WHO IS JEFF MCBRIDE?
Chances are you are reading this article because you already have some interest in magic. So maybe you've already heard of the name Jeff McBride. If you have, you'll already be familiar with his credentials, so you'll be itching to get straight the good stuff and read what he's got to say, because you know it's going to be worth reading.
But if you haven't heard of Jeff McBride before, let me tell you why this interview is a must-read: ● Are you into card magic? Jeff has been doing card magic his whole life, and is one of the very best in the world at card manipulation and sleight of hand. He has also been running his famous Magic & Mystery School for over 30 years. ● Are you into cardistry? Jeff's instructional Art of Card Manipulation videos were some of the foundational materials that shaped fathers of the cardistry movement like Dan and Dave Buck. Card manipulation is his speciality, and if there's anyone that we can learn a thing or two about card handling from, it's him. ● Are you into card collecting? Jeff's entire career has been built with a deck of cards in his hands, and he also collects some playing card memorabilia himself.
So if you are a magic enthusiast in any way, this is a wonderful opportunity to learn from one of the greatest living card men. We were delighted when Jeff agreed to do this interview with us, and couldn't wait to hear some of his thoughts about various topics relating to his own career with playing cards. We even got opportunity to visit him at his own place, and take some photos of his memorabilia and more, which we have permission to show our readers for the first time! But first let's share some of his credentials, so that we can appreciate what he has to say in the context of his own accomplishments and achievements.

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Jeff McBride the Performer
Jeff McBride has had a love for magic that goes back to his childhood in New York's Catskill mountains, where he grew up. As a young boy he stumbled across The Golden Book of Magic in a library, which quickly became his first magic Bible. He performed gigs locally, did street performances, and eventually moved to Las Vegas, where he successfully built a career in magic, and performs his award-winning stage magic and runs a magic school.
His performance style is highly praised for its unique blend of traditional magic with a form of Japanese theater called kabuki. Drawing on an unusual mix of skills that includes martial arts, philosophy, and more, Jeff's stage act combines an unorthodox blend of sleight of hand with masks and mime, to create a unique show like no other. Besides his "home" stage in Las Vegas, he's performed on stages and in theaters around the world, including touring with The Illusionists. A Jeff McBride show never fails to showcase his dynamic, innovative, and creative personality, from someone who has proven himself over time to be a master entertainer, showman, and sleight-of-hand artist.
Jeff McBride's list of awards is too lengthy to cover all of them. But to mention just a few, he's received recognition from exclusive and respected organizations, including "Magician of the Year" by The Magic Castle's The Academy of Magic Arts and "Magician of the Year" by the Society of American Magicians. In 2018 the International F?d?ration Internationale des Societes Magiques (FISM) gave him their "Theory & Philosophy Special Award", in tribute for his lifetime contribution to magic from a viewpoint that is analytical and academic. This illustrious award has previously been given only to Tommy Wonder, Juan Tamariz, Eugene Burger, and Roberto Giobbi. Most recently in January 2020 he was inducted into the prestigious Hall of Fame by the Society of American Magicians. He is part of a very small group of living magicians that are part of this exclusive club, which includes David Copperfield and Siegfried and Roy. He's even the holder of three world records - don't worry, we'll be sure to ask him about that in our interview!
And of course he has appeared on television many times, already back in 1995 as part of the "World's Greatest Magic, and more recently on shows like Masters of Illusion, Criss Angel's Mindfreak, and Penn & Teller's Fool Us. But he's not just "another magician", as his selection as a judge for the 2008 reality celebrity-magic show Celebradabra confirms. Already more than ten years ago filmmakers produced a documentary about him, entitled Jeff McBride: A Magickal Life. This has been highly praised by magicians and viewers for how it shows his journey from a boy magician to a headline act in Las Vegas, and also his personal spiritual journey and development from a brash young man into a mature and caring magician who is keen to pass on the art of magic to the next generation. He really is one of the best.
Jeff McBride the Teacher
While the first part of his career was all about performing in his inimitable style, as the years have passed Jeff McBride has more and more mellowed into a highly respected teacher, with a keen interest in sharing his wisdom with others, and helping young magicians develop their skills in magic. Besides many written works, he's produced best-selling and highly influential instructional videos on the art of card manipulation, and on stage magic. His current passion is to serve as a sage that helps other magicians make their dreams as performers come true.
Perhaps his crowning achievement and lasting legacy is the McBride Magic & Mystery School, which he established in 1991. This is a world-renowned training ground for stage magic, and is generally regarded as the very best and most prestigious institution in the world for receiving magic instruction. There's simply no better place for aspiring magicians to go, in order to take seminars, classes, and workshops, to help raise their magic to a higher level, and to learn the true secrets of the craft.
Highly respected magician and lecturer Eugene Burger (pictured below with Jeff McBride) served as Dean of this school until his sad passing in 2017. It was from him that Jeff learned the importance of burning one end of your own candle in order to light someone else's candle. Many leading magicians have served on the faculty or as guest instructors, including big names like Lance Burton, Johnny Thompson, and Max Maven.
Jeff McBride is a wonderful entertainer himself, but his current passion is to be a mentor to others, and he will leave a lasting stamp in the lives of many magicians of the future. But now it's time for us to sit at his feet, and learn a thing or two from his life, and about his experiences with playing cards in particular.

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THE INTERVIEW
GENERAL BACKGROUND
For those who don't know anything about you, what can you tell us about yourself and your background?
I started my career with a pack of playing cards. Now I headline Las Vegas shows, and theaters and festivals all over the world. I also run a very successful magic school in Las Vegas, and I teach online.
I am one of the first magic teachers to create a video series, and my breakthrough videos on card manipulation taught the world how to perform flourishes and card manipulation, which happened to grow into a new cardistry movement. I was fortunate enough to train with great old-school masters and I put out The Art of Card Manipulation which caught on in Asia. The material contained within those DVDs - they were VHS videos at that time - did not need words to understand how to perform the magic, so they had international appeal. Many people like An Ha Lim and leading Asian manipulators found these, and my videos were their original training tools.
What would be some of the highlights in your career in magic?
Performing at Radio City Music Hall, the largest theater in the world with no screen support, no image magnification, and performing my card manipulation routine. The only other person that had that experience was Cardini. That was one of the highlights.
And of course, being inducted into the Society of American Magicians Hall of Fame. Also winning the FISM Special Award for Theory and Philosophy was a highlight. That's an award I share with Tommy Wonder, Juan Tamariz, and Eugene Burger.
How would you describe the style of the amazing act that you are known for?
I call it "sorcerer" style, which is very fiery and dynamic. There are many types of card routines, and mine is very explosive and dynamic. In fact during my touring seasons with the hit show The Illusionists, the closing number of the show was my card routine, just before the snow storm sequence. So my card routine can fill a giant theater. At that time of The Illusionists we were working a 7,000 seat theater. So my motto was "pack small, play big."
What were your major influences for this style of performance?
My influences came from many directions. I realized early on that performing standard magic was not a path to success. It was a path to working weddings, bar mitzvahs and birthday parties. In order to break out, I had to become a much more dynamic performer and I added other skillsets I had studied, like classic pantomime theater, which I'd studied at the American Mime Theater. I combined martial arts and my passion for masks and quick change, and dance. And it was this fusion of all of these different theatrical elements that made a huge difference. It was much more than magic, it was a total theatrical experience.
Where can people go to see you perform today?
I teach magic on a platform called MagicFlix. There's performances and tutorials. It's the world's leading streaming platform for magic. So you can immediately see me there. If you want to trial it, all you have to do is go to MagicFlix's website, enter your information, and put in the code MCBRIDE, and you can get 30 days for free. You can see not only myself, but the great masters of magic, and some of the great card magicians in history, as well as learn my card manipulation sequences.
Also if you want to see my live shows, I perform in Las Vegas at Wonderground, which is the longest running independent variety magic show in the history of Las Vegas. It is not attached to a casino, so we can do some pretty wild stuff! That's been running 11 years, and has hosted more variety entertainers on its stage than any other stage in Las Vegas.
What should we know about the McBride Magic & Mystery School, which has now been running for around 30 years?
It's now over 30 years. The McBride Magic and Mystery School came out of a great desire to study with masters. The challenge I see these days is that most people are learning magic from their peers, from people in their own age group. And not necessarily looking up the ladder at masters that have achieved great amounts of success.
So what I did 30 years ago, is I decided to host a retreat for masters to come and teach hungry students, mostly professionals, that were willing to empty their cup and fill up on wisdom and on the experience of great masters. And over the years we've had Eugene Burger, Johnny Thompson, Max Maven and many, many other masters come to the school to help our students understand the path to mastery. So not just learning from your pals online or at magic class, but really top-down training from experts in the field.
What are some of your interests outside of magic?
I spend a lot of time going to other conferences learning more skills on how to facilitate life-transforming experiences. So I spend a lot of time still studying how to teach more effectively, both in person and online.

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MAGIC
What quality in magic makes it so enjoyable for people to watch?
I think there is not one thing. People like engineers have a really different relationship with magic; if you watch them squint their eyes and wrinkle their forehead while they watch magic, they're only interested in the puzzle aspect. Other people are interested more in the mystery aspect. So there's different types of audiences. There's the audiences that like to sit there and try to figure the tricks out. And then there's the audiences that like to sit back and enjoy the mystery.
I was having this conversation with Judge Gary Brown, who's a wonderful magician, creator, inventor, and writer. He sent me a quote from Dariel Fitzkee, which talks about "Is magic more than fooling?" Fitzkee says - and this is written up in The Fitzkee Trilogy - "Don't put too much stress on the trick itself as a mystery. Your audiences might suddenly think of television, which is much more miraculous. Stress it in terms of human interests, of human relationships, of character response, of human situations. If the mystery were important, the much greater miracles of our everyday world would far outshadow it. Method is important only as a means of accomplishing a desired end, like the grindstone which sharpens the headman's ax. The ultimate objective is something entirely different."
Our Dean of the Mystery School, Larry Hass, entered this conversation and read it like this: "It isn't not knowing or fooling that is important, and it isn't even encountering mystery. It is what a human artist expresses about humanity and life itself that is the real core of the experience of magic." Penn and Teller do both: making it hard with the fooling method, but their show and their stories are also about issues in politics, in relationships, in critical thinking, in skepticism. They have many, many presentational frames that are about more than just mystery or fooling.
That's what I saw in Eugene Burger so many years ago. His magic was coming from a deep, philosophical perspective and experience that gave it a richer meaning than just Instagram magic and flashy, "How does he do that?" sort of stuff that is so pervasive on YouTube and social media. Perhaps performers will soon be able to give more depth to their magic instead of just what I call eye-candy. My goal is to transform eye-candy into soul food.
What first sparked your interest in magic?
I talk about it at the end of my show each and every day. My life was changed forever when a magician said, "Pick a card." And this magician was actually a young girl named Linda Van Etten who had a twin sister named Susan, and they knew card tricks. And they showed me a card trick, and from that moment on I knew what I wanted to do. It was a card reversal in a deck with a card turned face up in the deck. I was six years old at the time. And by seven years old I was deep into magic.
I think sometimes we forget - because magic and cards are so familiar to us - that the simple task of having somebody pick a card can change their lives. That's an important thing to remember.
What is the key to your longevity in the magic industry over several decades, and what keeps you going as a performer and teacher?
I think my longevity is due to being able to adapt and recreate myself to make my magic relevant at the different stages of a magician's life. At the Mystery School there's kind of a typology that we use: "The trickster, the sorcerer, the oracle, and the sage." Those are the four stages of the magician's life. From learning simple tricks, to being able to perform, to learning all of the meaning and interior worlds of magic, and then being able to pass that knowledge onto the magicians of the future.
I've worn the mask of the trickster in my younger days, and in mid-life, the sorcerer, burning up stages all over the world. And then taking time out to reflect and look inside for meaning and taking time for introspection. I'm now at the stage of my life of being able to pass on a lifetime of wisdom and experience to future students. So I think it's a process of reinvention that has helped me endure and keep my passion for magic.
I try to read as much as I can. I try to watch as much as I can. I try to get together live with magicians as much as I can. And teach and go study as much as I can. Zero TV. I have not had a working TV in my home since 1979. Most people spend way too much time on the internet and television, and way too much time on Facebook and social media.
What's the path to mastery: Facebook and social media? Or reading and practicing and videoing and refining your show? That's not for everyone, because that's not everyone's goal. Some people are very content to sit on magic forums and ask "What's the best trick? What's the best three tricks for close up?". That's okay, but that's not getting real world experience and going out and doing it.

