input: In 1904, the London Daily Mirror newspaper challenged Houdini to escape from special handcuffs that it claimed had taken Nathaniel Hart, a locksmith from Birmingham, five years to make. Houdini accepted the challenge for March 17 during a matinee performance at London's Hippodrome theater. It was reported that 4000 people and more than 100 journalists turned out for the much-hyped event. The escape attempt dragged on for over an hour, during which Houdini emerged from his "ghost house" (a small screen used to conceal the method of his escape) several times. On one occasion he asked if the cuffs could be removed so he could take off his coat. The Mirror representative, Frank Parker, refused, saying Houdini could gain an advantage if he saw how the cuffs were unlocked. Houdini promptly took out a pen-knife and, holding the knife in his teeth, used it to cut his coat from his body. Some 56 minutes later, Houdini's wife appeared on stage and gave him a kiss. Many thought that in her mouth was the key to unlock the special handcuffs. However, it has since been suggested that Bess did not in fact enter the stage at all, and that this theory is unlikely due to the size of the 6-inch key Houdini then went back behind the curtain. After an hour and ten minutes, Houdini emerged free. As he was paraded on the shoulders of the cheering crowd, he broke down and wept. Houdini later said it was the most difficult escape of his career. After Houdini's death, his friend Martin Beck was quoted in Will Goldston's book, Sensational Tales of Mystery Men, as admitting that Houdini was bested that day and had appealed to his wife, Bess, for help. Goldston goes on to claim that Bess begged the key from the Mirror representative, then slipped it to Houdini in a glass of water. It was stated in the book The Secret Life of Houdini that the key required to open the specially designed Mirror handcuffs was 6 inches long, and could not have been smuggled to Houdini in a glass of water. Goldston offered no proof of his account, and many modern biographers have found evidence (notably in the custom design of the handcuffs) that the Mirror challenge may have been arranged by Houdini and that his long struggle to escape was pure showmanship. This escape was discussed in depth on the Travel Channel's Mysteries at the Museum in an interview with Houdini expert, magician and escape artist Dorothy Dietrich of Scranton's Houdini Museum. A full-sized design of the same Mirror Handcuffs, as well as a replica of the Bramah style key for it, is on display to the public at The Houdini Museum in Scranton, Pennsylvania. This set of cuffs is believed to be one of only six in the world, some of which are not on display.

Answer this question "Are there any other interesting aspects about this article?"
output: A full-sized design of the same Mirror Handcuffs, as well as a replica of the Bramah style key for it, is on display to the public

input: Ratt's next release was Dancing Undercover in September 1986. The album was a relative disappointment with most music critics at the time of its release. From a commercial standpoint however, the album kept Ratt's string of consecutive Platinum albums alive. This is the first album as well to see Crosby's lead guitar duties minimized in favor of DeMartini. In an effort to be taken more seriously, Ratt broke from the tradition of featuring a girl on the cover. They instead opted for gritty black-and-white photos of each of the five band members. Likewise, the album does not contain a single power ballad amongst its ten tracks and even features experimental forays into thrashier and heavier sounds. The song that reflected this most strikingly was "Body Talk", which was featured on the soundtrack for the 1986 Eddie Murphy film The Golden Child. The more straight-ahead style of the album (especially with this song) led many fans to believe that Ratt was headed in a direction more akin to the thrash style promulgated by such bands as Anthrax, Megadeth, and Slayer. However, that proved not to be the case as the slightly experimental undertones of the album were quickly replaced with a bluesier sound throughout their next three releases. Other popular tracks generated by the album included "Dance" and "Slip of the Lip". Through 1987, Ratt embarked on a U.S. tour with newcomers Poison, and played in Europe as a part of the Monsters Of Rock Tour (widely bootlegged). Their tour with Poison was the 6th highest grossing tour of 1987. Ratt also played Madison Square Garden.

Answer this question "Why was it a dissapointment"
output: the album kept Ratt's string of consecutive Platinum albums alive. This is the first album as well to see Crosby's lead guitar duties minimized in favor of DeMartini.

input: After suffering from multiple health problems (including depression and alcoholism) over many years, O'Neill ultimately faced a severe Parkinsons-like tremor in his hands which made it impossible for him to write during the last 10 years of his life; he had tried using dictation but found himself unable to compose in that way. While at Tao House, O'Neill had intended to write a cycle of 11 plays chronicling an American family since the 1800s. Only two of these, A Touch of the Poet and More Stately Mansions, were ever completed. As his health worsened, O'Neill lost inspiration for the project and wrote three largely autobiographical plays, The Iceman Cometh, Long Day's Journey into Night, and A Moon for the Misbegotten. He managed to complete Moon for the Misbegotten in 1943, just before leaving Tao House and losing his ability to write. Drafts of many other uncompleted plays were destroyed by Carlotta at Eugene's request. O'Neill died in Room 401 of the Sheraton Hotel (now Boston University's Shelton Hall) on Bay State Road in Boston, on November 27, 1953, at the age of 65. As he was dying, he whispered his last words: "I knew it. I knew it. Born in a hotel room and died in a hotel room." Dr. Harry Kozol, the lead prosecuting expert of the Patty Hearst trial, treated O'Neill during these last years of illness. He also was present for O'Neill's death and announced the fact to the public. O'Neill is interred in the Forest Hills Cemetery in Boston's Jamaica Plain neighborhood. In 1956 Carlotta arranged for his autobiographical play Long Day's Journey into Night to be published, although his written instructions had stipulated that it not be made public until 25 years after his death. It was produced on stage to tremendous critical acclaim and won the Pulitzer Prize in 1957. This last play is widely considered to be his finest. Other posthumously-published works include A Touch of the Poet (1958) and More Stately Mansions (1967). The United States Postal Service honored O'Neill with a Prominent Americans series (1965-1978) $1 postage stamp.

Answer this question "Did he have any other illness"
output:
After suffering from multiple health problems (including depression and alcoholism