There is an old axiom that those who do not learn from history are destined to repeat it's errors. Those words ring with a somber note of truth in the light of events where performers have been injured or killed doing escape stunts. In putting this book together I have gathered my comments and my experience and said "damn the torpedoes" as it were. So let us begin.

In adolescent development, eventually something we call "borrowing light" comes up. Simply stated, this is when a person has a self-image problem. For many reasons, they take the image of another (or borrow light), to make up for their perceived shortcomings. Bruce Lee wouldn't get pushed around; I'll be Bruce Lee! Tom Cruise has lots of girls; I'll be Tom Cruise. This is normal and natural. Problems come in only when one of two things happen:

1. The person gets into a situation where they REALLY have to be Bruce Lee.
2. They never create their own light to live by.

If the person doesn't create a true self-image (and a realistic one at that), problems set in until there are major difficulties. For our discussion, lets look at how this problem has affected magic, and escape artists.

Want to know why Escapes are a "dead" art? Because there was only one guy to borrow light from, Houdini! Every escape artist I've ever met has been doing Houdini. The only reason magic hasn't died a similar death, is because there are many more people to borrow light from. Can you imagine what would happen if everyone in magic, EVERYONE, only did Blackstone? Or Thurston? Really think about that!

The major reason Steve Baker got the press he did is he "shifted" the focus from "escape artist as Houdini" to "escape artist as stunt man". He is one of the few exceptions to this rule.

Escape artists as a whole, "borrow light", from Houdini. The light isn't even true light, because it comes from the myth, not the man! A grown man who lived his life as Bogart would need help, so do escape artists.

If I came to you at a convention and said "You know, Thurston talks to me at night!" Or, "I'm Dante reincarnated". Or even "I'm the new Keller", WHAT WOULD BE GOING THROUGH YOUR MIND? Let's just say that modern medicine holds that people who hear voices have problems.

Let me add that if Houdini could be reincarnated, it could only be into one of these guys. So even if he was in one of them (and I doubt it), then all the others need help.

A disregard for personal safety, is a sign of very deep troubles, and needs professional care immediately! I'm not just talking about suicidal people, they're pretty obvious. I mean people who are always "accident-prone". People who take great risks, with a lack of concern, have a problem somewhere. There is no question in my mind, based on the accidents, that escape artist's in general have no regard for their safety. No REAL professional would set a rope on fire, or jump into a river handcuffed, UNLESS S/HE HAD A 100% SURE FIRE METHOD OF RELEASE. Anything else is foolish at best, and suicidal at worst.

To those of you following with me, see the problem? Entertainment isn't important. Who can pick which cuff faster or with only one finger is. Remember the "The amazing Joe”? I’ll bet money 99.9% of people don’t! This was the guy who tried to escape from being buried alive in cement, and died in the attempt!

What scares me is the way these people think. He who has a bigger flame on their burning rope, or more nails in their underwater trunk is the "real" Houdini. If I do something faster than Houdini, or something Houdini never dared to do, then I will be greater than Houdini! It just isn't going to happen that way. If the amazing Joe had escaped, we wouldn't have heard anything, only his death was news. The problem with these guys is they believe things about Houdini that simply aren't true. Like it or not, Houdini was vastly different from what the average escape artist thinks. Let's burst a few bubbles here gang!

1. Houdini could escape from anything!

Nonsense! There are any number of ways to secure a person where it's impossible to escape. Dunninger kept Houdini off his back about his ESP show by saying he would challenge him to get out of two Bean Giant handcuffs, behind his back, with the key holes facing each other. If you are an Escape Artist reading this, and REALLY believe you can escape from ANYTHING, please contact me. We will arrange a meeting at a convention this year. We will bet some money, and you will lose, period.

I have things you will not escape from. I can lock you into jail cells, and there you will stay. IT'S AN ACT! David Copperfield doesn't really cut himself in half! You can't really float ladies in the air. You can't read minds. You can't escape from anything; it's only an act!