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How important is one's own personality in performing magic, and how did this play a role in your own career?
I think that magicians discover their personality through performance. I know that I have become many different versions of Jeff McBride over the years. Because when we're young, magic is just about learning the trick, and doing it and getting the `wow'. Then as we get older, magic gets to be a way of interacting and getting a social edge, and being able to be seen and stand out from the crowd. And if people pursue it more, they develop a personality and a connection to performing magic that might take them around the world. Or just to make them the hit at the family reunion, so that people can have a peaceful time at the Thanksgiving table!
People have different reasons for performing magic at different times in their lives. Some people use it to compete. Other people use it to teach and instruct. Other people use it to wind down after a hard day's work. But I think magic is a way to develop aspects of your personality. And I think that is a very powerful role that magic plays in our lives.
Are there differences in how an amateur and a professional approach magic?
Absolutely. I started reading a blog and books on a website called The Jerx, which is a very opinionated, very humorously yet potently written blog about magic from an amateur's point of view. Different rules apply if you want to be a professional: there's costuming, there's lighting, there's sound, there is scripting, and all of these other theatrical components that are essential in creating a theatrical magical experience, if that is your goal.
However the writer at The Jerx - and I really am entertained and often enlightened by his writing - has a completely contrary view to this. Instead of me trying to rehash his personal experience writing and philosophy, if you are an amateur magician and want to read about other people's opinion on amateur magic and non-professional magic, just take a visit to The Jerx - you'll find some very interesting information there.
It was a wake up call to me, because not everybody that performs magic wants to be professional. Some people just want to do it for their friends and have fun, and that's a perfectly satisfying lifestyle of magic. And they don't need scripting and they don't need all of the other requirements of the theater, because they're not working in theater; they're just doing it for their friends at the office. And that's perfectly fine.
However, the rules do change when you get up onstage in front of 5,000-6,000 people in a theater! Then you need to consider some of those elements.
But as Eugene Burger reminds us, "There are many rooms in the house of magic." There are many rooms for all of us, including rooms for the people that are passionate amateurs, whom I call "enthusiasts". I don't like the word "amateur" myself, so I use the word "enthusiast", because there are many great magic enthusiasts that have never been full time and professional magicians. And that's perfectly valid. Magic is not about tricks, and magic is not gauged on the box office success. Magic is really a way to enhance the quality of your life, and there's many ways to do that. If a person is collecting cards, they don't have to collect every deck to feel complete, they can collect the ones they like, and that's fine, right? Everybody has their own path to walk.
How has the magic industry changed since you first became involved in it, and how has technology impacted it?
It's a double-edged sword. We talk about YouTube and Instagram and all these different ways that people consume magic, but most of this magic is eye-candy and very shallow. There are archives of great performers on YouTube, but it's still mediated and it's not the same as being there.
It makes me sad when I see a clip of Fred Kaps on YouTube and then some bozo going, "Fake, fake, fake, he has a thing in his hand, it's frame 725!" My response would be: "You're critiquing Fred Kaps? Go practice. Don't be giving critiques to Fred Kaps, who won FISM like three times, hello? And you're 14, and you've stopped a frame because you've watched it 15 times, and you're so clever, really?" That's what hurts magic, I think.
What also hurts is when you look up a great performer, say Cardini, and right next to it there are sixteen YouTube clips of 12 year old kids in their pajamas teaching a bad back palm, just because they want clicks and hits on their YouTube site. It's disgraceful. So that's what hurts magic.
However technology has also made possible sites like MagicFlix, which have a bit of a firewall to them, so that people have to be invited to it to get there. Those people that have serious passion can now study with all of the great masters. They can study with Karrell Fox, Jay Marshall, Tom Mullica, Johnny Thompson, Daryl, and so many others. And it's very convenient for learning. So that's the good side of it.
When people get interested in magic on the internet, hopefully they'll find a teacher. But what mostly happens today is they just stay online. That's not really learning magic, that's collecting secrets. That's collecting postage stamps. That's not transforming these into meaningful, magical experiences.
What we do at Mystery School is create a learning environment that's a safe place for people to come to, in order to really study the secrets of magic. Everyone here signs a secrecy agreement, so that the things that we teach won't be bastardized by exposure on the internet. We feel that Mystery School is one of the last great holdouts of secret information. When all of the secrets are just out there, there is no magic. There has to be secrecy, in order to create very effective magic.
And we keep working and innovating, and looking through the old books and digging out the gems, polishing them up, and fusing them with new materials and new technology to create hybrid magic effects that have never been seen before. That's a passion of ours: resurrecting some of these old magic gems and bringing them to new audiences.
So there's a struggle, these days with exposure. But the good news is that it's just too much for any one person to observe. A lot of the real secrets of magic are in the books. The internet is just a little tiny tip of the huge iceberg of magical literature that is hidden away. Many people call themselves, as Scott Alexander puts it, "visual learners." That means they don't read books. That means they won't ever have the depth of knowledge of someone that can learn visually and can read books. They cut off more than half of the resources that exist for them, and that's a shame.

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What is the most difficult trick you ever performed, and what made it so hard?
Double One-Handed Waterfall. I used to have showdowns with Ricky Jay on the streets of Madrid, Spain. Ricky and I would basically do cowboy showdowns, gun-slinging with cards, late at night. We were attending the FISM convention in Madrid, and we'd have challenges back and forth with card spinning. He definitely could throw much further, but I definitely could do a One-Handed Waterfall in each hand. That's probably the most difficult feat. I actually performed it, I believe, on The Art of Card Manipulation, in one of the little quick cuts.
Do have any good stories you can share about a magician "fail" that you experienced?
There's an old formula that says, "Tragedy plus time equals comedy." All magicians have challenges and barriers on stage, and so have I. In the moment, they're never fun, but you can retell these stories to friends. Everybody has war stories! Let's see if I have one that stands out...
I remember being on stage, and I had to pull some paper ribbons out of my mouth, and then I produced a dove from the paper ribbons. Then I would secretly switch out that bird for a rubber bird, and put it in a paper bag. I would blow up the paper bag, then pop the paper bag, and little feathers would drop out. However, on this day I was pulling the paper ribbons out, and I decided to use scissors to cut the paper ribbons, and I cut a hole inside my lip! I quickly shut my mouth, and my mouth filled with blood. This was my grand finale - I'm thinking "Oh, this is very bad," but the audience can't see anything yet.
So I get to the part where I produce the live dove, and I switch it for the rubber dove, and put it in the bag. But now I have to blow up the bag - I didn't see that coming! And I figure this is a really good time to get all that blood out of my mouth. So I blow up the bag, and it's filling with blood. And when I pop the bag, there's nothing but blood and feathers everywhere, and people screaming! Some teenagers thought it was just so rock and roll, and other mothers and children thought it was so horrible. It was this mixture of some people going out of their mind applauding, and other people going out of their mind screaming. So we never know - even when the worst can go wrong, people will still love it!
How would you like to be remembered in the magic community, and what accomplishments would you still like to make?
I feel like I already am remembered in the magic community. I've accomplished more than all my childhood dreams: headlining Vegas, Magic Castle Magician of the Year, Hall of Fame, FISM Award winner, Guinness World Records - I've done a lot.
Now my goal is to help other people's dreams. So when I see a student of mine like Mat Franco win America's Got Talent and get his own show in Vegas, and my student Aaron Crow win on Britain's Got Talent and come on America's Got Talent with a magic routine that I'd helped him design - that's what I want to be remembered for. When I have students getting their own shows and winning awards. I'm a magic teacher, and I love to give. That's what I love to do now. I still tour and perform internationally all the time, but my passion right now is teaching and helping other people achieve their dreams.
What is one piece of work you have released that you'd like to be remembered by, or which might be of interest to the playing card enthusiast?
Anybody that watches Jeff McBride The Art of Card Manipulation will see how I researched all of the old school material and the stuff that I'd learned in my generation, and put it all together in one place. Those are the videos that the Buck twins - Dave and Dan - saw. Many of the people that first started card manipulation and cardistry saw me on those World's Greatest Magic specials back in the '90s that were filmed at Caesar's Palace. This was one of the first modern versions of card manipulation on TV.
So I think my series on The Art of Card Manipulation imprinted a lot of young magicians, young card handlers, and then the cardistry movement. I was not singularly responsible for that, but The Art of Card Manipulation was definitely essential fuel for it, because it was the most comprehensive card manipulation series ever put out.
What advice would you give to a young person just starting to learn card magic or card manipulation?
Learn from your pals, but study in person with a great master. It will shave years off your learning curve.
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CONCLUSION
It takes a lot for the Society of American Magicians to vote you into their Hall of Fame, especially when you're still active performing and teaching. Jeff McBride is one of the few in the world who can lay claim to being part of that select group.
Jeff is first and foremost a performer with a love for entertaining people, and the unique combination of elements that helps make his stage act stand out from other performers will always be a memorable trademark style that people associate with his name. But perhaps his lasting legacy will be the new role he has taken on as a sage and mentor to others. His Magic & Mystery School has been instrumental in producing new magicians who will continue to entertain us in years to come.
With this interview we've had a wonderful opportunity to have a glimpse of his thinking and learn about some of his experiences. Thank you Mr McBride for all that you've given to magic! May this inspire all of us to turn that pack of playing cards in our hands as a tool to develop our own skills, and to share our love for the arts with those around us!
Where to learn more? Check out Jeff McBride's resources here: - McBride Magic: Official site, promo video - Performance videos: Fool Us (2017), Masters of Illusion (2009), Masters of Illusion (2017) - Card manipulation: "Shaman Cards" performance, "King of Cards" performance - Magic & Mystery School: Official site, shop, Facebook - Social media: Facebook, Twitter, Instagram, Youtube - Teaching resources: MagicFlix (code: MCBRIDE), Art of Card Manipulation DVDs, Essential Card Manipulation video

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Author's note: I first published this article at PlayingCardDecks here.

