top, and bottom buckles. Once they were undone, Houdini slipped his arms free and wiggled out of the jacket. Despite popular belief, dislocating the shoulder was not usually necessary, and Houdini only did it as a last resort.

Houdini became so adept at this trick that he reduced his escape time from half an hour down to three minutes. For those occasions when a specialized straitjacket was strapped on, Houdini was not above palming a tool to cut the straps and buckles.

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Harry Houdini and Sir Arthur Conan Doyle

The clash between the champions of scientific skepticism and supernaturalism.

Brian DunningBy Brian Dunning via skeptoid
Read transcript below or listen here

Harry Houdini (1874-1926) was best known as the world’s most famous magician during his lifetime, and also as a tireless debunker of false mediums and dishonest claims of profit-driven supernaturalists. He followed a simple strategy, one that’s the fundamental basis of the scientific method: Work hard to falsify all new hypotheses, and maintain a mind open to all new evidence. houdini_conan_doyle_250pxSadly for Houdini, this meant testing what could have been one of the most important personal relationships to the history of public understanding of science.

Much has been made of the friendship between Houdini and Sir Arthur Conan Doyle. As the creator of Sherlock Holmes, Sir Arthur would seem to have been a man of science and rational thought, but he was a lifelong steadfast believer in the supernatural. In fact, it was something that was at the forefront of his attention much of the time. One of the most telling events in Sir Arthur’s career came when he was a member of the Society for Psychical Research, which is often criticized for being composed mainly of true believers in the paranormal, and not all that interested in objective research. In the 1920s, Sir Arthur led a mass resignation of 84 members of the Society, on the grounds that it was too skeptical. The staunchest of the resignees joined the Ghost Club, of which Sir Arthur was a longtime member. The Ghost Club made no apologies for being fully dedicated to the supernatural as an absolute fact. In addition, Sir Arthur’s wife, Lady Doyle, was a medium who often conducted séances appearing to be in communication with the dead, and Sir Arthur was absolutely convinced of the reality of her ability.

Sir Arthur Conan Doyle spirit photo_200px captionedDespite a radical difference of opinion, Houdini and Sir Arthur managed to keep their friendship alive for some years, each often writing to the other of their mutual respect, their agreement to disagree, and the value of honesty and integrity in one’s own beliefs — neither man ever doubting the other’s sincerity; at least for a while.

In the spring of 1922, Houdini invited Sir Arthur to the home of his friend Bernard Ernst, a lawyer in New York, in an effort to show him that even the most amazing feats of mediums could be accomplished by skilled — albeit earthly — trickery. He had good reason to sway Sir Arthur if he could; Sir Arthur was passionately engaged in promoting the supernatural to his vast worldwide audience, a public disservice if there ever was one, as honestly intentioned as it was. Houdini prepared a magic trick, one that’s familiar to any practitioner of the art. He had Sir Arthur go outside in private and write a simple note that there’s no way Houdini could have seen; and then upon his return to the room, Houdini had a cork ball soaked in white ink magically roll around on a slate and spell out the very note Sir Arthur had written. Sir Arthur was aghast. Houdini wrote him:  .  .  .

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Also See: An Actual Recording Of Arthur Conan Doyle’s “Spirit” From A 1934 Séance (io9.com)

Seance

Paul Zenon: Secrets of the Psychics

This video of Paul Zenon (Wikipedia) was recommended to me, i haven’t watched it yet, so I’ll be watching it along with you for the first time.

It starts out in Russian, the English begins at the 0:50 mark. The description below the video has been translated from Russian to English by Google Translate.

I have my fingers crossed.🙂

MIB


Via Paul Zenon: Secrets of the Psychics – YouTube

Description via Google Translate:

Paul Zenon is one of the most famous British magicians with extensive experience in the representation of different tricks, illusions, frauds and paranormal topics. It has several hundred appearances in television shows and almost 30 years experience in participating in public. Began to earn money as a street magician and learns how people can be fooled and manipulated. Then apply their practical knowledge of human psychology and attention to good causes like exposing pseudoscientific “stars”.

Gender Ratio of Zeno presented the most common techniques of mediums, illustrated with examples from the past few centuries. Cold reading (cold reading) and pre-collect information about companion enjoy the same frequency as in the 19th century and television fortune-tellers today.

Why Magicians Are a Scientist’s Best Friend

james-randi-69By James Randi via Wired Science

A magician will instantly see the truth behind any colleague’s illusion. But we have a bit of an advantage: We know we are being fooled. Scientists are instinctive doubters who employ a rigorous method to zero in on the truth, but they aren’t necessarily trained to expect deception by subjects and collaborators.

Penn & Teller

Penn & Teller

We can’t make magicians out of scientists — we wouldn’t want to — but we can help scientists “think in the groove” — think like a magician. And we should.

For most of my life I’ve pecked away at a certain type of swindler: faith-healers, mystics, mind-readers. Those of a certain age may remember my appearances on The Tonight Show with Johnny Carson — a skilled amateur magician himself who introduced my exposure of flummery to a huge television audience.

Mine was a lonely voice back then, but I’m not alone anymore. The immensely talented and popular Penn & Teller long ago joined me as foes of harmful deception, along with other magicians; the president of my foundation, D.J. Grothe, has a background in magic, and many of our associates are professional magicians, as well. They all agree with me that the Society of American Magicians and the International Brotherhood of Magicians should re-establish their once very active investigations of the fakers who claim supernatural powers.

magician_250pxIt’s not something that is generally done, or maybe at all – I’d love to see one funding grant that has a line item for the services of a magician, if somebody out there has one. But it is long overdue that my peers in the conjuring profession try to take a more active role in the elimination of nonsense science by joining forces with scientists, and that scientists be open to the proposition.

Please bear with me while I offer you a peek behind the curtain, a cursory glance at what we magicians are — and aren’t. First, we’re entertainers, actors, showbiz people who have as our primary objective the delight of our audiences. We’re deceivers, yes, taking on roles and characters to express our art, just as any actor does.

We are not scientists — with a few rare but important exceptions, like Ray Hyman and Richard Wiseman. But our highly specific expertise comes from knowledge of the ways in which our audiences can be led to quite false conclusions by calculated means — psychological, physical and especially sensory, visual being rather paramount since it has such a range of variety.

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Randi $1,000,000 paranormal challenge

James Randi, a.k.a. The Amazing Randi, magician and author of numerous works skeptical of paranormal, supernatural, and pseudoscientific claims has for about ten years offered “a one-million-dollar prize to anyone who can show, under proper observing conditions, evidence of any paranormal, supernatural, or occult power.” His rules were little more than what any reasonable scientist would require. If you are a mental spoon bender, you couldn’t use your own spoons. If you claimed to see auras, you’d have to do so under controlled conditions. If you claimed to be able to do remote viewing, you wouldn’t be given credit for coming close in some vague way. If you were going to demonstrate dowsing powers, you would have to be prepared to be tested under controlled conditions. If you were going to do psychic surgery or experience the stigmata, you would have to do so with cameras watching your every move.

Continue: Randi $1,000,000 paranormal challenge – The Skeptic’s Dictionary – Skepdic.com.

Here is a video clip of Randi exposing Geller and Popoff from NOVA’s “Secrets of the Psychics”:

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