2. Houdini defied death at every show!

Bull Droppings! His water cell had a six-inch air space at the top, bars to climb up and stay there, water release valves at the bottom of the tank, and a guy up above watching to insure he was out!!! The movie with Tony Curtis, WAS JUST A MOVIE!!! It was a wonderful, entertaining, work of fiction. Houdini's milk can had four huge holes in the lid! The lid was beveled to allow him to lift his head and breath forever if need be! Let me make this clear, HOUDINI NEVER TOOK A RISK WITH HIS LIFE! He never ever did! John Novak's Art of Escape books go into great detail about the real way Houdini's show worked. I suggest you look there for detailed explanations.

You may have seen my escape show, especially my water cell (which was Viano's), and think I'm giving you a line here. After all, my tank is only 30" square, with no air space, no bars, no water release, and no one watching. Let me say Viano didn't do that to "be greater than Houdini". He did it because today's audience would never believe Houdini's tank had all those safe things in it. Ours had to be as the audience thought it should be. Yes, your audience believes Houdini could get out of anything, and defied death. As an actor, playing the role of an escape artist (to change Houdin’s quotation a bit), you want your audience to believe those things about you. But, YOU must never believe it! Although the Viano show, with it's ten foot guillotine, and impossible water cell, looks like a foolish, risky, show, and in other hands it would be, Don was in control at all times! This brings us to the only true thing about Houdini's show.

3. Houdini was in total control at all times!

You *** well better believe he was. The word my friends is control! Controlling your body, your equipment, your assistants, and your audience! Everything was under Houdini's complete control at all times. Nothing was loose, or left to chance, NOTHING! If Houdini couldn't control it, he didn't do it! If he couldn't see what was going on, he had several assistants’ who could and did! I hate to break your heart, and spoil your image of Harry, but many of his "escapes" depended more on some good food, good booze, some money, or a good party, than anything he did with a lock pick!

Years ago I did a jail break with a phone room show for a police sponsor. I want to tell you exactly what happened when we discussed the "escape".

Sponsor: "Can you escape from one of our jails, like Houdini? It would get some great press!"
Mark: "Well I can get out, but you might not like it, what are you using over there?"

S: "We've got a brand new electric system."

M: "Oh, that could be a problem. I over rode one of those once and it took a whole rewiring job to get it back on line." (YES THIS WAS A LIE!)

S: "Gee the Chief wouldn't like that, but we really wanted to do it."

M: "Well let's go take a look"

Now when I got there I looked for a cell I could open. Finding none we had the Chief come down and explained the problem, I put everything on him. Remember they want to make money off this show. I'm not challenging them, or calling them names. They are on my side here. Finally the Chief said: "Do we have to lock the cell?"

BINGO!! They got great press from this, and so did I! The show was a big success, and everyone was happy! Notice I was never out of control, although it looked like I was. The day of the stunt I was locked in their strongest handcuffs, (supplied by me because all they had was the normal stuff).

I told the chief before the stunt "Look, I left my electronic stuff home. If you really lock that door I'm going to look like an ass, and no one will come to this show!" My friends, that door wasn't locked! Everyone wanted to be "in on the gag", and to this day, until now, no one knew the "fix" was in!

To sum all of this up, lets talk about what an Escape Artist, if s/he wants to be entertaining, and have a long life, should be:

1. First, he or she is an actor, playing the part of a superhuman!

2. Always we will be entertaining. It's not entertaining to take 30 minutes to "really" pick handcuffs off, when 2 minutes of gaffs will do as well! (I learned that one the hard way)

3. We will try to blaze new trails. Houdini's "I can escape from anything" is very old hat. Why not enter the fourth dimension, do a horror show on torture, an insane asylum, SOMETHING new and different. My show is like "Mark Twain Tonight" or "Barnum", a look into the life and death, of Houdini.

4. Our special effects (the methods) will deceive the audience into believing the danger, WHILE ALWAYS BEING IN CONTROL! Nothing is left to chance or guess work.

5. Realize some things just shouldn't be done. The burning rope straitjacket is one of them. If the rope doesn't burn through, then the audience believes it's fake. If the rope can burn through, you are an accident waiting to happen. Years ago, I had the idea of letting the rope burn through while I was hanging over a lake. Because I was over a lake, people would think I was in real trouble when I fell and went underwater, but I would surface, free! I never did it, although others have, one setting him self on fire because he used too much gasoline on the rope!!!