[5 min read] 1st time trying to write a comprehensive bio from all I've read! Enjoy!
One of the most renowned and well known composers of classical guitar is Francisco Tárrega, a Spanish composer and classical guitarist in the romantic period. He is considered as one of the fathers of classical guitar.
Tárrega was born on 21st November 1852 in Villarreal, Castellon, Spain.
His father, Francisco Tárrega Tirado, was a classical guitarist. He played various styles including flamenco. He worked as a watchman at a convent. His mother, Antonia Eixea Broch. Some sources state that both his parents worked as housekeepers.
During childhood, Tárrega liked to run around a lot, and later on he would run away from home many times. When his father was away working, Tárrega would take his father’s guitar and attempt to make beautiful sounds he heard. Francisco’s nickname as a child was “Quiquet”. As a child, he ran away from home (possibly running away from the nanny) and accidentally fell into an irrigation canal, injuring his eyes. This was very unfortunate as he partially lost his eyesight due to infection. Fearing that Francisco will lose his sight completely, his father moved his family to Castellón de la Plana to attend music lessons under the guidance of Manuel González and Eugeni Ruiz who were both blind. His father must have thought: If he ever lost his eyesight, he would still be able to play guitar and earn a living because he will learn from these two teachers that are blind.
Tárrega not only learnt to play the guitar, he was also very accomplished in piano at an early age (read on for explanation). In 1862, concert guitarist Julian Arcas, on tour in Castellón, heard young Francisco play and was very enamoured by him. Julian advised Tárrega’s father to allow Francisco to come to Barcelona to study with him for higher musical education. Tárrega’s father agreed, but insisted that he take piano lessons as well. His father was well aware that the guitar, as a solo instrument, was in decline, coming increasingly to be viewed as an instrument to accompany singers, while the piano was all the rage throughout Europe.
10-year-old Tárrega went with Julian Arcas to study in Barcelona. However, lessons stopped shortly after beginning, as Arcas left for another concert tour abroad. Tárrega stayed at a relative’s place before running away. He tried to start a music career on his own by playing in coffee houses and restaurants in Barcelona. At only 10 years old! He also joined a group of young musicians, and played at pubs and cafeterias to earn some money instead of attending a music school. His father was furious and went to Barcelona to bring him home.
In 1865, 3 years later, Tárrega ran away again! He ran away to Valencia, where he joined a group of gypsies. His father sought him and brought him back, but once again he ran back to Valencia. Though he kept running away, Tárrega was proficient at playing both guitar and piano by his teenage years.
His family was in a bad financial state, thus for a time, he played with other musicians at local engagements to earn money. He eventually returned home to help his family. He performed at a number of concerts at different villages before being accepted as a pianist at Burriana’s Casino. He alternated between guitar and piano during those years.
In 1874, at 22 years old, Tárrega was sponsored by Antonio Canesa, a wealthy merchant, to enrol at the Spanish Music Conservatory, Madrid. Before enrolling at the conservatory, Tárrega acquired an extraordinary loud and resonate guitar, made by the Seville luthier Antonio de Torres. The guitar’s sonic output was so brilliant that it strongly inspired Tárrega in his music. The Torres design of guitar, became a universal standard in the years to come, and established the spring-board for its subsequent acceptance by the listening public and academia alike, as an instrument competitive with the major instruments of the era.
Tárrega’s student years were tough, as the guitar had lost its former glory when compared to the piano. Since Tárrega was primarily a guitar specialist, he was not allowed to play at concerts. At the conservatory, He received a thorough instruction in theory of music, harmony, the piano, and composition. Tárrega studied composition under Emilio Arrieta.
When Arrieta heard Tárrega’s great quality perform in a guitar concert, Arrieta convinced Tárrega to pursue a career in the guitar rather than the piano. By the late 1870’s, Tárrega worked as a music and guitar teacher, where he taught Daniel Fortea, Emilio Pujol and Miguel Llobet, amongst other students, while also performing at concerts regularly.
In 1876, Tárrega began teaching and giving regular guitar concerts. He typically received much acclaim for his playing and began traveling to other areas of Spain to perform. By this time, he was composing his first works for guitar, which he played in addition to works of other composers.
In 1880, Luis de Soria, a guitarist who could not play at a concert due to illness, requested for his friend Tárrega to stand in for him at his concert in Novelda, Alicante, Spain. After the concert, an important townsman asked Tárrega to come listen to his daughter, Maria José Rizo (who was also a guitarist). Romance bloomed between the two musicians.
Concert tours in 1880 to Paris and London followed, where he was hailed as the "Sarasate (Pablo de Sarasate (1844-1908) a famous Spanish violinist) of the guitar".
In 1881, Tárrega performed at Lyon’s Opera Theatre followed by the Paris Odeon, in dedication to Pedro Calderón de la. He also played in London – full of successful performances, but he completely disliked the weather and the language. After his concert, some people noticed that Tárrega was in low spirits. There is a legend that after one of his performances, he was asked by admirers what made him sad and if he missed his family. This prompted him to pen Lágrima (circa 1889), one of his most memorable works, as a way to demonstrate his sadness at the time.
After playing in London he came back to Novelda for his wedding. On Christmas 1882, Tárrega married María José Rizo. Tárrega was 30.
To enlarge his repertory, Tárrega used his extensive knowledge of piano music, to transcribe piano works by Beethoven, Chopin, Louis Moreau Gottshcalk (an American pianist), Sigismond Thalberg (A Swiss pianist), Mendelssohn and others.
Tárrega and his wife moved to Madrid, earning a living by teaching privately and playing concerts. But after the death of their infant daughter in winter, Maria Josefa, they settled permanently in Barcelona in 1885. Among his friends in Barcelona were Isaac Albéniz, Enrique Granados, Joaquín Turina and Pablo Casals.
Francisco Tárrega and María José Rizo had three more children: Paquito (Francisco), Marieta and Concepción.
On a concert tour in Valencia, Tárrega met a wealthy widow, Conxa Martinez, who became a valuable patron to him. She allowed him and his family the use of a house in Barcelona, where he would write the bulk of his most popular works. A visit to Granada with Martinez, spawned Francisco Tárrega's famous Recuerdos de la Alhambra solo guitar composition, which he wrote after experiencing the 14th century Moor-built palace in Andalucia: Alhambra.
From the late 1880s to 1903, Tárrega continued composing, but limited his concerts to Spain. In 1900, Tárrega visited Algiers, where he heard a repetitive rhythm played on an Arabian drum. The following morning he composed Danza Mora based on that rhythm, a famous solo guitar piece.
Breaking with his past technique, Tárrega cut his fingernails in 1902, the resulting effect being a more mellow tone which was associated with guitarists of the Tárrega school of guitar playing. His concert playing career continued with much success, including a tour of Italy where he played in Rome, Naples and Milan.
In 1902, he also composed Gran Vals, which is used now used as a popular Nokia ringtone, albeit a small part only.
In January 1906, Age 54, Tárrega was at the height of his fame. However he became afflicted with paralysis on his right side (stroke), and though he would eventually return to the concert stage, he never completely recovered. He finished his last work, Oremus, on December 2, 1909. He died in Barcelona 13 days later, at the age of 57.
Francisco Tárrega was undoubtedly a conservative musician, in both style and performance, with strong similarities to the latter half of the 19th century. An absolute authority on the guitar, he is widely accepted as the one who built the foundation of classical guitar today. His moniker of “father of classical guitar” is, therefore, rightful in every way as Tárrega devoted his life to his art and to the uplifting of the guitar as a venerable musical instrument in the 20th century. There have been many piano and violin masters who had followed trends of the 19th century but Tárrega himself was one who went against the tide, despite odds stacked against him, and persevered with the guitar.
Tárrega is regarded as having laid the foundations for the 20th century's wide-spread acceptance of the guitar as a concert-recital instrument. The Maestro himself preferred small intimate performances, which particularly suited the lower-volume generated by his lack of fingernails. He composed in a variety of styles and forms including Valses, mazurkas, preludes, tangos.
However, with 78 original works, and 120 transcriptions he clearly appreciated the work of other composers, and used their works to further the reputations and esteem of his chosen instrument, as well as his own as a performer. Through his pupil Miguel Llobet, Tárrega passed on the traditions of the instrument to that other notable Maestro of the guitar, a pupil of Llobet, Andres Segovia. Tárrega's list of works include Sherzo's, preludes, estudios, danzas, fantasias, minuets, mazurkas, tangos and more.

Don't mind me, just shoving everything in one big thread. Please avoid posting separate threads, post in this instead! I will update this thread as time goes on.

Tour dates

UPDATE: More dates to be announced. https://twitter.com/muse/status/1059456440526626820
"Mexico and South America dates will be in the autumn. Still working on venues etc."
"Stay tuned, LA will be a part of the US tour, also NY and Chicago"
"We are hoping to do a tour of Japan in September! More dates to come"
https://twitter.com/MattBellamy/status/1059456986683752448
https://twitter.com/MattBellamy/status/1059457212148576256
https://twitter.com/MattBellamy/status/1059457314330157058

In a question to "Will the shows at open air venues (like Lisbon) be any different than the stadium shows? ", Matt answers: "No, all parks and stadiums same show"

Official Store pre-sale starts Tuesday 13 November at 10a local. Codes will be delivered via a separate email on Monday 12 November.
Members section pre-sale begins Tuesday 13 November at 1p local. Please note you will need to reset your password to gain access to the new Members section.
General on sale starts Friday 16 November at 9am local for the UK, 10am local for Europe, noon local for North America, except Philadelphia & Phoenix which are 1pm local. Stay tuned for ticket links!
The Simulation Theory World Tour will feature an exciting new Enhanced Experience Package that allows access to an exclusive Mixed Reality Pre-Show Party, powered by Microsoft, with three original virtual reality games, inspired by tracks from Simulation Theory. Additional Enhanced Experience perks include a premium concert ticket, show specific poster, interactive photo experience with props and memorabilia from the band’s latest videos and more. More details are available here.
Ticket resale will be strictly limited to Twickets, a fan-to-fan ticket resale platform.

22/02/19 Toyota Center, Houston, Texas
24/02/19 American Airlines Center, Dallas, Texas
26/02/19 Talking Stick Resort Arena, Phoenix, Arizona
28/02/19 Vivent Smart Home Arena, Salt Lake City, Utah
02/03/19 Mandalay Bay Events Center, Las Vegas, Nevada
05/03/19 Valley View Casino Center, San Diego, California
07/03/19 Golden 1 Center, Sacramento, California
09/03/19 Oracle Arena, Oakland, California
24/03/19 BB&T Center, Sunrise, Florida
26/03/19 State Farm Arena, Atlanta, Georgia
28/03/19 Scotiabank Arena, Toronto, Ontario
30/03/19 Bell Centre, Montreal, Quebec
31/03/19 Videotron Centre, Quebec City, Quebec
02/04/19 Capital One Arena, Washington, District of Columbia
04/04/19 Little Caesars Arena, Detroit, Michigan
07/04/19 Wells Fargo Center, Philadelphia, Pennsylvania
10/04/19 TD Garden, Boston, Massachusetts
26/05/19 Letnany Airport, Prague, Czech Republic
28/05/19 Papp Laszlo Sports Arena, Budapest, Hungary
29/05/19 Stadhalle Graz, Graz, Austria
01/06/19 London Stadium, London, England
08/06/19 Etihad Stadium, Manchester, England
12/06/19 Arena Riga, Riga, Latvia
15/06/19 Luzhniki Stadium, Moscow, Russia
18/06/19 Suvilahti Open Air, Helsinki, Finland
22/06/19 Tauron Arena, Krakow, Poland
27/06/19 Goffertpark, Nijmegen, Netherlands
29/06/19 RheinEnergieStadion, Cologne, Germany
30/06/19 Rock Werchter, Werchter, Belgium
03/07/19 Hallenstadion, Zurich, Switzerland
06/07/19 Stade de France, Paris, France
09/07/19 Stade Orange Velodrom, Marseille, France
12/07/19 San Siro Stadium, Milan, Italy
16/07/19 Matmut Atlantique, Bordeaux, France
20/07/19 Olympic Stadium, Rome, Italy
24/07/19 Passeio Maritimo de Alges, Lisbon, Portugal
26/07/19 Wanda Metropolitano, Madrid, Spain
06/10/19 Rock In Rio, Rio de Janeiro, Brazil

Interviews

Deejay
https://www.deejay.it/news/muse-a-tropical-pizza-ogni-brano-del-nuovo-album-sara-accompagnato-da-un-video/578553/amp/
https://m.facebook.com/story.php?story_fbid=1047959418699268&id=75575542251&refsrc=https%3A%2F%2Fm.facebook.com%2FRadioDeejay%2Fvideos%2F1047959418699268%2F&_rdr
News: You can see a preview of the next music video at 3:40. Blockades and Algorithm apparently will be released on Friday. It is pretty interesting interview, I recommend to watch this!
~~Virgin Italy Radio 1 PM Italy time (in 5mins)~~ ENDED
https://www.virginradio.it/news/home/253454/muse-dalle-13-15-ospiti-a-virgin-radio-segui-la-diretta-onair-e-su-facebook.html https://www.virginradio.it/sezioni/1184/virgin-radio-on-air https://www.facebook.com/virginradioitaly/videos/187698868775390/
News: no new information what's o ever.
~~RTL 102.5 (3PM Italy time)~~ ENDED
https://www.rtl.it/ospiti/i-muse-a-rtl-1025-ospiti-in-the-flight-lunedi-5-novembre-2018/
News: "Brass, choreography and other "interesting formations" in live shows. "Vdeos are gonna come out when the albums comes out". Matt reassured that there will be nine music videos in total.
(thanks u/dmarcop777)
~~Tour announcement official time by Muse (6AM PDT / 9AM EDT / 2PM GMT / 3PM CET)~~
https://twitter.com/muse/status/1058335152823250944
"Muse will be in the final of X Factor in Italy on December 13th (artists often play 2/3 titles)"
https://twitter.com/MuseFrance/status/1059411559028588544 https://xfactor.sky.it/2018/11/5/muse-ospiti-internazionali-finale-x-factor-2018/
"Friday 9.11 between 6pm and 7pm **@**muse will be in interview in the Drive @RTL2officiel! "
https://twitter.com/LeDriveRTL2/status/1059415576588795904

