HARRY HOUDINI
Hear Houdini's Voice
True - that's his voice...but that's NOT what he said!
www.wildabouthoudini.com/2012/10/tom-interval-conjures-houdinis-voice.htmlHoudini's Voice; with the Internet it has become easy, just use most any search engine and you will easily be able to locate and listen: all one minute and twenty seconds of it. It's captivating, as if listening to a ghost from the past - it's him, as if he were still in front of one of his audiences. He's practicing the patter for his Water Torture Cell illusion, bellowing out the details of its harrowing and imminent dangers. But all is not what we perceive; Houdini's voice as we know it, is not what we know it to be at all...it's what we would now call in our computer age: a cut and paste job!
Pretty much today, any of us like to keep us with the latest technologies, whether it is the most up to date flat-screen TV, computer, or cell phone. It would have been no different during Houdini's era and Edison's wax cylinder recording machine would have certainly been the "computer" of its' day. In 1914 Houdini had the curiosity and foresight to do just that - record his voice with an Edison machine. A 1970 article in The Los Angeles Times tells the story through famed magician Milbourne Christopher of how the Houdini's wax cylinders were found among the effects of American magician, author, collector, and historian John Mulholland, who had passed away several months earlier. Christopher along with several companions made arrangements to listen to these recordings at the Edison National Historic Site in West Orange, New Jersey. From that point on it gets sketchy as to how many people would have access to listen to these and even recording copies of them onto the then modern methods of either reel-to-reel or cassette tape. I know that as late as 1976, Houdini authority, Patrick Culliton and a few other guests were given the opportunity to listen to cassette tapes of these from the library of the exclusive Players Club in New York City. I also own a supporting tape segment which confirms that Jay Marshall played a portion of the original recording as part of a lecture or group presentation which I believe would have been sometime during the 1970's or 80's, but I have yet to confirm specifically when or where this was. Currently, it is widely accepted that the surviving cylinder/s Houdini made are owned by the renowned David Copperfield, who acquired these in the 1991 purchase of the Mulholland collection. I believe it is safe to say that outside of the complete full length recordings in my collection, Mr. Copperfield holds the only other known whole recordings. In my speaking with several other respected Houdini historians as well extensive Internet searches, I can find no other individual or institution, including The Library of Congress, The Players Club, or The Magic Circle in London that own any copies of Houdini's original full length recorded voice.
There are really two different recordings of Houdini's voice; one that is three minutes and thirty-six seconds long and the other is three minutes and fifty-one seconds long. There really is no such thing as the one minute and twenty second version! The one minute and twenty second version of Houdini's voice found in cyberspace is an amalgamation of these two recordings; a little of this one, a little of that one, a little cut and paste here and there, and presto - just like magic - you have a minute and twenty second recording that never really was. Listening to the short Internet version we all know of, the sentences seem logically sequenced with a naturally spoken cadence.
For no other reason other than simplicity, I have labeled the following transcripts as version 1 and version 2. The words highlighted in yellow would be the ''transcript'' from the 1:20 version so you can see how this was pieced together as you listen and read along. There are still many questions...first of all - who and when and why did someone do this "cut and paste" job? Did Mulholland do this himself or could this have been the work of one of the many other noted magic collectors and historians who certainly had access to the collection prior to Mr. Copperfield's acquisition.
There is no intent of finger pointing or blame to place but I do have my presumptions on how this shortened version came about. This is only my opinion based on all of the materials I have seen and heard. While this could have been done earlier, my suspicions arise from a 1993 BBC Houdini documentary where Jay Marshall is featured in a segment playing Houdini's recorded voice. I believe in the interest of time and in holding the viewing audience's attention that the producers came up with this shortened version. If you can validate any other scenario or add to my rationale I would welcome hearing from you. As a collector and historian of Houdini memorabilia I felt compelled to share this significant documentation with others so as to ''set the record straight'' against the (unintended) misleading Internet information. I certainly do not feel there was any purposeful attempt to conceal, hide, or cover-up Houdini's voice; I think it just became forgotten and languished in the decades after his death in 1926 as it changed hands between family members and then later to collectors as to its complete length of recording. It remains crucial that his voice does not become ''lost'' again.
