Making Your Own Legend!
Concentrate on making your own legend. Steranko is a perfect example of someone who is a legend. Think about this, try to find any film of him yet he is a legend!
Jimmy Sterankos Genii article was an isometric view, his own world. It captures what artists call, “the spirit of the craft.” It has a rich vein of creativity. It has the quality of a guide of sorts.
The question here is how are you going to make yourself a legend? Many young people have expressed to me if they could only get on TV they would be famous. Save the TV until you have a good act. If you have a good act go for film if you can and if you really want it. All good credits will add to your own world.
There are many different ways to approach this subject. If you can perform the original water cell, milk cans and other items of that day and the crowd loves you, you have an act. If on the other hand you are different, that may be a path to explore.
If you develop the skills you could do the old original handcuff act with a twist, full view picking, this would of course involve having the police lock you in cuffs. This takes nerve as it opens new doors to problems, yours if you fail. You would have to be as good with various police cuffs as the slight of hand artist and his cards.
These are real challenge conditions. The challenge of course is yours.
If you want to make your mark or some sort of legend, you must go Through TIME. Choose your acts well. Some acts will go anywhere try to do anything thinking that is the path. Most people have so many other things in life that they have to do to survive that it is hard to get a show together and then there is the money thing. I just chipped away at it as I could but always doing something for the act. You are living in a time period where millions of Americans are seeking more liberty from massive restraints from state and Federal Government. I think to see someone get out from tight spots is something needed to day. You can demonstrate what millions want, release, freedom.
One of the main tactics of Houdini was controversy. Do I realize how much controversy I get into? Yes I do. Do I help it along by what I say and write? Yes I do. There are all sorts of controversy.
Let me give you an example. Let’s say you are playing a fair for a week. As soon as you start, a piece comes out in the paper. This is a paid statement that says your straightjacket is tricked and that the person making the claim wants to secure you in their jacket from some institution. You accept and let everything build to your last show and you beat the jacket in a real battle or struggle to free yourself. You need a plant to be the challenger of course.
Another move I did with plants went very well. I had three friends in the audience. Two aspiring actors and one good problem solver. The two actors had four sets of leg irons and about five pair of cuffs. Only one was tricked, the Hamburg 8 cuffs. These guys came early and talked about locking me up so people could hear and inspect cuffs. Near show time they pretended to get in an argument over using the Hamburg 8 cuffs.
One said no because they were collector’s items and he didn't want me sticking anything in the lock. The other one replied, “But they are pick proof.” Many people heard this. Then they went quiet as my show started until I asked for police cuffs or others to be brought up.
The argument resumed and ushers started to evict these guys until my negotiator stood up. He said, “Wait, and don't throw them out“. Let Mr. Bigelow hear this.” At this point I invited everyone on stage. I assured the man I would not hurt the Hamburg 8 cuffs in anyway and that we should put all the cuffs on.
The gaffed cuffs were placed on a spectator to check and of course they could not get out. The police were handed the other cuffs to inspect.
Then I was secured in all the cuffs including the police cuffs. The story went out in several towns around that I got out from pick proof cuffs all based on word of mouth.
My friends did a great acting job and it was believed. They had a half hour before show time to put out propaganda to audience members. The arguments looked very real and with the ushers trying to evict them it was sold completely. We pulled it a few more times in other town’s further out.
That formula can be applied in many different ways. It is a GOOD controversy. It shouldn't get anyone angry but you never know these days. Then you could go in as a fighter and start all sorts of talk. I apply this method; I act as a black hole when problems or trouble makers show up, I suck up everything and spit out what I can use.
Lay out your own rules for your own act. Just because HH did something a certain way doesn't mean we have to follow.
Problems will remain part of the art always because of the complex personalities in the art. I have told this story before in my first series of Talks but I will cite it again here. SAM Boston had members who tried to place a small plaque to honor Houdini for doing a bridge jump there. They ran into all sorts of problems. The only way they got to place the plaque there is to NOT mention Houdini jumped from the bridge which was the whole point of putting it there.