Roberto Giobbi is a highly respected magician and expert card handler, famous for his Card College series of books that teach the fundamentals of card magic. I recently did an interview with Mr Giobbi about playing cards and magic. Below I am posting some selected excerpts from this interview (with permission) that relate specifically to playing cards and the proper care and handling of a deck.
The full interview also includes additional content about magic that will be of less direct relevance to some readers in this playing cards forum, but can be found here for those who are interested: Q&A with Magician & Card Handling Expert Roberto Giobbi.
THE INTERVIEW
Do you use playing cards for anything besides card magic? (e.g. card flourishing, card games, or anything else?)
My father was an excellent card player with a photographic memory. We used to play many of the standard Italian family card games, such as Tresette, Scopa, Briscola, etc. When we came to the last hand he was able to tell me the cards I was holding! That might have been the first card trick I have been exposed to… Nowadays, when our sons come to visit every Sunday, after dinner, we play cards, mainly Swiss Jass (36 cards).
Finally: Although I do not consider myself a collector, I do have a few hundred different decks, and a well-sorted library on the subject, with some of the “classics” (d’Allemagne etc.).
Why do your refer to playing cards as your "instrument"?
Rather than calling playing cards a prop, as it is often done in the technical literature, I would like to consider them to be an instrument of the card conjurer, like the piano or the violin is an instrument to a musician, and I would even dare saying that cards are the most important and most widely used instrument in all of conjuring.
The more you know about your instrument, the more sensitively you will handle it and the more expressively you will master it, making it an extension of who you are. It is therefore imperative that you learn some facts (and speculations) regarding the origins and symbolism of playing cards, because this can form the basis for both intelligent conversations with your spectators as well as presentations for card routines.
What kind of playing cards did you first use when you started magic?
That’s a long time ago (1973)! However, I remember as if it was yesterday, that at age 14 I was given a flight from Basel to Geneva for my birthday, and that I went there with my godfather. When I got a chance I sneaked away and went to “Le Trucstore” in rue des rois in Geneva, a magic shop run by Jean Garance, who was quite a character and one of Switzerland’s few real professional magicians with an international reputation. He was most gracious, taught me a one-handed fan, and I bought the first deck of Bicycle Rider Back cards from him at the price of 12 Swiss Francs. I then used those as well as Tally-Ho Circle Back and Fan Back for years, because they appeared in the photos of the Ganson books on the card magic of Dai Vernon.
In 1978 I met Juan Tamariz, started to visit him once or twice a year in Madrid, and under his influence started to use Fournier’s Peacock 505. The printing qualities at that time were and still are superior to any USPCC card I know (the colors on the court cards, the tolerances on the white border etc.). Also they were almost flat being a bit stiffer without being fatter, you could table a face up pair with a face down card in-between, and they still appeared like two cards. With USPCC cards this was impossible, as they had a pronounced bend. The surface of the 505, however, was plastic coated, and so I had to relearn many of the sleights, especially the palms, as the cards behaved differently.
What kind of playing cards do you mostly use today, and what are the reasons for this choice?
After USPCC bought up Fournier, the quality of the cards started to change, for my taste to the worse, so I again switched back to Bicycle Rider Back and Tally-Ho Circle Back when performing for magicians, and Bee or Steamboat for gambling demos. For my professional work in front of lay audiences I still use Fournier 505, for practical reasons, since many of my special cards and decks are by them.
I still have to find the "perfect" deck – I don’t think it exists. But maybe the upcoming "Card College Playing Cards" by TCC is the one! (planned for release very soon)
How do modern decks compare with the ones you used at the start of your magic career, and how have playing cards changed over this time?
I can of course only state this from the point of view of a performing magician, which is different than that of a card player or a collector, I suppose.
For magical purposes it matters whether the cards are cut from top down or bottom up, because it influences in which direction you do a Faro Shuffle or a Perfect Table Shuffle. In recent years there has been a tendency to cut them bottom up, which favors table techniques, and shows the influence and number of amateurs in thumb field. Also, it is clear that companies do what they have to do: save as much as they can by economizing in materials in order to maximize their earnings. I cannot judge whether this is good or bad for the economy, but it certainly isn’t for the cards.
The advantage of all this is that new companies with new and creative approaches are emerging and producing cards nowadays. Still, even the good cards produced nowadays have specific characteristics, and none can satisfy the needs of all people and all purposes. Therefore the search for a good deck is made even more difficult than it used to be, because there are so many. It is similar to information: in my time it was hard to come by because there was so little, today it is hard to find, because there is so much.
What kinds of playing cards are best for card magic?
The perfect playing card does not yet exist. And most likely it never will, for not only do numerous objective and often conflicting criteria enter into the equation, but also one's personal tastes and sensibility. It may well take you years to find the cards you like best.
There are as many brands of cards as there are grains of sand on the proverbial seashore. A good card consists of three layers: a face layer, a center layer for stiffness, and a back layer. The quality of the card is determined by the quality and grain of the paper, the glue, which becomes the center layer, the treatment of the outer surfaces called "finish" as well as the precision of the printing and the all-around cut.
Among the many designations used to categorize the treatment of the outer layers of playing cards, the most commonly seen are plastic coated, linen finish, resilient linen finish, air-cushion finish, ivory finish and Nevada finish, but there are several more. Buy one of each of these decks and experiment with them. But be prepared to change your preference in the course of time. Criteria that seem important to you when you begin your study may seem less so as you become more expert. The advantage of plastic coated cards is that they last longer and generally stay flat. But they also cling less to one another, which can make them more difficult to fan evenly. Then again they are better for false deals and false shuffles, having less friction.
Should we use bridge-sized cards or poker-sized cards, and why?
The fundamental distinction is between poker-size and bridge-size cards, although there are also miniature decks and jumbo decks. Poker-size decks are somewhat wider than bridge-size decks. My advice is to use poker-size cards from the very beginning, for practical reasons. I shall outline the pros of poker-size cards:

Poker-size cards have larger face, and their design is more generous, less crammed, and therefore more aesthetic, and their proportion is closer to the golden ratio.
Poker-size cards have more surface area available to press against, and are better for many tricks and techniques because they provide more cover.
Poker-size cards are more pliable thanks to their greater width, making techniques like the riffle shuffle easier and more attractive to execute.
Poker-size cards are more widely used throughout the world, and it is mainly in Europe that laymen prefer bridge-size cards.
Poker-size cards are generally manufactured by companies, who also supply casinos with decks, and thus must be trustworthy brands, or they would not be used by gambling establishments.
Poker-size cards are in my experience generally better quality and have more attractive back designs - would you want to work with less than the best?
Poker-size cards are used by experts, and have become a status factor in the magic profession.

Finally, if you practice with poker-size cards, you can always perform with bridge-size cards if offered a borrowed deck.
What kind of design is best for playing cards used for card magic?
The best back designs for the card conjurer have a white border. Prominent examples are Bicycle Rider Backs and Tally-Ho Circle Backs. Borders are more pleasing aesthetically. They also relax the eye and facilitate the execution of many techniques.
For gambling routines, though, cards with a borderless back design, particularly the Bee and Steamboat brands, are recommended, as such cards are generally used in professional gambling. This is because of the widely held belief that such cards are more difficult to mark on the back - which is a total myth.
Is it necessary to treat playing cards with fanning powder or in any other way?
Some magic books will tell you that the cards must be specially treated, but generally this is in reference to cards for the stage manipulator. Cards for close-up performances need not be treated. So forget about fanning powder, simply use a good quality new deck.
Decks with rough edges, or ones that do not spread evenly, must be broken in by handling them for several minutes, shuffling, cutting and dealing them. But stop before your perspiration penetrates the edges of the cards. Here is a simple, quick and cheap remedy for rough edges, told to me by card expert Dave Solomon of Chicago. Take a piece of relatively rough cardboard, larger than the deck. Grip the deck firmly and rub its ends and sides quickly back and forth a few times on the cardboard while pressing hard. You can also bevel the sides slightly and repeat the rubbing, doing so as you bevel the deck first one way and then the other. The cardboard acts like a very fine sandpaper and quickly smooths the edges, making them amenable to faro shuffles and other expert handling.
What other advice do you have for selecting a deck to use for card magic?
Once you have found the cards that work best for you, stick with them until you have a compelling reason to switch. Work exclusively with these cards.
Whether performing for a large or small audience, always use a new deck or one in new condition. New cards guarantee optimal execution of techniques and identify you as a polished artist, one who pays attention to detail; so don't try to skimp on this. Never forget that the deck of cards is your instrument.
What is your advice about the tuck box / card case?
The card case is not only a natural protector of the deck, but can also serve as a prop for tricks. Prepare the case so that the deck can be removed from it without unnecessary fumbling. A well-prepared case looks better, and as an adjunct to the performance is one of many details that serve to support the performer‘s image, whether he or she cultivates an elegant or informal style.
Opening the case and removing the deck can even be treated as a tiny ritual, a theatrical vignette for the audience. One might think that removing the cards from the card case is such a trivial handling that no explanation is necessary. Nothing could be further from the truth, as even in this phase of the performance, when apparently nothing is happening, signals are being transmitted to the observant spectator that reflect on the performer‘s competence and virtuosity.
I also recommend using a card clip for each performance deck and when you travel. There are many wonderful products on the market nowadays, and you will be spoilt for choice.
How do you recommend opening and preparing a new deck for use?
Most cases are shrink wrapped in cellophane. My preference is to remove the cellophane completely and throw it away. But you can also leave the cellophane on the case, removing only the upper portion, which can be separated from the lower portion by a not always user-friendly tear ribbon. This allows you to insert one or more cards between the case and the cellophane, either in front or in back of the case.
Remove the remnants of the seal that project above the semicircular cut in the front of the case. The seal remnants can be stuck to the discarded cellophane and both may then be disposed of, magically or otherwise. If these remnants are not removed, then the top card of the deck may stick to them once the flap of the card case is opened. The card expert will know how to use this to his advantage…
The flap of a card case consists of several parts, defined by three creases. Reinforce these creases by running your thumbnail along them several times. The third crease is particularly important. Many experts now favor the removal of the side tabs, either by tearing them off cleanly or cutting them off with scissors; they serve no useful purpose and can hinder and delay the replacement of the deck in the card case.
What should we consider in terms of our hands when handling playing cards?
Together with the cards as your instrument, your hands are the most important tools that actually determine the success of the magic you are going to perform. And any work of art is generally only as good as the tools employed to create it. In any case, you can only expect the best results if you care for them properly. The coordination between your thoughts and the movement of your hands is also extremely important.
How important is size of your hands and your skin type?
People with all types of skin can, of course, perform magic. But there are certain techniques that are easier for those having somewhat drier skin, whereas others are facilitated by a somewhat moister skin. The specific anatomy of your hands will make some techniques easier for you, while others will test your patience. Obviously, huge hands and long fingers better cover most sleight-of-hand. But such an attribute can also have its disadvantages.
Once you know your hand and skin type, you will take note of this relationship and patiently spend more time on some techniques than on others; and you will naturally be happy when some techniques prove easy for you. From my own experience and the result of polling many experts throughout the world, I can assure you that you can learn every technique, independent of the kind of hand and skin you have, providing you motivate yourself to devote sufficient practice to it, which - as stated earlier - can vary from hand to hand.
Does it really matter how you do basic things like dealing or spreading cards?
Dealing cards would seem to be so elementary a topic, you may wonder why it is necessary to discuss it at all. But once again there is a right way and a wrong way to do things. Initially, either would serve the purpose equally well, but for advanced techniques precise positions of the fingers are critical.
The same is true with spreading cards. This technique will be used often with the cards either face up or face down. Once again we are analyzing a procedure with which you may feel you are already completely familiar, for who has not spread the deck between the hands when picking out cards? But pay attention to the positions of the fingers and the manner in which cards are pushed from hand to hand. This technique is the foundation on which sleight of hand will also be built.
I already know how to shuffle a deck. Do I really need to re-learn how to do this?
There are different ways to shuffle a deck of cards, including in the hands, or on the table, and in the air. Even though you may think you already know how to do these moves, and indeed have probably been shuffling cards for a long time, you should learn methods to professionally do it. These methods are elegant because they are efficient and economical. However, they also use precise fingering, which will become important when you want to learn more advanced sleights based on these grips, such as jog- and break-shuffles.
It is important that you learn to do these moves properly, even if this means unlearning some handling habits. At the beginning some of the new "ways" will feel strange, but within a few days you will feel at ease with them and recognize how well they allow you to control the cards; control is what shuffling is about. Piano virtuoso Arthur Rubinstein in his autobiography states: "Virtuosity is when the artist controls his instrument, and not vice-versa."
How important is the overhand shuffle, and its technique?
Overhand shuffling is a basic tool of card conjuring. More likely than not, most of you will already have mastered a version of the overhand shuffle. But even if you have been performing the overhand shuffle since you first learned to play cards, you will soon recognize that the proper method employs a technique that feels somewhat different. The grip will probably seem a bit unconventional, and you may wonder why this retraining is necessary, since your present overhand shuffle technique is more than adequate to mix the cards.
However, as soon as we get to the first actual techniques using the overhand shuffle, such as control of top and bottom stocks or the control of selected cards, you will realize that the "family style shuffle" is totally inadequate for a precise and secure execution of such sleights. The basic method I teach is a prerequisite for successful execution of all subsequent overhand shuffle techniques. Of particular importance are the positions of the forefinger and the little finger of the left hand, as well as the way the cards are shuffled off. With a little patience and perseverance the proper technique will open a door to a big room you probably didn’t know even existed; it is the room to artistic and expert card handling. Please believe me if I say that it is worth mastering.
How important is the riffle shuffle, and its technique?
The riffle shuffle is the shuffle preferred at gambling tables. This is primarily because it was once thought that the riffle shuffle made cheating more difficult. Today there is more literature devoted to various riffle shuffle techniques than to any other shuffle. Anything you can do with an overhand shuffle can be done with a riffle shuffle, and much more besides.
Although most card players know and use the riffle shuffle today, many people still find it fascinating when it is neatly performed, perhaps partly because of its association with gambling and its lore. You should therefore include in your performances tricks using the riffle shuffle, and become familiar with the basic riffle shuffle techniques. Don’t neglect to master these basics from the outset, as they will be the foundation for more advanced techniques you will encounter later.
Also learn how to square after shuffling. The Waterfall Riffle Shuffle is also a technique to learn, and is not only impressive to spectators, but is also very useful when no table is available.
What simple card flourishes should beginners learn?
● Dribbling cards is a technique that has numerous uses. Among them are: as a flourish, as a method for having a card chosen and replaced, as a demonstration of the performer’s lack of control over the cards, as a way to prepare for a palm, by affording a reason to briefly hold the deck with two hands, and much more.
● The Ribbon Spread is a flourish, but also a utility move that serves many purposes, such as having cards selected and replaced, showing that all cards are different and mixed, glimpsing a card at a certain position, and a large etcetera. You will be astonished at the incredibly strong impact this gesture with the cards has on laymen. Somehow the technique appears much more difficult than it is. Knowing it has such an impact, use it sparingly, acknowledging that you are accomplishing something extraordinary.
● The Riffle is a little flourish that should be used sparingly and deliberately. I emphasize this here because the riffle can become a nervous tic, subconsciously repeated without realizing that it annoys the spectators. In such circumstances it communicates an impression of clumsiness. Yet, if introduced judiciously, it can underscore dramatic moments, providing an artistic highlight.
●The Swivel Cut is the creation of the American vaudeville legend, Nate Leipzig. It is a two-handed flourish that has many possible applications to trick techniques.
● The Charlier Cut can be used as a one-handed pass - that is, a secret cut not intended to be seen by the spectators - but can also be used as a visible flourish, and even as a gag. It is the invention of the nineteenth century enigma, Charlier.
● Different methods of turning over the top card are suited for turning over a previously selected card at the climax of a trick, or simply to show the spectators a card that will be used subsequently.
In closing, how would you describe the importance of playing cards for card magic?
Without doubt, playing cards are the most fascinating instrument employed in the art of magic. No less a performer than Hofzinser designated card conjuring the "poetry" of magic. Cards have produced a palette of sciences, from their symbolism of humanity to their numerical properties and all the mathematical possibilities embodied therein. They serve at play and strategy, for fortune-telling and occult practices, and as a vehicle for social communication. They permit an expression of skill and intelligence.
Everything is brought together in card conjuring, for there is no effect, no emotion, that can’t be expressed with a deck of cards. They are a microcosm reflecting the "human condition", to use Rousseau’s expression, mirroring the fate and reality of mankind. Card tricks unite the principles of nature (natural material), of art (creativity, interpretations, self expression, talent), of science (psychological and mathematical principles) and of spirituality (symbolism, personal growth, therapy).
CLOSING THOUGHTS
If you are interested in learning more about expert card handling techniques, you can't go wrong by checking out some of Giobbi's books or videos. I wish that when I began my journey with playing cards by learning the fundamentals of proper card handling. You'll get far more enjoyment out of your card flourishing and progress more quickly by first learning the proper and basic techniques of card handling.
So where can you start? I'd suggest two resources, both of which Mr Giobbi has made available for free or a nominal cost, as part of his love for the art of magic, and his genuine desire to help new card handlers get off on the right foot:
● Video: Fundamental Techniques - Giobbi has an entire course that teaches the fundamentals of card magic, corresponding to the first two books of Card College. He's made the first lesson free, and it covers the following topics: Basic Grips, Squaring, Various Cuts, Spreading & Outjogging Cards, Dribbling, Various Deals, Various Break Handlings, Step, Ribbon Spread, Preparing the Card Case. It's more than half an hour long, and has excellent content for anyone who uses playing cards.
● E-Book: Introduction to Card Magic- This e-book (in PDF format) was created as an introductory course for newcomers, and features 150 pages of extensive instruction about the basics. It's not just for magicians, because it is dedicated to teaching general card handling techniques, e.g. how to select and hold a deck, correct shuffling techniques, and much, much more. It's well-illustrated with accompanying photographs, and has links to youtube videos illustrating what you're learning. To help budding card handlers, Giobbi has made this available for just €6.95 via his website.
Where to learn more?

