Houdini On Exposure
E X P O S U R E
Strange that exposers do not realize that they are killing the game that is bringing them their daily bread. From all possible angles their attitudes is fundamentally wrong, and I challenge any one to mention one successful exposer.
As far back as I can "remember," Decremp in 1784, tried to put Pinetti out of business by writing a number of books minutely explaining the modus operaudi of his entire program, but he only succeeded in placing Pinetti in the ranks of the immortals, for, so long as books remain with us. Pinetti will hold his place among the Great Magicians, while Decremp is merely a name in the list of the professors.
We have all seen in our own day and generation that as soon as any remarkable performer springs up, some one, either through envy or greed, tries to drag him from the successful pedestal by exposing or belittling his work.
When a man presents a genuine entertainment and does not "quack" his wares or his abilities, it seems wrong that he should not be left to the enjoyment of the results of his own brain and labor.
With due modesty may I mention myself as the object of many attacks, and the victim of many would-be exposers all over the world, who, though they never had my secrets or any real methods of extrication, managed to make a few dirty dollars, and to besmirch the Challenge Handcuff Act which I created.
But look around! Where are they now?
In my case, however, the efforts of these fellows may have been blessings in disguise, as they urged me on to the inventions of greater things that they could not attempt; and to the creation of mysterious effects that demanded unusual physical exertion, long years of practice, or the most expensive apparatus possible.
The only time I ever exposed a mysterious effect was when a misguided performer, lacking experience, tried to place me in an unpleasant light before the public. I allude to the coffin trick, which at best was a gruesome affair, and my actions were entirely in self defence. Years have passed since then and the performer in question long ago admitted he was in the wrong; we have become friends, and the incident, a matter of history.
From an ethical standpoint the public exposure of magical effects is wrong, and our utmost endeavors should be exerted toward its prevention.
The magical societies of the world are uniformly against it, and they can't all be wrong.
The acrobatic feats that I have exhibited in public cannot be called exposures, and for the spectators to do them would be like passing along a palette and brush and asking them to paint a picture. Not that my work is as artistic, but it has been my life work, and in it I entered a field heretofore untrodden by any man.
HARRY HOUDINI
Originally pubished in the M-U-M in Vol. 8, No. 69 in New York, December 1918.