It just said Houdini performed a stunt there because they did not want to influence people into jumping from the bridge. This is the repressive, stupid current system that you have to deal with as your role of a magician.
I will tell you something that has caused me much controversy over the years and the title anyone can use, “Reincarnation of Houdini”. For some reason that strikes a cord. My actual college program did not have that title in the beginning. I was billed as Houdini Incarnate. The press kept calling me the reincarnation of Houdini and they have done that to many others. My agents liked it and went with it. As soon as I saw the strong reaction I said, “Leave it.”
One area of objection was by religious people who thought that they were just going to control me, especially in the seventies. For a real controversy you must part the waters, so to speak, and get two sides going in debate against each other. Those for and those against it.
I have always had one Mantra in illusion. If you're not allowed to do a bridge jump, bring the bridge to the stage. Now what do I mean by that? I mean invent acts that you can do on stage that people would like just like a great bridge jump.
We are being lawed to death and yet have more and more serious crime. As artists we must work around these many restrictions to still produce a great act and generate publicity.
I love spider man the one who climbs tall buildings. He doesn't ask because they will say no. He just does it takes the punishment and goes home with a job well done. That’s what true freedom is or close to it with the exception of the court action.
It all reminds me of “The Great Manzinis” Brooklyn Bridge jump attempt. He was stopped by the police but it got world wide publicity. Mario and I have the same view of this. “Why can't I jump that bridge“? It is what I do. What can the problem possibly be? What a wimpy country we are becoming. Can I say wimpy or is their an organization of wimpy people who will rise up in protest?
Mario also was laced in a straightjacket and put in an elevator at the eight eighth floor of the Empire State building and sent down. When the elevator was open again Mario was free and got a lot of publicity with that one stunt.
Besides being in such a troubled country we are faced with global problems on a gigantic scale. We really need to portray and stand up for individual freedom.
I am thinking of a bungee jump. I wonder if a person was secured in a jacket and bungee in front of an audience at an air shows would sell if the perform jumped from a chopper while bouncing around. I don't even know if it has been done.
What about a failure or an accident staged or otherwise. It is a bad or good as you make it. Look at all the press for Kristen of Living Illusions. These problems that arise help give it realism. As long as you make it a continuing adventure for your audience they will love it.
I was thinking the other day about buried alive. Wouldn’t be great to have the coffin come to the grave in a beautiful 1800s horse drawn hearse? I think for someone it would be a great theatrical touch. They, the public, want to know what you will do next. Old timers always had their greatest next stunt to promote. Have something you are planning to feed the press
“My box of mystery.” By the time I got done with my safe training in The Art of Manipulation I had a regular flow of magicians trying give me a hard time. I built a wire cage with a safe lock door on the cage door.
The dial was from the inside. My challenge was bring your locksmith to change the combination when I enter and my locksmith will change the combination when you enter. No tools of any kind will be used. From then on not many magicians wanted to talk challenge anymore unless they did not know about the cage.
Now if you can come up with a box or device that no artist can repeat you have a publicity tool. A human puzzle box that you can let anyone try to get out of and they can't. That is a reputation builder and a perfect defensive item for trouble makers. You will be the only one who knows the secret.
To further the mystery of this box, create a code in symbols that only you understand. Then put the instructions of how the box works on the front in interesting symbols. The secret will be in full view. You need to know about code breakers if you are going to get away with that part of the mystery.
I think there is a future in focus based on the fact other people cannot get out from your particular device. Make devices no one else can figure out and push that aspect.
Let’s say you can design a pair of cuffs that will fool anyone. You have them built and advertise them. This will cause some to want to inspect them and try them. This is perfect controversy for the artist. When I say inspect I mean using the eye and knowledge not High-Tec stuff. Just the claim will draw publicity. You must find what is unique or different about you from other performers and excel at that.
One thing I did was transfer from promoting magic to promoting Bigelow. People wanted to book me because they were hearing of mind blowing things that I was doing.