Complete interview: Q&A with Magician & Card Handling Expert Roberto Giobbi
Starting resources: Fundamental Techniques (free video), Introduction to Card Magic (€6.95 e-book)

From: http://www.asm-vizu.net/showthread.php?19068-Infos-provenant-du-cousin-de-la-belle-s%9Cur-du-voisin/page123
In the name of all three of us, i want to honestly apologize to everyone who's feelings are hurt, the majority of our story is true, but of course there are certain parts that you can call "alternative truth"...we did all of this on our own, nobody from the club told us to do it and nobody else influenced our decision, from the start we were aware that sooner or later we'll have to explain ourselves, no matter what happens before the end of August...would we do this all over again, yes we absolutey would, it sounds cold-blooded but at that point we thought it was the best solution and we still think that is was the right move...i will break down the whole story to the smallests details and i will explain what was the real truth and what was the "alternative truth", hopefully some of you will understand us, and for others who are most definitely insulting us while they are reading this, it's alright, we don't mind it at all, we knew the risk and we accept the responsibility...
There are so many private messages and too many replys in this topic, so i really can't answer you all, i'm writing this first without knowing what you asked or commented while i was gone, if this huge post doesn't provide answers for your questions that you might asked, feel free to ask me again, either here or through private messages...please, i know that there are plenty of questions about our family and hopefully you will understand that i won't provide you certain answers for various reasons, most things about our familly are true, especially about father, while both son's education is purposely misleading for the reasons that i won't get into...also, nobody from our family has permission to meet in person with people who aren't in their inner circles, we are heavily protected and everybody new must go through tough security check, it sounds super shady, but that's the case with most similair families who are in our position, safety is always our priority...we are best friends with Fedorychev and we have good relationship with Rybolovlev and Vasilyev, we are also very good with Prince Albert, so don't worry about us, we know what we are doing and our motivation was very clear, so please avoid questions about our family and concentrate only on the questions about our football club...
Did you ever watch some movie that's based on a true story, but while you're watching you notice that certain things are added for dramatic effect, well that's exactly what we did, we needed to hype the story so that it has stronger effect...Ronaldo is not a done deal, that was the biggest "alternative truth", but there are resonable chances that we can get him this summer, i'll start from the beginning and i'll explain you his case...he indeed reached out to Rybo with desire to join Monaco in the near future, that has happened few months ago, but the chances of that actually happening were slim at best, until the whole tax fraud case in Spain, after that he became more and more unhappy in Madrid and his agent started sending signals to us that we should keep all our options on the table if the deal can be done, but still nobody really believed that it's possible to get Ronaldo this summer...then, on July 10 there was conversation between Vadim and Perez about possible Mbappe's transfer to Real, during that talk Florentino suggested that maybe we can give them €50M along with Mbappe if he receives transfer request from Ronaldo, but he didn't promise anything...after that meeting, we took number 7 from Rony Lopes just in case if something concrete happens before the transfer window ends, also Tielemans will get number 10 once Mbappe leaves, while Ghezzal will take number 17, meanwhile he will wear number 12...this is the absolute truth, but it wasn't bombastic enough, so we had to add special effects, there are 50% chances of Ronaldo coming to Monaco before the transfer deadline, it's still much better than 0%, but it's far from a done deal...we took the risk and predicted ahead that the deal will be made, we are still very optimistic that everything will be exactly how is planned, of course it's a huge gamble, it's like going to casino and putting all your chips on color red, hoping that everything will end perfectly...in either scenario we would come clean, if transfer happened or not, we planned to explain our actions and to apologize to all Monaco fans, this wasn't about creating something that doesn't exist, it was just getting ahead of everybody and putting things in proper context, sooner or later we would explain everything, no matter the outcome...
Why we did this in the first place...we wanted to pressure Rybolovlev to buy Ronaldo, it sounds stupid doesn't it, but don't jump to conclusions, there is a method behind the madness, we are doing very similar stuff in the business world, so we just applied the same approach here...in most cases leaking about something while the work is still in progress behind the scenes doesn't lead to the positive outcome, but this case is much different and here we needed to give a little extra push...when i say we wanted to "pressure" Rybo, don't take the meaning of the word literally, we wanted to "use" our fans and create enough excitement and hype, so that all this negativity about everything that is happening disappears, and that our fans start spreading positive messages to our club in all forms online, both on message boards and on various social media platforms, we wanted to reverse their negative feelings into positive vibes, we wanted to redirect their attention from probable departures to possible arrivals...
Now, listen to this carefully...everything that we said about Rybo and Vadim is completely true, but we left out one thing in order to present that everything was always perfect, so let's get back to the summer of 2014 and Falcao's exit, that was the only time when our President started rethinking about his future with our football club...when some of our fans started demanding that club gives them back money that they spent for season tickets, because we lost both James and Falcao, without bringing anyone of significance to replace them, when people were basically laughing at arrival of unknown Bernardo Silva who played for Benfica B, that was the moment when Rybolovev took all of that very personally and he was incredibly disappointed at out fans reaction after everything he did in order to save our club from going down to third league...everything that has happened that summer was a result of Financial Fair Play, because once Rybo saw the punishment that City and PSG received, he knew that we will be hitted even harder next year if we don't start cleaning our books...Vadim did everything humanly possible to balance our books and to still keep all other players even though Moutinho and some other guys started receiving offers, that summer totally redefined our initial project, and as i said it before, if there wasn't FFP, then Rybo would invest three times more money during the first couple of seasons, just like Abramovich did when he took over Chelsea, but rules are much different today than they were 14 years ago...also, when some of our fans wrote "Mendes Mafia" and when they started talking all over the place how our Russians only came to the club for financial reasons, without any real sports ambitions, and that they will very soon sell everything that we have, fill their pockets with cash and quickly disappear, well both Rybo and Vadim took that to their heart and they couldn't believe how all of a sudden our fans are so spoiled and how come their memory is so short...we always had PR problem, that summer was also the time when our President's name was in various tabloids with bombastic headlines, so pretty much the whole world started believing that he lost half of his fortune overnight and that he and Prince had terrible relationship, and none of that was true, but even today pretty much all of football fans who don't follow Monaco closely think that those things were true...again, the only reason why he had to dramatically changed our project was FFP and nothing else, in the end we were successful during that transition, even though there was strict monitoring of our books by UEFA, Rybo couldn't pump more of his personal money because of the rules and we were basically limited in how much money we can offer to our own players, so other rich clubs were able to offer bigger salaries to our players and we had to sell them in order to clear our books as soon as possible...that summer was the only time when Rybolovev had doubts about continuing as our President and majority owner, and the main reason were our own fans who got used too quickly on overnight succeess after Ligue 2, that they couldn't accept anything less than being on the same level as PSG...
Let's fast-forward to this summer, because something very similar started happening when the transfer window opened, all of a sudden our fans forgot that we won title after 17 years and that we dethroned our rivals from Paris even though our budget seemed laughable compared to their that's backed by the whole foreign state...from the day that Silva was sold to City and until the day that we signed Ghezzal, there was so much negativity towards our club from our own fans all over the Internet, soon all of that quickly reached the highest levels and once again, Rybo started to take it personally, not as bad as three years ago, but bad enough that he started rethinking about going after Ronaldo seriously, because if our fans are acting like that, after we had the best season in the history of our club, then what's the point of breaking the bank for Ronaldo if nobody really appreciates everything that he and Vadim did for us, during good days and during less successful days, why going all-in and making big financial risk to get one of the best players in the history of football, if our fans will quickly turned their back if things become a little more challenging for whatever reason, the level of negativity was like we have fallen to Ligue 2 once again and there's no light at the end of the tunnel...instead of having more confidence in the people who saved us from misery, fans get caught in the moment and they take every single rumour so personally and literally like the world is ending tomorrow if we sell player A and buy player B, of course football is all about business and fans are all driven by their emotions, well people who run the club also have emotions and Russians have tendency to take things too personally if they feel that their work isn't appreciated enough, so every bad word that reaches Rybo and Vadim can have certain effect, and this summer there's almost nothing else than bad words about how we are handling transfer window and pretty much everybody forgot how much obstacles we had in the past and how much successful we were last season...people were bashing Silva and Lemar because they were unknown, but now they can't live without them, they were bashing Mendy because OM fans were making fun of us for signing someone who can't even walk correctly, but overnight he became fan favorite, pretty much majority of young players that came in the past were welcomed with over-the-top scepticism, but in a year or two they became untouchable in the eyes of our fans...so instead of having more faith in our scouting departement and in our coaching stuff, everybody wants only confirmed superstars and everything else is disaster in advance, so instead of giving a chance to new players to prove themselves, fans already know that Mboula has low football IQ, that Diakhaby is average at best, that Lopes isn't even for Ligue 2, that Ghezzal only played two good games in his life, both against Monaco, that Imbula should retire because he lost all his talent overnight, that Jorge is too soft for french league, that Kongolo better switch to basketball, that Carrillo should change career to became construction worker, that Sylla is more suited for 100m sprint than football pitch, and so on and on...
Spreading story ahead of time about possible transfer where Ronaldo ends up in Monaco was the only way to stop negativity, of course some people are always negative no matter what, but good number of fans are driven by current events and their mood goes up and down depending on current rumours, in one hour they can go through all stages of human emotions, so it was very important to deliver really big and powerful rumour that will immediately change their mood and hopefully keep them in more positive state no matter what else is circulating in the rumour mill..saying the real truth that we have solid chances to get Ronaldo, but that many factors are in play, simply isn't powerful enough, you could say that about any given player, we needed clear and defined message that Ronaldo is a done deal and that everything else are just small details to be solved...the reality is that Ronaldo indeed has desire to come and that Monaco will do everything in their power to make that transfer, also it's true that Mendes and Perez have verbal agreement that Ronaldo's real release clause is at least five times smaller than the number in the contract that serves only for marketing purposes, so Monaco is willing to talk and Real is willing to listen, chances of getting Ronaldo are 50%...numbers concerning his transfer and his future salary are fabricated, we came up ourselves with those calculations, it's true that Perez said to Vadim how Ronaldo is worth at least Mbappe and additional €50M, so we used common sense and knowing the price of Neymar's transfer and various sums demanded by Monaco for Mbappe, we thought that €230M is the right numbers, just like we thought that Ronaldo's salary has to be bigger than what he's getting now, plus it would be logical that he wants bigger number than what Messi or Neymar are earning, so we came up with more than €30M...also, Ronaldo wasn't in the Principality few nights ago, but he had meetings with Bernard Arnault during his summer break and we heard strong whispers about LVMH thinking to invest more than €200M in CR7 luxury brand for 49% of ownership stake, so when Bernard Arnault popped up in Monaco few days ago, it was perfect to mixed up real and alternative truths, even though we were perfectly aware that everybody will be suspicious how come nobody saw Ronaldo in Hotel De Paris, we wanted that strong dramatic effect...also, of course he didn't had any dinner, but he had multiple meetings with both Falcao and Jardim in the previous months on various locations, it was more friendly oriented, but they did exchanged few words about potentially being on the same team...everything that was said about friendship between Rybolovlev and Ronaldo is also absolutely true, just like everything that was said about Rybo and Mendes and their various business and personal ties, the desire to bring Ronaldo is stronger than ever, but with such a big transfer there are much more complications than casually presented by us how it's a done deal...his 007 presentation is of course nothing but big "alternative truth" and those things can't be arranged until the contract gets signed, but we added up for dramatic effect because people can easily picture Ronaldo in elegant suit entering Monte Carlo Casino, doing few James Bond things and then changing into red-and white uniform and getting presented to all our fans gathered around Place Du Casino, we knew that this details will also raise eyebrows when people read it, but Ronaldo already had numerous marketing campaigns where he was dressed like Agent 007 while promoting various luxury brands...
We knew that many people won't belive in our story, even in real truth that getting Ronaldo this summer is more achievable than people think, and that dose of scepticism was enough for us to go all-in and pump the story throught the roof, so even if they don't believe, it will raise some doubts inside them that it's so crazy it might actually be true...of course, we knew that there will be people who will believe in every single word and that they will be hurt if nothing happens or if our story gets uncovered ahead of time, so once again, in the name of all three of us, i'm deeply sorry if we caused you some harm, we were aware that stepping on people's feelings will come back to haunt us, so we fully accept any responsability for what we did, any harsh words or insults are totally understandable and hopefully in the end you will find the way to forgive us, as i said it before, we are all Monaco fans and everyone with red and white blood in their veins is part of one big Monaco family that will stand for their beloved club both during good and bad times...for others who never believed anything that we said, and who don't believe in what is written in this big post, we just want to tell you that no matter what you think about us and about our intention, and no matter what you say about us now and in the future, we won't hold it against you and we perfectly understand your animosity after everything we did, but we are offering you hand of friendship and hopefully you can also forgive us one day, because we all have one thing in common that keeps us awake during long nights and that puts us throught emotional rollercoaster every weekend, and that thing is called love for AS Monaco...
Our main goal of creating enough buzz for Ronaldo to Monaco rumours wasn't intended for journalists, we couldn't care less if they will pick up something or find out on their own that there is reasonable chance of that deal coming to fruition...we wanted to get our own fans excited so that every time our club posts something on social media, they get flouded with positive comments and with Ronaldo mentions, just like how fans negativity quickly reaches to Rybo and Vadim, the same applies for positivity, if there is enough buzz from our fans, then Rybo will get even more motivated to do everything possible and bring Ronaldo now when many things are playing in our advantage, we had to stop negative comments from our fans and all Ghezzal trash talk that was talking place when he signed, so that people can concentrate on Ronaldo and his possible arrival...our little story lasted four full days and we knew that we can't last more than a week because we left enough breadcrumbs behind while creating all of this, plus ever since day one there was much bigger interest than we expected and suddenly the story started circulating all over the place, so more and more people were determined to haunt us down and i'm glad it came from our own fans, rather than from journalists who where working their sources like crazy in order to find out is there any credibility to all of this...as i said, we know how wrong it was to play with other people's feelings, but we felt that is was the right move to make and we would do it all over again, we feel that only something so dramatic can change the overall conversation that's dominating this summer among our fans, which is mostly highly negative, so by risking to hurt some people along the way, we decided to carefully craft our story, using mostly true facts, but decorating it with spicy details and other bombastic stuff so that there is enough of buzz created...
This should be enough, hopefully i explained our motivation and you can see what in our story was true and what was added like special effects, everything that was said about Mbappe, Lemar, Fabinho and the reasons about selling our players was true, except that if we can't get Ronaldo, we will try our best to strengthen our team with other proven talent that becomes available on the market...everything about Mbappe's father was true and while club wanted to keep him after season ended, more and more teams where chasing him while proposing much bigger salary than what we were prepared to offer him, so very soon it became clear that he won't extend and that it's better to sell him now while his price is incredibly high, instead of risking of losing him for peanuts or some potential injury that would dramatically decrease his market value...when we created this story, we wanted to protect Mbappe and tell everyone how he's willing to stay one more year, but that club is determined to sell him, we did this knowing that otherwise our fans will start harassing him online, just like what is happening right now, his father should receive all the blame, while Kylian should get a pass...chances of going to Real are still sky high, while City and PSG are very unlikely options, our club will try everything to use him like the main tool for getting Ronaldo, but things are complicated and hopefully our fans can remain a little bit more patient in the next three weeks, please show more support to Rybo and Vadim, because they didn't came to make money, they are here only because of their true passion for Monaco and they are planning big things for the future, your positive energy and words of support on message boards and social media platforms will give them more reasons to make us all happy...there are plenty of journalists and insiders with their special "sources" that are in 90% of situations just false, either planted on purpose by some agent or by some club, or completely made up in order to sell more newspapers and to get more clicks on the Web...so don't take every word literally, wait until something really happens, wait until it becomes official, don't jump the gun and don't get caught up in the moment, re-evalute every information that you hear, things are not always black or white like they seem, this is all one big grey area and multiple sides have multiple interests to do or say something during transfer window that might be true or not...
All in all, hopefully you understand better the whole story and why we did this and what was our motivation, wait until the transfer deadline and after that we can all togheter see how everything was handled and what was the final result...i don't have time to read private messages now or to read your replys before this post was made, but please feel free to post your questions if you have them, either here or throught private messages, and when i come back tomorrow morning i'll give my best to provide you more answers...we feel good that we did this and we think that it was needed at that moment, people can belive us or not, they can insult us or not, but we are the least important thing, as long as our fans are showing enough respect for our beloved club, and especially for Rybo and Vadim, we are perfectly fine with taking all the blame if something doesn't go according to the plan...AS Monaco will never be on the same level as the biggest clubs in the world, looking at all things combined, both on and off the court, but it can be the sexiest club on the planet and with everything that our President has planned for the future, from new traning center to fixing Stade Lous II, there are so many reasons for all of you to stay optimistic, and no matter what happens until the end of this transer window, we will always be one big red and white family...