Note:
These two transcripts are from my May 11, 2012 lecture ''Houdini's Recorded Voice: Have You Heard It All?" presented in Chicago, Illinois as part of the Magic Collectors Weekend. This specific presentation has been copyrighted along with the full length recordings which were heard as an accompanied part of it. Therefore; ©All rights reserved. No part of this work may be reproduced or used in any form or by any electronic or mechanical means, now known or hereafter invented, including photocopying, recording, or any other retrieval system, without my prior written permission. The full length sound recording portion has been withheld here but may be available for licensing or other academic ambitions. (Contact for further information and requirements.)
[Portions marked in yellow are where the 1:20 voice rendition combines versions 1 & 2. The few word segments indicated between parenthesis ''( )'' are my placements which are subject to further study and examination. The grammar of the words you hear does not always sound to be proper. When listening to the recordings, I believe you must keep in mind several matters; the recording equipment itself was very primitive to capture every nuance spoken, the true syntax may have been lost during recopying sessions, comparing similar words from each version, or the wax cylinder recordings may have degraded over time so as to not being able to clearly discern word distinctions. Admittedly, these insertions are subjective on my part, but as within the boundaries of reasons stated, placed with corrective intent only.]
Version 1
"Ladies and Gentlemen, in introducing my original invention The Water Torture Cell, although there is nothing supernatural about it, I am willing to forfeit the sum of one thousand dollars to anyone who can prove that it is possible to obtain air inside of the Torture Cell when I'm locked up in it in the regulation manner after it has been filled with water. I will first thoroughly explain the apparatus and then I will invite a committee to step up on the stage to examine everything to see that things are just as I represent. The cover is made to fit into the steel frame which prevents it from being open even if it were not locked. The steel grill acts for the double fold purpose of condensing the space inside of the Torture Cell which at the same time prevents my turning around even were I capable of throwing both of my feet through the cover. In front, a plate of glass for self protection. Should anything go wrong when I'm locked up, as it (is) absolutely impossible to obtain air, one of my assistants watch (es) through the curtain ready in case of emergency with that axe to rush in, demolishing the glass, allowing the water to flow out, in order to save my life. I honestly and positively do not expect any accident to happen. But we all know accidents will happen and when least expected. The bands of steel form an impromptu cage held together with padlocks that enclose the stage. I would like to invite eight, ten, or twelve gentlemen to kindly step up on the stage. I assure you I have no confederates and any gentleman is perfectly welcome. A staircase at your service on this side of the stage and now is your opportunity. I thank you for your attention. October the twenty-ninth, nineteen hundred and fourteen. This record spoken by Harry Houdini"
Version 2
"Ladies and gentlemen, I take great pleasure in introducing my latest invention: The Water Torture Cell. Although there is nothing supernatural about it, I claim that it is absolutely impossible for anyone to obtain air inside of this Torture Cell when locked up in it, in the regulation manner after it has been filled to the brim with water. I will first thoroughly explain the apparatus and then I will invite a committee to step up on the stage to examine everything to see that things are just as I represent. The cover is made to fit into this steel frame which is for the express purpose of preventing the cover from being open even if it were not locked. At the same time prohibits the use of any old time contrivance like a mechanical hasp, hinge, lock, or a staple. The steel grill made for two purposes. One, it condenses the space inside of the Torture Cell which at the same time prevents my turning around even were I capable of throwing both of my feet through the cover. In front you will notice a plate of glass, placed there for self protection. Should anything go wrong when I'm locked up as it is absolutely impossible to obtain air, my assistants who are thoroughly trained and know how long it is possible for me to live without air, one of them watches through the curtain ready in case of emergency with that axe to rush in demolishing the glass allowing the water to flow out in order to save my life. I positively and honestly do not expect any accident to happen. But we all know accidents will happen and when least expected. Those bands of steel form a cage which enclose the Torture Cell consecrating the experiment as well as making it doubly dangerous. I would like to invite please, a committee of ten or fifteen gentlemen to step up on the stage. I assure you I have no confederates and any gentleman is perfectly welcome. A staircase at your right, and now is your opportunity. I thank you for your attention. Harry Houdini, October the twenty-ninth, nineteen hundred and fourteen, Flatbush, NewYork."