Some suggest the Water Cell and Milk Can are worn out acts; they are not but if you want something different read the ideas in Houdini's Magic by Walter Gibson. There are ideas in that book created in the great day that I have never seen performed.
One is from a trunk underwater where you come out dry and it could be done as fast as a Water Cell or Milk Can. There is a beautiful water chest where you're in a plastic bag with air being pumped in to you. You are sealed in a water cell or box. Once you're in you have no more air.
If a person were going to spend fifteen thousand dollars on a Water Torture Cell why not invest the money in an act no one else is doing?
Also I would like to mention that at one time magic was secretive. You should be secretive about your ideas at all times if you plan to do them. I have had agents call for parks and Las Vegas who wanted me to supply a detail explanation of original ideas I could do if they booked me. I don't do that. I have had a long list of con men try to get my ideas before I am even done creating them.
I won't do it unless they promise in writing that they will not use the idea unless we reach an agreement. Otherwise I don't want their work. I am not your average performer. I do not live for an audience, I live for magic!
Take a review of what you do or plan to do to work on your own legend. Do you work to promote yourself? Does the audience love what you do? If you work for a living and perform on the side can you invest show money in your act or do you need it just to live? How long of an act can you do? Try not to use filler acts to stretch the time out. I mean don't just throw something in for times sake.
If you do it is like a bad gas flow where your engine is loosing power. It is much better to ten minuets of your best than thirty minuets combined with not your not so best. This is always hard starting out.
Many tend to get a prop and want to go right out and show it without practice. You may learn that way but it might be the hard way. Experimenting with an act may lead you to something good. Some times it is just a small gimmick someone comes up with that gets them a lot of attention.
I studied a lot of old brochures that Reno had of old time artists. I also studied those in a collection of Rev. Willard Smith of SAM Worcester Ma. He had quite a collection. I noticed in one of Cunnings booklets he presented himself as a lock picker. Of course old timers did pick, but behind curtains. And as we know lock picking would not help in a milk can. But that was his pitch and it worked.
I knew from years of experience the public loves to see lock picking and because I was a lock picker I put it in the act. That worked for me. But it was not just talk. At every show I made the offer to the police to bring their restraints and I would pick all the cuffs they brought. These were not always regulation cuffs and that is a risk.
You don't need to know many things locksmiths do because a lot of it you can’t use on stage. Center your study around picking and by pass systems which are other ways of opening locks. Also the impression system or the art of filing keys into locks by hand. This will help you in doing your cuff work.
Now back to you. Do you want to be famous? What kind of fame do you want, famous or infamous? Famous in the craft or public? Realize that you can be famous in public and a joke in the craft.
The body of work you leave behind on film will be yours for all time if you go that route. But you can't take film back once it’s out. Word of mouth is also a powerful thing. If you draw the public to you and become a human interest story you are on your way to building your name.
People like Cunning were famous in their day just from press not film. So even if you don't get film deals that won't stop you from making a name if you learn your art, do it well and really want to be known.
So now we are down to how impressive can you be in front of and audience. If you have your act down good you will get paid jobs. I remember once when I was younger an act that worked all the time. He was a magician and that’s all he did. He never got press much. He worked hard and he said to me, because I got the publicity, “Do you want to make a name or do you want to make money”? You can do both but money really helps in building your name. Cost is much of the problem for some. Getting creative is a way around it. Let’s say you have a straightjacket and not much else. Leg straps can be added for visual as well as a head set of straps.
Now consider a circle of leather sewn in the center of the back of the jacket. From this come straps over the shoulders down to the leg straps. One strap between the legs and two straps come from either side around your arms. Now this is a concept, the arrangement of the straps needs to come from you. You place them so they work for you. The secret is to add straps and attachments one at a time.
Work with the jacket like that on a regular practice system. Then add another strap. Try to make the jacket even a little hard for you. Work out a maze that others could not get out of unless they had hours of practice like you. You will then have a special product the magician down the street can't do because you put the time and hard work into the project. Also this would not cost a lot. You can create a jacket like no other and then you're different from the start.