En este tema quiero recopilar todas las localizaciones que hemos ido averiguando y así si alguien tiene la suerte de hacer un viaje a Los Angeles, New York, Chicago, Londres, Paris... le sea mas sencillo encontrar esos lugares donde MJ dejo su huella.
Eso si, a Los Angeles le he dejado un espacio por separado debido a la gran cantidad de localizaciones que hay...
LOS ANGELES TOUR
VIDEOCLIPS
-Casa de Thriller: 1345 Carrol V. Echo Park
-Calle de Thriller: 3701 E. Union Pacific Av. & Los Palos St.
-Palace Theatre (Cine de Thriller): 615 S. Broadway
-Rialto Theatre (Interior del Cine de Thriller): 1023 S. Fair Oaks Av., S. Pasadena
-Set de grabacion del Cementerio ye interior de la Casa de Thriller: 4300 Maywood Av, Vernon (Cerca de Union Pacific)
-Debbie Reynolds Dance Studio (Estudio de Baile donde se realizaron los ensayos de las coreografias de Thriller): 6514 Lankershim Boulevard
-Green Apple Market (Billares de Beat It): 300 E. 5th St.
-Cafeteria de Beat It: 416 East 5th Street (Actualmente demolido)
-Almacenes de Beat It: 5th St. Alameda, Los Angeles
-Pantage Theatre (Teatro de You Are Not Alone y Hollywood Tonight): 6233 Hollywood Blvd.
-Griffith Park (Bosque de Thriller): 2800 Observatory Rd. (entre la arboleda)
-Decorados de Smooth Criminal y Moonwalker: Universal Studios, 100 Universal City Plaza
-Union Hotel (Saloon de Say,Say,Say): 362 Bell St., Los Alamos
-Antiques Depot (Lugar del Show de variedades de Say,Say,Say): 515 Bell St., Los Alamos
-The Chimney Sweep Inn (Actualmente " The Wine Valley Inn". Hotel donde se hospedaba MJ durante las grabaciones del video Say,Say,Say): 1564 Copenhagen Way, Solvang
-Vasquez Rocks Natural Park (Escena de Black or White de Indios y Vaqueros): 10700 Escondido Canyon Road, Santa Clarita, CA
-Shilpark Mann Brothers (Lugar donde se realizaban las audiciones para TWYMMF. En este lugar MJ eligio a Tatiana para el video): 758 N La Brea, Hollywood
-Harbor Star Stage "Terminal Island" (Hangar donde fueron filmados los videoclips de Dirty Diana y The Way You Make Me Feel. Lamentablemente el hangar fue demolido en 1990): Term Island Cg Base, San Pedro, Long Beach CA 90731 (Direccion mas aproximada: US Coast Guard, 1001 S Seaside Ave # 20, San Pedro, CA)
-Salton Sea Recreation Area State Park (Lugar de filmacion del videoclip "In The Closet": Salton Sea State Recreation Area, 100-225 State Park Road, North Shore, CA (Cerca de Palm Spring)
-Calle por la que pasea MJ en "Stranger In Moscow": 4th St. con N. Main & Spring
-Set de grabación de Billie Jean: Ren-Mar Studios, Studio 7, 846 N. Cahuenga, Hollywood
-Set de grabación de Who Is It: Ren-Mar Studios, Studio 8, 846 N. Cahuenga, Hollywood
-Escenas de Moonwalker donde juegan en el prado y sobre el puente: Disney Golden Oak Ranch, 19802 Placerita Canyon RoadNewhall, Santa Clarita, CA 91321
-Jim Henson Studios (Estudio de We Are The World y Liberian Girl): 1416 N. La Brea Av.
-Carretera donde MJ baila con india en Black or White entre coches: 11779 Sheldon Street, Sun Valley
-Vídeo "Why" de 3T y MJ: Ennis House en Los Feliz, Los Ángeles, California, al sur de Griffith Park
RESIDENCIAS
-Neverland Ranch (Rancho de MJ): 5200 Figueroa Mountain Rd., Los Olivos
-Casa de Encino (Casa de los padres de MJ donde vivio durante la epoca Thriller): 4641 Hayvenfiurst Av., Encino
-Primera Casa de "The Jacksons": 1601 N. Queens Rd. / 1600 N. Queens Rd. & 8600 W. Hollywood Blvd.
-The Lindbrook (Primer apartamento en el que vivio MJ en 1981 antes de mudarse a la mansion de Encino): 5420 Lindley Avenue, Encino (Unit#9)
-Holmby Hills (Ultima casa de Michael): 100 N. Carolwood Dr., Bel-Air
-Casa de Diana Ross (Casa en la que vivó durante un tiempo MJ en su infancia): 701 N Maple Dr, Beverly Hills, CA
-The Hideout (El "Escondite" o "Piso Franco" de MJ): 2247 Century City
-The Lindbrook (Sesion de fotos de 1981 de Chris Walter en el apartamento de Encino comprado por MJ, lugar donde vivia con Janet mientras hacia reformas en la casa de Hayvenhurst): The Lindbrook, 5420 Lindley Ave, Encino
-Casa de la familia Jackson entre mayo de 1970 y mayo de 1971: 2430 Bowmont Drive, Beverly Hills
ESTUDIOS DE GRABACIÓN & DISCOGRAFIA
-Westlake Recording Studios (Estudio de Grabacion de Off The Wall, Thriller, Bad, Dangerous y HIStory): 7265 Santa Monica Boulevard, West Hollywood
-Ocean Way Recording Studios (Estudio de Grabacion de Thriller, Dangerous y HIStory): 6050 Sunset Blvd.
-Larrabee Sound Studios (Estudio de Grabacion de Dangerous y HIStory):4162 Lankershim Blvd., North Hollywood
-Record Plant Studios (Estudio de Grabacion de Invincible y Dangerous): 1032 North Sycamore Av.
-Capitol Studios & Mastering (Estudio de Grabacion de Invincible): 1750 North Vine St., Hollywood
-Flyte Tyme Records (Estudio de Grabacion de Jimmy Jam & Terry Lewis utilizados para grabaciones de HIStory): 8750 Wilshire Blvd.
-Jim Henson Studios (Estudio de We Are The World): 1416 N. La Brea Av.
-MJJ Productions, Inc (Discografica de MJ): 10960 Wilshire Blvd, Westwood
-"Marvin's Room" Marvin Gaye Recording Studio (Estudio de grabacion de las demos de Invincible): 6553 W Sunset Blvd.
-Allen Zentz Recording Studios (Estudios de grabacion de los Vocals de Off The Wall y Remasterizacion de Thriller, Billie Jean y Beat It): 1020 N Sycamore Ave, Hollywood
-Lion Share Recording Studio "Kenny Roger's Studio" (Lugar de grabacion de Eaten Alive, Goin Back To Alabama y arregos de We Are The World): 8255 Beverly Blvd
-Cherokee Studios (Lugar de grabacion de Off The Wall. Actualmente demolido y realizada una nueva construccion): 751 N Fairfax Ave
-The Wall, La Pared de la portada de "Off The Wall": Trasera de 7771 Beverly Blvd (A dos manzanas de donde eran los Cherokee Studios)
-Calle de la Portada Moving Violation: 101 N. Sycamore Av.
-Motown HitsVille West (Estudios de Grabacion de los Jackson 5): 7317 Romaine St., West Hollywood
-MCA Records "Studio 55" (Estudio en el que MJ grabó con Joe King Carrasco y donde The Jacksons preparaban el album LIVE): 5555 Melrose Av, Hollywood (frente a a Paramount Pictures)
-Todd A.O. Scoring Stage (Utilizado por MJ en HIStory): CBS Radford Studios, Studio City, Hollywood
ESTADIOS & AUDITORIOS
-Staples Center (This Is It y MJ Memorial): 1111 S. Figueroa St.
-Dodger Stadium (Victory Tour): 1000 Elysian Park Av.
-Los Angeles Memorial Sport Arena (Bar Tour): 3939 S. Figueroa St.
-Pasadena Civic Auditorium (Motown 25th "Nacimiento del MoonWalk", actuacion de Dangerous para el 50th Aniversario American Bandstand): 300 E. Green St., Pasadena
-The LA Forum (This Is It Rehearsals, Triumph Tour, J5 Tour): 3900 W. Manchester Blvd, Inglewood
-Shrine Auditorium (26th Grammy Awards 1984: MJ gana 8 Premios Grammy, Accidente del Spot de Pepsi, Interpretacion de "You Were There" en el Tributo a Sammy Davis Jr, Entrega del Grammy por "We Are The World", Aparicion con Madonna en los Oscars 1991): 665 West Jefferson Boulevard, Los Angeles
-Rose Bowl Stadium (Estadio donde tuvo lugar la mitica actuacion de MJ en la NFL SuperBowl XXVII): 1001 Rose Bowl Drive, Pasadena
-Avalon Hollywood Palace (Lugar de la primera actuacion en directo en TV de los J5 "Diana Ross Presents..."): 1735 Vine St, Los Angeles
-The Palladium (Conferencia de prensa de "LA Gear": 6215 Sunset Blvd.
-Orpheum Theater ("A Celebration Of Love" Fiesta del 45 cumpleaños de MJ): 842 S. Broadway, Los Angeles
-Crest Theatre (Cine en el que fue presentada la Premier del video "Thriller"): 1262 Westwood Boulevard
TIENDAS, COMERCIOS & RESTAURANTES
-Golden Apple Comics (Tienda de Comics Favorita de Michael): 7018 Melrose Av.
-Moist Wear Men (Tienda de moda frecuentada por Michael): 7518 Melrose Av.
-The Collectors Paradise Gallery (actualmente una tienda de muebles) donde MJ compro el libro "The Art Of Walt Disney" y banco al que se subio para ver una mejor perspectiva de cómo quedaria colocada la gente en el evento "Hands Across America" que pasaria por esa calle: 12260-12262 Ventura Blvd
-Villa Sorriso Ristorante (Lugar donde la familia Jackson celebro el “Celebration of Life” tras el funeral de MJ): 168 West Colorado Boulevard, Old Town Pasadena
-Madeo Restaurant (Restaurante Italiano frecuentado por Michael y la familia Jackson): 8897 Beverly Boulevard, Los Angeles
-Akasha Restaurant (Restaurante de la que fuera Chef personal en los Tours de MJ durante años): 9543 Culver Boulevard, Culver City
-TiGeorges' Chicken (Restaurante en el que Prince Michael participo como voluntario en una obra de caridad para Perú): 307 Glendale Boulevard, Los Angeles
-Alter Ego (Tienda de Cosmetica visitada por MJ): 427 N Bedford Drive, Beverly Hills
-Lladró (Tienda de Porcelana visitada por MJ): 408 N. Rodeo Drive, Beverly Hills
