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The Magic Cafe Forum Index » » All tied up! » » Question on Posey jacket (0 Likes) Printer Friendly Version

Yannou
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So, I got me a Posey regulation straightjacket, the standard one with the friction buckles. I also have Dixie Dooley's DVD's and, at the advice of the EA's here at the Café, I got Jay Leslie's DVD on the SJ escape. Now, the escape with just my arms crossed and the straps fastened - no problem (except that the buckles get caught all the time). Using the belly loop - no difference. I then added the sideloops - now that was a different story. I felt I might have gotten out of it, eventually, but I had already done it several times in a row (without the sideloops) and I was tired and gave up. For now.
Dixie Dooley doesn't even mention this and Lay Leslie only says it will be difficult to get out of a SJ with sideloops. Cannon sells them, so it must not be impossible. I suppose I can figure it out myself, but since I have the Café as a resource, can anyone give me some hints and tips?
Cliffg37
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Yannou, Your profile says you are a mentalist. How much escape experience do you have? Yes, you can get out of the jacket with side loops on it, but not necessarily easily. Is there a particular reason you need to do this? On stage you can claim (if asked) that the loops are to help staff keep the criminally insane from running or hurting themselves.
Magic is like Science,
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Ray Pierce
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... or with a single edged razor blade they can dissappear!
Ray Pierce
jay leslie
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Why reinvent the wheel? The general audience does not care if there are side loops.

Second issue, Different body types perform better in different jackets. I can get out with side loops and a chest strap but if I weighed 10 pounds more, It might be a deal breaker in certain jackets.

Remember, If you put a spectator in your jacket and the audience sees they can not escape....... and you do... you are given the credit. Put them in the jacket, send them off stage (down front) do another trick - when your done they put the jacket on you and Ta Da..... you are the man.

I do this at sales motivational meetings, all the time. The spectator never escapes, I have received numerous standing ovations. What more does anyone need?
Steve_Mollett
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PM'd you.
Author of: GARROTE ESCAPES
The absurd is the essential concept and the first truth.
- Albert Camus
escapeguy
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Jay, I disagree with you that the audience doesn't care. I say that not to pick a fight but to illustrate a sale.
I introduce the posey as a very special something for the folks. I tell the history of the posey and highlight the loops and what posey speculates would have to happen to the body IF escape were possible.
I then get locked in start to wiggle and go to that place inside before I jump to knees and spin showwing the audience the contortions in the back
then it comes off and does really well, in fact a lot of the time when we introduce the posey, the audience cheers as it comes out to meet me
MICHAEL GRIFFIN,
America's Escape Artist

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Yannou
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Thanks guys, for the replies so far.
Cliff did bring up a point: why am I interested in getting out of a straightjacket if I'm a mentalist?
Here's the background: there is a local amusement park where I have done several publicity stunts over the years (once a year). I have done a blindfold drive in the park, predicted the name of the 250th guest one day - that sort of thing. When I ordered some things from Penguin some time ago, I got the Dixie Dooley DVD's with the order. I only got to watch them recently, just around the time when I was thinking if and what sort of stunt I was going to do at that park this year. And say what you want about the Dixie Dooley DVD's, he did get me interested in escapes! The upside down straightjacket escape really is a publicity stunt if there ever was one. I'm still trying to find out if I can do that by September this year or not. I am not taking this lightly, because if you don't know what you're doing, it is a dangerous stunt. I also realize I will make myself look like a complete fool if I can't do it and that might reflect badly on the art of escape as well, and I don't want either to happen.
But right now, I'm just working on the escape itself (on the ground) and escaping from the Posey, ungimmicked and unaltered is a matter of personal pride for the moment.
Chance
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Hello Yannou, welcome to the escape section.

Putting aside all the subjective and personal resons you might want to start experimenting with escapes for a moment, imho you are expecting too much too soon.

Would you think of going into a skydiving forum and announce you just bought a training chute and that you would like some help in becoming a skydiving instructor? What kind of a response do you think you would get from the guys that have logged a thousand or more jumps, and make their living that way after 10 years' practice?

Think about it please. From our perspective. Some of us here have been doing dangerous stunts for many years. We know how to stay safe and we know how to make it pay our bills. But mostly we know how to stay safe. And I'll tell you right up front that no one has ever learned all they need to know from reading about it. That's maybe the surest way to NOT be safe.

The type of stunts you asked about are dangerous and require months of preparation even from the most experienced members here. Sadly, you are not the first person to come in here asking these very same questions. We get this 4 or 5 times per year. It's always the same questions, and for some reason everybody feels they can short change on experience and still come away a (living) winner. To us you're the next so-called "escape artist" on CNN that got injured (killed?) during a stunt.

You can't be a skydiver, a black belt, or even a carepenter without years of experience. Why should escapes be any different?
jay leslie
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Escapeguy

That's theatre.

When I was 16 I saw Kreskin at a theatre. He performed the Himber rings standing on the stage, separated from the audience by an orchestra pit. No one could see what he was doing but he received applause.

So weather you build-up the aspect of having side straps or you're going to have 10 tarantulas placed inside the jacket or, if you fail to escape under a minute, you'll donate money to charity It's all the same. As long as you make the presentation interesting the audience is presented with the struggle of "Man against machine". Ultimately THIS is the act we portray.

Good performers can get a great round of applause if they escape from a thumb tie or a wet noodle.
Does anyone disagree?

The average audience does not know the difference from one jacket manufacture to another,
The average audience does not know the difference between an Abbotts or a real sword basket either. Yet they applaud the same if the performance has the same impact. Back to jackets:They don't know about side straps....... all they know is what you tell them and - that you are "conquering" a fear as well as a restraint.... that you represent the part of the psyche that never says die, that you are acting on behalf of everyone and not just yourself. That is the sub-script of what any escape is about, Adding a level of difficulty does not diminish the act we create... that we generate for the pleasure and the ability for the audience to live vicariously through our struggle.

In the end, the applause is for the person, the performer, the personality otherwise we should all wear masks when we escape and not let anyone know who we are.

When you are bound by rope and have 30 seconds to escape before a rifle fires a bullet at you, does it matter if your restraint is a wood block that works like a pair of in again-out again cuffs? Does it matter if the rifle was not a rifle but a crossbow? The scenario is that you are bound and the penalty for not escaping is being shot. The actual details of the mechanism are less important then the theatre you so masterfully create... as you know.
disneywld
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Cannon has a book on how to trick out the Posey buckle. It is part of his lecture notes.
The Magic of Christopher Manos
www.safetymagicshows.com
Steve_Mollett
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As far as a mentalist performing a straitjacket escape goes, I suggest a calm, measured, 'introspective' approach to the release, like a yogi performing a feat of contortionism; as such, a demonstration of intense concentration and 'mind-over-body control.'

Why not get out slowly, while sitting in a lotus position and with eyes closed, face calm as if entranced?
Author of: GARROTE ESCAPES
The absurd is the essential concept and the first truth.
- Albert Camus
Yannou
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Just want to let you all know that I figured it out. With thanks to Mr. Lesley's DVD. While the specifics of this straightjacket are not discussed, his advice did lead me to find a way to get out.
I've also found out that it's not the way I would like to do it in a performance because, IMO, it doesn't look as good as escaping from a jacket without the sideloops. But at least my personal pride is saved.
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