I will tell you what I never see that could be a great production. I never see anyone welded into anything yet it was done at least by a few in the old days. I got a black tank from Reno many years ago. I use to fill it with ice and water. It was not made for water. It was made to be tack welded at the top. And made after being welded and padlocked inside.
This welding could be done easy on the right prop and you might find a welder to help you so he or she can get publicity for their business.
Welding could be used on a trunk also by welding the hasp before padlocking it. Being welded in an item is different from the rest.
I think about the Mirror Handcuffs and while they are special in many ways they are still just a handcuff. After all the acts Houdini did, bridge jumps, jail breaks, milk cans and water cells, he pulled of an act with just one pair of cuffs that rivaled in legend any act he did.
It should have been anti climatic by comparison to many other acts that HH performed. He pulled it off and gave a perfect example of getting all you can out of an act.
When I was in my teens I bought Reno’s actual vaudeville cabinet. It was back steel pipe painted gold. It was six feet high and I think about five feet by five. All the pipes screwed together and then a big gold curtain was hung. People still use cabinets and so it proves that they are not completely outdated. The cabinet can be used as more than a cover for an act; it can be used as part of an act and a cover.
When I was experimenting I wanted a fast opening and came up with a set up that I sold to the audience because they wanted to believe. Everyone knew I was expert with handcuffs so I wanted to ramp it up. I got two officers to bring my own gaffed cuffs to a church show that I was doing. Half way up in the cabinet was horizontal pipe on three sides. I was cuffed with my hands out to the sides.
As soon as the curtain closed I opened it, free with the cuffs hanging down open. The story went around town that I picked the cuffs one handed in three seconds. I experimented with ropes and chains and then just stopped doing it for one reason or another. If you have a cabinet act you may be able to pull the same thing off. If you do you will get more out of your cabinet. As it turned out the opening handcuff stunt should have been my final act because it was the most talked about after the show.
I have said the following over and over and I will say it here. If you're looking for material for your act consider looking in the world of magic. There is a very rich volume of material there for the right artist. There are rope tricks, lock tricks and key tricks and all of those items relate to the artist.
It doesn't have to be an illusion, do a nice trick. Magic well done is like a fine spice in a show and a well done illusion is like a fine spice in a magic act. A person could do an entire show with just ropes and magic.
Years ago artist Barry Y. developed a steel drum. It was filled with water. He was handcuffed. A chain went to his wrist and through a steel ring at the bottom of the barrel. He was pulled under and the chain was locked on the front top of the barrel.
There was a small shelf as I remember on top. So from the audience’s point of view he had to reach up find the right key and open the lock before he drowned. He used Key Erect and had a choice of eight keys.
There are so many creative way to blend ropes, locks and keys into an act there is no limit. Consider even some mentalist. Kreskin had a great come on when he worked colleges. The college got to hide his pay check and if he did not find it the show was free. I did not tell you this to copy it but rather to give you an idea of what came be done to boost your business. You could advertise if you fail to make a certain show free.
Artists today have one problem that we have never had in this art. Everyone and his brother playing magical artists. Instant knowledge lacks experience for those starting out. Getting any information at once is not a way to create artist with skill. It skips the working for it system and creates some very serious problems.
Anyone can create or have some create a web site to make themselves look like a great artist so how will you be different in a sea others?
One of the reasons we did not allow film during the college shows was because of copy artists. Why hand them all your material on film?
At least if the only way to learn what you do is by coming to your show it cuts down on how many copy artists will see you. Also they don't have a film to play over and over.
I am convinced that there is no way to stop the spoilers for laying everything directly open for the public. The lack of respect for secrecy will hurt this art. Film projects devour people and subjects leaving a waste land in its path. I think the future is creating magic the spoilers can't figure out and don't pass that secret on until you are done with it or have had a good run and are ready to release it.
Until that time when you're done, MUM should be the word. Don't even tell your mother how your secret works. Get in the habit of not talking to anyone about these things until it is time.