-Book Soup (Libreria frecuentada por MJ): 8818 Sunset Blvd., West Hollywood
-Chasen's Restaurant "1980 AMA After Party" (Michael acudio a esta fiesta y se fotografio en su fachada. Actualmente es una tienda de ultramrinos): 9039 Beverly Boulevard, Beverly Hills
-Melrose Avenue (Calle preferida de MJ para hacer sus compras en los Angeles situada entre Beverly Hills y West Hollywood)
-The Record Collector (Tienda de discos frecuentada por MJ): 7809 Melrose Ave
-Ed Hardy Store (Boutique frecuentada por MJ y sus hijos): 7817 Melrose Ave
-Unica Melrose (Tienda de Moda frecuentada por MJ): 7524 Melrose Ave
-Off The Wall Antiques (Tienda de Antiguedades frecuentada por MJ): 7325 Melrose Ave
-Pink's Hot Dogs (Puesto de perritos calientes del descanso de la famosa sesion de fotos de los '70): 709 N La Brea Ave
-Golden Temple of Conscious Cookery (Actualemente "Rama Restaurant". Restaurante frecuentado por MJ en los '80): W 3rd St (Cerca de Fairfax)
-Inn Of The Seventh Ray Restaurant (Restaurante de Malibu donde MJ ceno con Brooke Shields y frecuentado por la familia Jackson): 128 Old Topanga Rd, Topanga
-Sherman Oaks Bookstore (Libreria frecuentada por MJ): 13351 Ventura Blvd., Sherman Oaks
-Casa de Pets (Tienda de animales donde MJ compraba todo para us mascotas): 13323 Ventura Blvd., Sherman Oaks
-Mo-C Antiques (Tienda de antigüedades frecuentada por MJ. La ultima vez fue en Abril de 2009): 239 South Robertson Boulevard, Beverly Hills
-DioDolce & Gabbana (Boutiques de moda visitadas por MJ acompañado de Christian Audigier en 2009): 315 N. Rodeo Drive, Beverly Hills
-Christofle Silver (Joyeria de articulos de plata visitada por MJ en 2009. Unas manzanas mas atras se encuentra la oficina del Dr. Klein): 9515 Brighton Way, Beverly Hills
-Le Dome Restaurant (Resturante cenaba a menudo MJ en los '80 con Liz Taylor, Diana Ross, Lionel Richie... Actualmente el restaurante se ha convertido en un asador): 8720 W. Sunset Blvd.
-Chakra's Indian Cuisine (Lugar donde cenaron juntos y se reunieron por ultima vez MJ y la familia Jackson en Mayo de 2009): 151 S. Doheny, Beverly Hills
-Towers Records (Antigua tienda de discos donde MJ se hizo algunas fotos para la campaña de Suzuki): 8801 W Sunset Blvd
-Roscoe's Chicken & Waffles (Restaurante visitado por MJ durante los ensayos del video "Remember The Time". El estudio donde ensayaba esta cerca del restaurante: (A espera de confirmacion)
HOTELES
-The Beverly Hills Hotel (Hotel frecuentado por MJ y sus hijos asi como por la familia Jackson): 9641 Sunset Boulevard, Beverly Hills
-L'Ermitage Beverly Hills Hotel (Hotel utilizado por MJ como Post-Operatorio tras sus intervenciones quirurjicas): 9291 Burton Way, Beverly Hills
-Hotel Bel-Air (Hotel frecuentado por MJ. Estuvo durante un tiempo viviendo en él en 2008. Meses antes del 25J asistio a un concierto de piano de Antonio Castillo de la Gala en el Salon del hotel "Champagne Bar"): 701 Stone Canyon Road, Los Angeles
-The Beverly Hilton Hotel "Jesse Jackson's 66th Birthday Bash" (Fiesta de Cumpleaños del Reverendo Jesse Jackson a la cual MJ asisitio): 9876 Wilshire Boulevard, Beverly Hills
MEMORABILIA
-Estrella de Michael en Walk Of Fame: 6927 Hollywood Blvd.
-Estrella de The Jacksons en Walk of Fame: 1500 N. Vine St.
-Grammy Museum: 800 W. Olympic Blvd., Ste. A245
-Disneyland Park Anaheim (Ubicacion del especial Disneyland 25th Anniversary): 1313 South Disneyland Drive, Anaheim
-Museo Madame Tussauds Hollywood (Figura de MJ): 6933 Hollywood Blvd.
-Wax Museum (Figura de MJ): 6767 Hollywood Blvd.
-Guinness World Records Museum (Figura de MJ y Articulos de Memorabilia): 6764 Hollywood Blvd.
-Mural por el pintor Levi Ponce: 4900 Lankershim Blvd, North Hollywood
MEMORIALES
-Forest Lawn Memorial Park (Cementerio donde descansa Michael): Holly Terrace, 1712 South Glendale Avenue, Glendale
VARIOS
-Griffith Observatory (Lugar de la imagen descartada que iva a ser la portada de Off The Wall): 2800 Observatory Rd. (En la parte alta del edificio)
-Gardner St. Elementary School (MJ Auditorium y Escuela de MJ de 6º Grado): 7450 Hawthorn Av.
-Montclair College Prep (Instituto donde estudiaron Michael, Marlon y La Toya): 8071 Sepulveda Blvd, Van Nuys
-Ronald Regan UCLA Medical Center (Hospital donde transladaron a MJ el dia de su muerte): 757 Westwood Plaza
-Sesion de Fotos de la Campaña Suzuki: 6656 W. Sunset Blvd.
-Motown Billboard (Esquina Billboard): 8782 W Sunset Blvd, West Hollywood (Sunset Blvd & Holloway Dr.)
-Leo Carrillo Beach (Sesion de fotos de The Jacksons con los deportivos): 35000 W. Pacific Coast Hwy., Malibu
-Corte de Santa Maria (Lugar del Juicio de MJ): 312-C E. Cook St., Santa Maria
-USA for AFRICA (Asociacion Benefica en la que participo MJ con We Are The World): 5670 Wilshire Boulevard, Los Angeles
-Ziffren Et Al: Branca John G (Despacho del abogado de MJ, John Branca): 1801 Century Park W # 7, Los Angeles
-The Buckley School (Escuela en la que estudian Prince Michael y Paris): 3900 Stansbury Avenue, Sherman Oaks
-Knotts Berry Farm (Parque de Atracciones visitado por MJ en los '80. Lugar de la famosa foto con Snoopy): 8039 Beach Boulevard, Buena Park
-Hollywood Park Horse Track (MJ y Elizabeth Taylor asisten a la inauguracion de la nueva temporada de carreras de caballos en 1986): 1050 South Prairie Av, Inglewood
-Los Angeles County Museum of Art (LACMA) (Sesion de fotos de los J5 baja la escultura roja): 5905 Wilshire Blvd
-Empire West Condo Building (Sesion de fotos de los J5. La clasica imagen de los 5 en el cesped con el edificio al fondo): 1100 Alta Loma, West Hollywood.
-Noe Restaurant (Fiesta del 46th cumpleaños de MJ con la familia Jackson): 251 S. Olive Ave
-Womphoppers Restaurant (Actualmente "Saddle Ranch Universal". Afterparty celebrada en 1983 tras un concierto de Liza Minelli. MJ estuvo presente junto a Quincy Jones y Liza Minelli entre otros...): Universal Citywalk, 1000 Universal Hollywood Dr., Universal City
-The L.A. ZOO (Visitado por MJ y Emmanuel Lewis en 1984 una semana despues del accidente de Pepsi): LA ZOO 5333 Zoo Drive, Los Angeles
-Campaña Suzuki en Fisherman Village (MJ de blanco junto a la Suzuki en el muelle de FV): Fisherman's Village, 13755 Fiji Way, Marina del Rey
-The Park Beverly Hills (Sesion de fotos de Jim Britt en 1973 donde MJ posa tras una fuente en el parque. Algunas de estas fotos aparecen en el MJ Opus): The Park Beverly Hills, Santa Monica Blvd. (cerca de Carmelita)
-Will Rogers Memorial Park (Otro de los parques de la sesion de fotos de Jim Britt en 1973 donde MJ posa. Algunas de estas fotos aparecen en el MJ Opus): 9650 Sunset Blvd (Entre Canon y Beverly).
*Gracias a Moonwalking Around Los Angeles por muchas de las direcciones facilitadas *
EEUU TOUR
VIDEOCLIPS
-Estacion de Metro del video BAD: Hoyt-Schermerhorn Station (Linea G con AC), Brooklyn, NYC
-The Masters School (Universidad de MJ en el video BAD): 49 Clinton Avenue, Dobbs Ferry, NY 10522
-New York State Pavillion (Exteriores de la pelicula "The Wiz" Munchkinland): Flushing Meadows Corona Park, 11101 Corona Ave, Corona, NY
RESIDENCIAS
-Hogar Natal de la familia Jackson: 2300 Jackson St. & 23rd St., Gary, Indiana
-Lugar de naciemiento de Michael Jackson: St. Mary's Mercy Hospital: 555 Polk St. Gary, Indiana
-Apartamento de Bobby Taylor. Lugar donde durmieron los J5 en el suelo antes de su audición con Motown: 1300 E Lafayette St Detroit, MI 48207
ESTUDIOS DE GRABACIÓN & DISCOGRAFÍA
-SteelTown Records (Estudio de las primeras grabaciones de los J5): 4544 North Lincoln Avenue, Chicago, IL
-Kaufman Astoria Studios (Estudio de Grabacion de la pelicula "The Wiz"): 34-12 36th Street, Astoria, NY 11106
-Sony Music Studios (Grabaciones para sesiones de HIStory e Invincible): 460 W. 54th St., at 10th Avenue, Hell's Kitchen, Manhattan, NY
-Future Records Studios (Antiguos Estudios de Grabacion de Teddy Riley donde se grabaron vocals y demos para Dangerous, Invincible y el tema "Shout)": 4338 Virginia Beach Blvd, Virginia Beach, Virginia
-The Hit Factory Studios (Antiguos Estudios en los que se grabaron sesiones para HIStory e Invincible): 421 West 54th Street, New York
-The Hit Factory Criteria Studios (Estudios utilizados para completar el album "Invincible"): 1755 NE 149th St. Miami, Florida
ESTADIOS & AUDITORIOS
-Teatro Apollo (Lugar de la Consagracion de "The Jackson 5"): 253 West 125th Street, Harlem, NYC
-The Madison Square Garden (Lugar de actuaciones como el 30th Anniversary 2001 y el Bad Tour '88): 2 Pennsylvania Plaza New York, NY
-Radio City Music Hall (MTV VMA donde se besaron MJ y Lisa Marie): 1260 Avenue of the Americas, New York
-Carnegie Hall (Conferencia de "Heal The Kids"): 881 7th Ave, New York