_______________________________
Listen to this wonderful clip segment of Houdini's Recorded Voice as arranged by fellow Houdini historian Tom Interval: *
(copying into your browser or clicking on link below will take you to another webpage)
http://www.wildabouthoudini.com/2012/10/tom-interval-conjures-houdinis-voice.html
* Utilizing software modification methods this clip becomes yet another slight variation by supplanting the first line from the version 2 transcript, as heard in a 2012 National Public Radio broadcast, which itself used a truncated voice fragment. Thus, the highlighted portion shown remains correctly represented as it relates to all other (1:20) Internet segments known.
Pretty much today, any of us like to keep us with the latest technologies, whether it is the most up to date flat-screen TV, computer, or cell phone. It would have been no different during Houdini's era and Edison's wax cylinder recording machine would have certainly been the "computer" of its' day. In 1914 Houdini had the curiosity and foresight to do just that - record his voice with an Edison machine. A 1970 article in The Los Angeles Times tells the story through famed magician Milbourne Christopher of how the Houdini's wax cylinders were found among the effects of American magician, author, collector, and historian John Mulholland, who had passed away several months earlier. Christopher along with several companions made arrangements to listen to these recordings at the Edison National Historic Site in West Orange, New Jersey. From that point on it gets sketchy as to how many people would have access to listen to these and even recording copies of them onto the then modern methods of either reel-to-reel or cassette tape. I know that as late as 1976, Houdini authority, Patrick Culliton and a few other guests were given the opportunity to listen to cassette tapes of these from the library of the exclusive Players Club in New York City. I also own a supporting tape segment which confirms that Jay Marshall played a portion of the original recording as part of a lecture or group presentation which I believe would have been sometime during the 1970's or 80's, but I have yet to confirm specifically when or where this was. Currently, it is widely accepted that the surviving cylinder/s Houdini made are owned by the renowned David Copperfield, who acquired these in the 1991 purchase of the Mulholland collection. I believe it is safe to say that outside of the complete full length recordings in my collection, Mr. Copperfield holds the only other known whole recordings. In my speaking with several other respected Houdini historians as well extensive Internet searches, I can find no other individual or institution, including The Library of Congress, The Players Club, or The Magic Circle in London that own any copies of Houdini's original full length recorded voice.
There are really two different recordings of Houdini's voice; one that is three minutes and thirty-six seconds long and the other is three minutes and fifty-one seconds long. There really is no such thing as the one minute and twenty second version! The one minute and twenty second version of Houdini's voice found in cyberspace is an amalgamation of these two recordings; a little of this one, a little of that one, a little cut and paste here and there, and presto - just like magic - you have a minute and twenty second recording that never really was. Listening to the short Internet version we all know of, the sentences seem logically sequenced with a naturally spoken cadence.
For no other reason other than simplicity, I have labeled the following transcripts as version 1 and version 2. The words highlighted in yellow would be the ''transcript'' from the 1:20 version so you can see how this was pieced together as you listen and read along. There are still many questions...first of all - who and when and why did someone do this "cut and paste" job? Did Mulholland do this himself or could this have been the work of one of the many other noted magic collectors and historians who certainly had access to the collection prior to Mr. Copperfield's acquisition.
There is no intent of finger pointing or blame to place but I do have my presumptions on how this shortened version came about. This is only my opinion based on all of the materials I have seen and heard. While this could have been done earlier, my suspicions arise from a 1993 BBC Houdini documentary where Jay Marshall is featured in a segment playing Houdini's recorded voice. I believe in the interest of time and in holding the viewing audience's attention that the producers came up with this shortened version. If you can validate any other scenario or add to my rationale I would welcome hearing from you. As a collector and historian of Houdini memorabilia I felt compelled to share this significant documentation with others so as to ''set the record straight'' against the (unintended) misleading Internet information. I certainly do not feel there was any purposeful attempt to conceal, hide, or cover-up Houdini's voice; I think it just became forgotten and languished in the decades after his death in 1926 as it changed hands between family members and then later to collectors as to its complete length of recording. It remains crucial that his voice does not become ''lost'' again.
Note:
These two transcripts are from my May 11, 2012 lecture ''Houdini's Recorded Voice: Have You Heard It All?" presented in Chicago, Illinois as part of the Magic Collectors Weekend. This specific presentation has been copyrighted along with the full length recordings which were heard as an accompanied part of it. Therefore; ©All rights reserved. No part of this work may be reproduced or used in any form or by any electronic or mechanical means, now known or hereafter invented, including photocopying, recording, or any other retrieval system, without my prior written permission. The full length sound recording portion has been withheld here but may be available for licensing or other academic ambitions. (Contact for further information and requirements.)