Since I released my paper on Challenge I have received some very interesting emails. One was a question that I have never been asked. “Could I define a challenge illusion“? I believe the 100 ft rope tie defines challenge perfectly. When you give strangers a piece of rope to tie you up it is a challenge. Each time you do it, it becomes an all new challenge. To me that sums it up just fine. Jay Leslie has a current DVD out on that subject you might want to check out.
I would like to suggest a little reading to you if you're able to do it. In the March 1994 Vol. 83 # 10 issue of MUM Magazine I have an article with others called, “The Inventors“. My article of course was on magic. This is some perfect information for many acts and it is original.
I was talking to my wife Janet about theatrical restraints that old artists sold to us working our way to the secret world of the magical artist and it was fun. There were a lot of so called torture devices. The Russian torture harness. Trudell made Chinese Torture Pillory and the Australian Torture Board. If it was a device it was always named after another country except America. My wife said why don't you make an American Water Torture Board. I said, “Do you mean a water board?” She said, “Exactly.”
Now don't underestimate the real danger here. But the expense would be reasonable. That may be good or bad. It is reach of those not experienced and who won't know how to do this. All you need is a table and a hanging bottle of water with a hose.
The hose will have straps to go around your head so the hose stays in your mouth. You're restrained and the water is turned on. It is an act but seriously dangerous. You will have to figure out water flow. I wouldn't practice this myself without two assistants with first aid experience.
When I was in my teens I corresponded with a Boston artist by the name of Bourdini. He performed the Egyptian Board. About a year after we started writing he invited me down. He had something he wanted to show me. I remember he lived on H Street. When I arrived I was told Mr. Bourdini passed away the night before. I never knew what he wanted to show me.
I would like to call your attention to two ideas, not to do them but to realize what they are. If you don't know about these people try and learn. Mr. Maisel is a very busy artist around the world. His gets out from cuffs in a washing machine has received world wide attention and he does much more than that. But the point is he made that act a world wide sensation. He made himself a legend in this craft. He is really different.
Then view Clyde & Sharon Mighells and the Hillbilly out house. Where in the history has there been an idea like that? As it gets just attention it will cement this really different idea into their legend.
I am now going to release an idea that could be quite dangerous and should only be attempted by a professional. This is dedicated to Cindini, Morgan and Alexandria The Great.
The problem or good point is that this is not all that hard to get together. I call this, “The Ice Cube.” It is more a slab than cube actually. It is big enough to lie on and it has leather straps embedded in the ice. The artist is chained and cuffed in some manner as long as it looks good.
The artist is laid on the ice slab and then strapped on with the straps. They are there only to hold the artist on the slab. The artist must be in some sort of restraint like a straightjacket. There is a hole in the center of the ice and a cable locked to the performer goes under water to weights to help pull the artist down.
The artist and slab are then placed in a source of warm water that will melt the ice and the performer will be taken down into a huge pool, lake or aquarium tank. If needed floats can be attached to all four corners of the ice for balance. It will not affect it in anyway. This is just a basic concept and it gives the audience a prop to look at.
There are many details to work out, like how fast does the ice melt? How thick to make the ice slab? But this is not that hard or expensive to do. I could build the form for the slab in my back yard and make a deal with an ice house.
This next idea is also dangerous but if you can set it up the props will be al ready for you. You will need to work out the method but that’s it.
If you can get the captain of a crab boat to let you do this, get locked and chained into their crab cage. When I think of this, I think of Mr. Goodwin. It seems like something he would do.
They have the rig to lower you into the sea, the cage, the boat and everything you need. You won't have to go that deep. Here is a real publicity stunt using items of a work force as stage props. And if your really whacked you can make the illusion with the days catch still in the cage. This is dangerous but big time.
If you want an example of what I mean by a one of a kind, check out the "Vault". This looks to me to be as good as any item made even in Houdini’s day in the area of great Mystery. There is so much put into this one act. It is even hard to believe in this day and age so many fantastic acts like the ones at this site are even available. Richard and Dalye have a great mystery in this act.
-N. Bigelow