-RFK "Robert F. Kennedy" Memorial Stadium (Gala United We Stand. MJ junto con varios cantantes interpreto "What More Can I Give"): D.C. Armony, Independence Ave and 22nd St in Southeast, Washington D.C
TIENDAS, COMERCIOS & RESTAURANTES
-Virgin MegaStore (Actualmente Disney Store)(Firma de Discos de Invincible): 52 East 14th Street, New York
-Modern Times Beer: Mural MJ&Bubbles de Post-It de 6.5 metros.
HOTELES
-The Mirage Hotel & Casino (Hotel frecuentado por MJ, lugar donde se vendia el CD de Siegfried & Roy con el tema "Mind Is The Magic" y ubicacion del Michael Jackson: The Immortal Cirque Do Soleil): 3400 S. Las Vegas Blvd.
-MGM Grand Hotel and Casino (Hotel en el que se reencontraron Michael y Lisa Marie meses antes de comenzar su relacion sentimental): 3799 Las Vegas Blvd S, Las Vegas
-Hotel Royal Plaza in the Walt Disney World Resort (Uno de los hoteles preferidos de MJ en Walt Disney World): 1905 Hotel Plaza Boulevard, Orlando, FL
-Hotel Hilton in the Walt Disney World Resort (Otro de los hoteles preferidos de MJ en Walt Disney World): 1751 Hotel Plaza Boulevard, Orlando, FL
MEMORABILIA
-Madame Tussauds Las Vegas (Figura de Cera de MJ): 3377 Las Vegas Blvd. South Suite 2001
-Motown Historical Museum "HitsVille U.S.A." (Antigua y clasica Sede de Motown Records): 2648 W Grand Blvd, Detroit, Michigan
-Addenbrooke Park (Replica de la escultura de Neverland "Snapshot"): 600 S. Kipling Pkwy, Lakewood, Colorado
-Replica de la escultura de Guangzhou: Overland Park Arboretum Botanical Garden 8909 W 179th St, Overland Park, Kansas
-Banco en memoria de MJ en el Brooklyn Botanical Gardens: 150 Eastern Parkway 990 Washington Avenue, Brooklyn, NY 11225
-EMP Museum: Hay una zona dedicada a John Landis con una pantalla en la que se habla de su trabajo y, como no, aparecen imágenes del making Thriller. Junto a ella, un traje de zombie del vídeo donado por Mick y Cinthia Garris. 325 5th Ave N, Seattle, Washington 98109, USA.
-Banco en memoria de MJ en el Brooklyn Botanical Gardens : 150 Eastern Parkway, 990 Washington Avenue, Brooklyn, NY 11225
-Modern Times Beer: La cervecería Modern Times en tiene un mosaico de 6.5 metros de altura creado con más de 10.000 notas de Post-It.: 3725 Greenwood St., San Diego, CALIFORNIA 92110
VARIOS
-La Casa Blanca (MJ visitó a los presidentes de EEUU en varias ocasiones): 1600 Pennsylvania Avenue NW Washington
MEXICO
HOTELES
-Hotel Presidente InterContinental (Hotel donde se hospedo durante el Dangerous Tour): Avenida Campos Eliseos 218, Polanco, Mexico
ESTADIOS & AUDITORIOS
-Estadio Azteca (Lugar de Dangerous Tour): Calzada de Tlalpan, 3465, Col. Santa Ursula Coapa, Delegación Tlalpan, Mexico
VARIOS
-Hard Rock Cafe Mexico City (Visita de MJ): Campos Eliseos #290, Col. Polanco 11560 Mexico D.F., Mexico
CANADÁ TOUR
-New Westminster Museum (Anvil Centre): Allí tienen las gafas que MJ regaló a uno de los policías que le acompañaron en la visita al City Hall en 1984, la chaqueta del policía y un ejemplar de Moonwalk con la foto de MJ y los agentes. 777 Columbia Street, New Westminster, BC V3M 1B6, Canadá.
-Escalinata de la imagen de MJ con el Cuerpo de Policía de Vancouver: New Westminster City Hall 511 Royal Avenue, New Westminster, BC V3L 1H9, Canadá.
-Hard Rock Vancouver: Tienen uno de los spikey tops de Scream y varias vitrinas alrededor llenas de memorabilia de MJ. 2080 United Blvd, Coquitlam, BC V3K 6W3, Canadá.
EUROPA TOUR
VIDEOCLIPS
-Castillo de Buda (History Teaser, parte del desfile ante el palacio): 1014 Budapest, Úri utca 9, Budapest, Hungary
-Plaza de los Héroes (History Teaser, escena de la estatua): 1146 Budapest, Hősök Tere, Hungría
-Disneyland Resort Paris (Michael estuvo de visita algunas veces en el parque): 77777 Marne-la-Vallée, Paris
ESTADIOS & AUDITORIOS
-Wembley Stadium (Lugar del mitico concierto del Bad Tour '88. El estadio antiguo fue demolido y eregido el nuevo estadio en el mismo lugar): Wembley, London, HA9 0WS, Reino Unido
-Stadionul National (Lugar del mitico concierto del Dangerous World Tour '92): National Arena 35-37, Bucharest, Rumanía
-Olympic Stadium (Lugar del mitico concierto del HIStory World Tour '97): Spiridon-Louis-Ring 21, 80809 München, Alemania
-The O2 Arena (Conferencia de prensa de This Is It y lugar elegido para la realizacion de los conciertos): Peninsula Square, City of London, London SE10 0DX, Reino Unido
HOTELES
-Hotel "Bayerischer Hof" (MJ se alojó en muchas ocasiones): Promenadeplatz 2-6, Altstadt-Lehel, 80333 Múnich
-The Grand at Oudezijds Voorbugwal (Hotel en el que se alojaba Michael en Amsterdam durante la gira HIStory 1996): Oudezijds Voorburgwal 197, 1012 Ex Amsterdam, Nehterlands
-Hotel Jardin Botanico (Lugar en el que se alojaba MJ durante el Dangerous WT en Tenerife): Avda. Richard J. Yeoward, nº 1,Puerto de la Cruz, Tenerife, España
-Hotel The Westin Palace (Hotel Preferido de MJ para alojarse en Madrid): Plaza de las Cortes, 7, Madrid, España
-Hotel Le Meridien (Hotel Preferido de MJ para alojarse en Barcelona): Ramblas, 111, Barcelona, España
-The Hempel Hotel (Hotel donde se alojo MJ en 2006): 31 Craven Hill Gardens W2 3, Londres
-Hotel The Lanesborough (Hotel en el que, supuestamente, MJ se desperto de madrugada y deambuló sonambulo por los pasillos): Hyde Park Corner 0, Myfair, Londres
-Hotel Adlon Kempinski Berlin (Hotel donde MJ asomó a Blanket por la ventana y causo la famosa polemica): Unter den Linden 77 10117, Berlín, Alemania
-Hard Rock Hotel (Estatua de en honor de MJ): PenangBatu Ferringhi Beach, 11100 Penang, Malaysia
MEMORABILIA
-Madame Tussauds London (Figura de cera de MJ): Marylebone Road, London, NW1 5LR
-Museo Astrup Fearnley (Figura de Ceramica de MJ & Bubbles): Dronningens Gate 4, 0152 Oslo, Noruega
-Estatua de HIStory: Eindhovenseweg Zuid 595681 Best, Países Bajos
MEMORIALES
-Estadio de Futbol Fulham (Estatua en honor de MJ por Mohamed Al Fayed): Craven Cottage, Stevenage Rd, Hammersmith, London SW6 6HH, Reino Unido
-Monumento frente al Hotel "Bayerischer Hof" (Decorado por fans de MJ como memorial desde 2009): Estatua de Orlando di Lasso Promenadeplatz, 80333 Munich, Alemania
-Estatua Tributo a MJ: Vainer St.(delante del Greenwich Shopping Mall), Yekaterinburg, Rusia
VARIOS
-Monumento Vittorio Emanuele II (Visita de MJ a Roma 1988): Piazza Venezia, 3, 00187 Roma, Italia
-Sony BMG London "Sony Sulks"(Michael realiza su protesta contra Sony Music subido a un Bus Inglés): 9 Derry St, London W8 5HY, Reino Unido
-Los Musicos de Bremen (MJ se fotografia junto a esta figura en su paso por Alemania en la gira HIStory): Am Markt, 28195 Bremen, Alemania
-Parque de Atracciones de Liseberg (Visita de MJ en la epoca BAD. Hay una estrella en su honor y las hullas de sus manos): Örgrytevägen, 402 22 Göteborg, Suecia
ASIA TOUR
ESTADIOS & AUDITORIOS
-Yokohama Stadium (Lugar del mitico concierto del Bar Tour '87): 3302-5 Kozukue, Kohoku-ku, Yokohama City, Japon
TIENDAS, COMERCIOS & RESTAURANTES
-Heaven 'n Eggs (Restaurante en el que se ha hecho un menú en honor a MJ): Glorietta 4. Unit 104 G/F, Glorietta 4, Ayala Center. Makati City, Filipinas
-Cafe & Bar MJM (Bar con tematica dedicada a MJ): 1-57-1, Chofu, Tokio
MEMORIALES
-Heaven 'n Eggs (Restaurante en el que se ha hecho un menú en honor a MJ): Glorietta 4. Unit 104 G/F, Glorietta 4, Ayala Center. Makati City, Filipinas
-Escultura en Honor a MJ: 545号 Xiatang West Road, Baiyunqu, Guangzhou, Guangdong, China
VARIOS
-Wild Wadi Water Park (Parque Acuatico alquilado por MJ): Bahrain City Centre, Manama Bahrain, Dubai
-Studio Coast (Evento Premium VIP Party 2007. Michael llego vestido con el famoso traje negro con leoncitos amarillos): 2-2-10 Shinkiba, Koutou-Ku, Tokio, Japon
SUDAMERICA TOUR
VIDEOCLIPS
-Fabelas Morro Santa Marta (Lugar donde se rodó "They Don't Care About Us"): Rua Marechal Franciso de Moura, 234, Botafogo, Rio de Janeiro, RJ, 22260-140, Brasil
VARIOS
-Oficialia del Estado Civil de la Segunda Circunscripción de La Vega (Lugar donde se casaron de manera civil MJ y Lisa Marie): C/Manuel U. Gómez, no. 86, Edif. Juzgado de Paz, La Vega
-Park Hyatt Hotel (ahora llamado "Four Seasons") Mansion "Alzaga Unzue" (anexa al hotel, donde MJ se hospedo durante su estadia en Argentina en el 93): Avenida Alvear, 1661 Buenos Aires, Argentina
MEMORIALES
-Estatua y Mosaico de MJ (En la misma zona donde fue rodado TDCAU): Espacio Michael Jackson, Morro Dona Marta, Rio de Janeiro
OCEANIA TOUR
MEMORIALES -Muro Tributo de los Candados de Amor (Tributo a MJ): Parque de la bahía de Sydney, Sydney, Australia
Muchas gracias a la comunidad de MJHIDEOUT por los aportes prestados a esta genial guía.
Si alguien tiene más lugares interesantes sobre los pasos de MJ no dude en compartirlos!

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