6. We will always remember Houdini was not a "real" person. Not even Eric Weiss was Houdini. Houdini was a "character", like the Shadow, or Superman. Under controlled conditions, Eric could become Houdini, like Michael Keaton can become Batman. If Michael started swinging from buildings, they'd lock him up. Remember that!

7. Remember the children watching you. I have the finest and most amazing bullet catch ever invented. I'll never do it again because I'm afraid of some child going home and shooting their brother or sister.

8. Lastly, be there to receive that applause! The 75 foot rope tie, done well, can get you standing ovations, I know because I've received them for it. Read every book you can on escapes and escape artistry. Stay safe.

A MODERN ESCAPE ACT

Many years ago, James Steranko made history with one of the most sought after Genii issues of all time. Steranko's world of escape was a remarkable source of material, and remains so to this day. I'd like to take his wonderful thoughts and ideas, along with those of William Larsen Sr., Burling Hull, and Don Viano. Also, if you're going to do this stuff, get John Novak's Art of Escape. Lee Jacobs has some important materials on this subject as well. Armed with a background in this field, let's deal with the most important thing you must do!

Why do you think the people are paying you? They are paying you to entertain an audience of people. They are not paying you to entertain yourself. The question is not, and never was who can pick off a cuff faster than another. Let me say this now, Norman Bigelow is probably the greatest exponent of lock picking skill I've ever seen. If I were to be locked up in a Mexican prison, I'd want him in the cell with me, and not because he's cute. But a lay audience isn't impressed by watching someone do with a piece of wire, what they could do faster with a key! The audiences of today think differently than those of years ago, and that's where I'm coming from. The act has to flow, be funny, and very entertaining! With that in mind let’s get on with it:

“Good evening ladies and gentlemen. I'm sorry I was a little late; I just saw a horrible thing. As I was coming here tonight I saw a man throw a brick into a store window and steal a VCR! He started running when some cops grabbed him. They handcuffed him and threw him into the backseat of the police car so hard; he flew out the other side! He ran off and they never did catch him. It happened right over there!”

You raise your arm and point, at which time the audience sees a handcuff hanging from your wrist. This should get a good laugh. Thanks to Ed Dunhill for the gag. The cuff is placed on by means of "The Mark Tripp subterfuge". All you do is push the part of the cuff with teeth (called the bow), behind the cuff, not into it. All you have to is pull and it's open, BUT the cuff is ungimmicked and examinable. This is what I mean when I say non-illusion. Drop the rest of the cuff down your sleeve and keep your arm up till its time to point, then let the cuff drop off and get the laugh.

“Let me show you how I get out of these things, now not every cuff is the same”, (AT THIS TIME PUT THE OTHER CUFF ON BY THE "MARK TRIPP SUBTERFUGE"), but some of them open quite easily. (DISPLAY THE CUFF ON THE WRISTS) Some of you may have read about Houdini doing this (SLAM YOUR KNEE INTO THE CUFF, PULL AND TWIST YOUR WRISTS AWAY, AND THE CUFF WILL OPEN AND FALL TO THE FLOOR. RAISE YOUR ARMS INTO THE "APPLAUSE POSITION". PICK UP THE CUFF, CLOSE THEM THE RIGHT WAY, AND HAND THEM TO SOMEONE IN THE FRONT ROW) Go ahead and examine those if you'd like, but be careful, I don't want to change your lifestyle.

You are now going to do some quick stunts with rope. The best things are the shoelace knot (Mark Wilson Course or Tarbell), the Tenkai Rope through neck (Tarbell) and the Keller Tie (I've used the version in Tarbell 6 for almost 20 years and feel it's the best)

No escape artist starts by learning how to take handcuffs off. In fact everyone becomes an escape artist at some point in his or her childhood. Remember when you had to learn how to tie your shoes? They use Velcro now, so kids won't feel as stupid as I did. Well remember when your finally got it right? (REMOVE ROPE, PUT SHOELACE KNOT IN ROPE)