[Portions marked in yellow are where the 1:20 voice rendition combines versions 1 & 2. The few word segments indicated between parenthesis ''( )'' are my placements which are subject to further study and examination. The grammar of the words you hear does not always sound to be proper. When listening to the recordings, I believe you must keep in mind several matters; the recording equipment itself was very primitive to capture every nuance spoken, the true syntax may have been lost during recopying sessions, comparing similar words from each version, or the wax cylinder recordings may have degraded over time so as to not being able to clearly discern word distinctions. Admittedly, these insertions are subjective on my part, but as within the boundaries of reasons stated, placed with corrective intent only.]
Version 1
"Ladies and Gentlemen, in introducing my original invention The Water Torture Cell, although there is nothing supernatural about it, I am willing to forfeit the sum of one thousand dollars to anyone who can prove that it is possible to obtain air inside of the Torture Cell when I'm locked up in it in the regulation manner after it has been filled with water. I will first thoroughly explain the apparatus and then I will invite a committee to step up on the stage to examine everything to see that things are just as I represent. The cover is made to fit into the steel frame which prevents it from being open even if it were not locked. The steel grill acts for the double fold purpose of condensing the space inside of the Torture Cell which at the same time prevents my turning around even were I capable of throwing both of my feet through the cover. In front, a plate of glass for self protection. Should anything go wrong when I'm locked up, as it (is) absolutely impossible to obtain air, one of my assistants watch (es) through the curtain ready in case of emergency with that axe to rush in, demolishing the glass, allowing the water to flow out, in order to save my life. I honestly and positively do not expect any accident to happen. But we all know accidents will happen and when least expected. The bands of steel form an impromptu cage held together with padlocks that enclose the stage. I would like to invite eight, ten, or twelve gentlemen to kindly step up on the stage. I assure you I have no confederates and any gentleman is perfectly welcome. A staircase at your service on this side of the stage and now is your opportunity. I thank you for your attention. October the twenty-ninth, nineteen hundred and fourteen. This record spoken by Harry Houdini"
Version 2
"Ladies and gentlemen, I take great pleasure in introducing my latest invention: The Water Torture Cell. Although there is nothing supernatural about it, I claim that it is absolutely impossible for anyone to obtain air inside of this Torture Cell when locked up in it, in the regulation manner after it has been filled to the brim with water. I will first thoroughly explain the apparatus and then I will invite a committee to step up on the stage to examine everything to see that things are just as I represent. The cover is made to fit into this steel frame which is for the express purpose of preventing the cover from being open even if it were not locked. At the same time prohibits the use of any old time contrivance like a mechanical hasp, hinge, lock, or a staple. The steel grill made for two purposes. One, it condenses the space inside of the Torture Cell which at the same time prevents my turning around even were I capable of throwing both of my feet through the cover. In front you will notice a plate of glass, placed there for self protection. Should anything go wrong when I'm locked up as it is absolutely impossible to obtain air, my assistants who are thoroughly trained and know how long it is possible for me to live without air, one of them watches through the curtain ready in case of emergency with that axe to rush in demolishing the glass allowing the water to flow out in order to save my life. I positively and honestly do not expect any accident to happen. But we all know accidents will happen and when least expected. Those bands of steel form a cage which enclose the Torture Cell consecrating the experiment as well as making it doubly dangerous. I would like to invite please, a committee of ten or fifteen gentlemen to step up on the stage. I assure you I have no confederates and any gentleman is perfectly welcome. A staircase at your right, and now is your opportunity. I thank you for your attention. Harry Houdini, October the twenty-ninth, nineteen hundred and fourteen, Flatbush, NewYork."
_______________________________
Listen to this wonderful clip segment of Houdini's Recorded Voice as arranged by fellow Houdini historian Tom Interval: *
(copying into your browser or clicking on link below will take you to another webpage)
http://www.wildabouthoudini.com/2012/10/tom-interval-conjures-houdinis-voice.html
* Utilizing software modification methods this clip becomes yet another slight variation by supplanting the first line from the version 2 transcript, as heard in a 2012 National Public Radio broadcast, which itself used a truncated voice fragment. Thus, the highlighted portion shown remains correctly represented as it relates to all other (1:20) Internet segments known.