But as you went to school one lace got through here like this, and on the way home another lace went in here like this. Then it was time to take your shoes off and oops! Trapped! (YOU HAVE PUT THE ENDS THROUGH, AND PULLED UNTIL THE KNOT CLOSES, BUT HASN'T POPPED YET) Now mom or dad had to get a fork and tell you how stupid you are as they dug the knot out. But then I read a book on Houdini, remember the one in your school Library? After that, when I got the knot, I just did this. (SPIN THE ROPE IN YOUR HANDS AND LET THE KNOT POP THROUGH, AGAIN SMILE, THIS IS STRONGER TO A LAY AUDIENCE THAN YOU MIGHT THINK) OK that's neat, but big deal. Houdini knew it was the element of danger, the challenge, the fear of failure that brought the audience to its feat. One man facing death, a knot in a rope means nothing, (BEGIN THE TENKAI ROPE THROUGH NECK) but put the rope around my neck, where I could strangle...(PULL AND HOLD THE POSITION)...I'm glad I read that book!

It would take way too much space to put this down word for word. Besides you should put this together for yourself, and write a script that fits YOU! Now that you have the basic idea, I will go over the material I've chosen.

I now get up two big strong men and get into the Keller Tie. I DO NOT DO MY IMPRESSION OF HARRY BLACKSTONE, AND NEITHER SHOULD YOU! The thumb tie would also work well here. When I do the Keller Tie I have the helpers hold on to the ends of the rope at all times. At the end, I walk away from the rope and leave them holding it.

I then do a chain release of some type. Viano used the Siberian Chain for years to great effect here. Whatever you choose, remember to pick something that looks impressive, but can be put on quickly, and taken off even faster! John Novak's books have some interesting ideas. I'd pick something that just went on the wrists.

Now I would do the handcuffs. I feel the Steranko idea is still the best. Before I go on let me say that unless you have some jerk of an "escape artist" trying to mess up your act, NO ONE is going to have a set of cuffs on them. Any police officer in the audience doesn't want the audience to know they are there. Second, YOUR JOB IS TO ENTERTAIN, NOT TO CHALLENGE. Let me tell you something I've always suspected. Buy all 8 of John Novak's Art of Escape books. Read the first four, digest the advice, and then read the next four. You will find a MAJOR change in the advice. A switch from the "challenge escape act" to "the entertaining escape act".

I believe the first four books were written BEFORE John did his school assembly tour. Four shows a day, five days a week, and eight months out of the year, CHANGED HIS MIND ABOUT THINGS! Let his experience guide you.

To save time, take off your jacket, and hand out four or five pair of handcuffs to the front row for examination. Have these people lock you up, and then cover your hands with your jacket. Pinned in one of the sleeves is your "shim" on a string. You fish it out, and then start "shimming" the cuffs (the Novak books show this well, so look there). Now let me say, whatever you do, DON'T SHOW THE AUDIENCE WHAT YOU'RE DOING! Let them wonder. When you get to the last cuff, take it off, and then put it back on with the Subterfuge. Take the jacket off, look at the cuff, (I break the string and pocket the shim so it can't be found later), struggle a bit, then in full view, slam it off as you did in the beginning. If you've done this correctly, you should receive great applause for this!

Your finish depends greatly on where you are performing, and how good a performer you are. I have used the 75-foot rope tie for many years. Get the Lee Jacob's books, and if you are a strong performer, this is for you! Viano and many others have used the Straitjacket to fine effect here. Unless you can be heard at all times, and have a constant string of lines to use, stay away from anything that takes more than a minute or so to put on. We use wireless Mic's in the stage show, and they keep you from losing the audience.

Should someone decide to do it this way, I think you will find it much easier to get REPEAT bookings, and build a nice carrer for themselves. I give it to you all with my blessings.

Mark Tripp

Awesome!!!!

I give that post 5 Stars!

I give it 5 stars as well. plus a A +.

I concur; excellent.

I might even go as far as to add that Steve Baker, who used the stuntman imagery in his escape presentations, always operated in a safe and sane manner, using every safety precaution possible to pull off his stunts successfully and safely, while keeping them as spectacular as possible. His example is an excellent one for anyone else wishing to operate in a similar manner.

I have been going back to the Maskelyne era to try to recapture the concept of "escape artist as mystic," re-embracing the 'yogiistic' and 'mind-over-matter' approach.

If we put our minds to it, there are many options that could help us to "escape from Houdini."

Great thread, Mark.

Steve

Thanks Mark, this is truly a gift. I have been using your Subterfuge method to open my shows in Atlantic City but the above routine and the follow up routines are much better that the ones I've been doing and with you permission I shall incorporate them into my show. Thanks again.
Best regards, Tony Parisi

Looks like I'll be printing this out.

I may be missing a few things here, but I really can't agree to all of the above. I really don't think Houdini held Dunninger in such high regard. Dunninger was really a second(blue?) circuit Orpheum performer at the end of Houdini's career. I think Dunninger had ties to Houdini/Thurston by trying to sell them used or second class illusions. As for Dunninger trying to challenge Houdini, by the time Joe. D was on the scene, Houdini was way past escapes as his sole performance.

As for Houdini never being in danger or in life threating positions, his body would say otherwise. The damage his body went through for 25 years would have killed a lesser man. To come to think of it, to be chained up inside a dead leather back turtle, which was most likely embalmed, would do most in.

I'm doing this off the top of my head and a day after Christmas. I don't want to get into an arguement etc, but Houdini can't be defined that simply.

Well then, lets do it by the numbers.


I said, Dunninger kept Houdini off his back. WHERE did I say anything about how they felt about each other? Clearly they were at odds over the ESP show.


That may have been where he started, but it is not where he ended up. Houdini began with even humbler roots, but we look at the finish, not the beginning.


You missed the point here. He never challenged Houdini. Houdini was upset that Joe was a magician claiming to have ESP. Joe replied that Houdini claimed to be able to escape from anything, but could not, and used the bean giant's as an example.


Interesting, but again you missed my point. Houdini NEVER took a risk with his life, or EVER went into an escape without knowing EXACTLY how he was going to get out. Yes, accidents do happen.


"When the truth isn't as good as the legend, print the legend."

MANY of the things printed about him, never happened in the way they were written up.

I'd submit Bruce Lee to name only one example had worse accidents to his body. HUNDREDS of stunt men have gone through far worse.

When you do the research and look at the actual events, there were very few things that caused him any kind of serious injury.


Nothing simple about it, I will proclaim it again, to wit:

1. Houdini NEVER took a risk with his LIFE, ever.

2. Houdini ALWAYS knew EXACTLY how he was going to get out of something.

3. Houdini was ALWAYS in control of his performance.

The stories and legends are wonderful to read; but as with most of such things, they should not be viewed as anything more than what they are.

Thank you for your input.

Mark Tripp

Mark Thank You for Taking the Time to do this for others.

Mark,

Thank you so much!

Yours,

Paul

Mark...Thanks for the gift. It is an excellant post and great contribution.

Kevin & Kristen

When you decide to use quotes from The Man Who Shot Liberty Valance, I know I'm in an up hill battle. Please believe what you will, no matter if it is wrong. This is your opinion and not really based on fact.

I will not comment further. To do so, would involve a thesis to be written.

Loved the anecdote about the jail escape! lol

You saying it, doesn't make it so. The late John Novak said it was that way, as did Robert Lund. More to the point Sid Radner does too. But don't let that get in the way of YOUR opinion.


Comment or not, it won't change the truth of my posts.

Why don't YOU post something helpful to the folks here, rather than negitive snipes at me?

I appreciate the time given freely and from the heart.A long post as a gift to all who read it.
For someone giving of their best should be applauded, not critic unless positive feedback,,,I can see that in the right hands this method of escape delivery would work well,,maybe not in the Uk,,,but the US is a different kettle of fish,,,thankyou for the positive input,I feel your generosity could be wasted here (Sadly) This board would benefit highly from more of the same.
Ken.

I stand by Mark's observations on this one.
While close scrapes happen, Houdini planned ahead and was no fool.
Steve

Excellent! I'll have to save this one myself.

Sir Harry J. Baron III

Yes Houdini Made sure to get out of Almost Evreything.

"Houdini NEVER took a risk with his LIFE, ever."

Not entirely true. If he'd listened to medical advice his appendics may have been able to have been removed and therefore he may not have died so early. I must point out that I am not a medical professional and know nothing of the surgical practices of Houdini's day. But I would say that in this instance he did take a risk with his life and paid the ultimate price.

And he Paid with the one Escape he can not Escape from. ( although he never wanted to try the Fenton Lock either for some unknown reason.