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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.

WHO IS JEFF MCBRIDE?
Chances are you are reading this article because you already have some interest in playing cards. 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 playing card 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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PLAYING CARDS & CARD MANIPULATION
You have set several Guinness World Records. What can you tell us about these?
I have three Guinness World Records, two of them for coin rolling, and one of them for card spinning. My Guinness World Record certificate states that I was able to "single handedly spin or scale a record of 106 playing cards within 60 seconds." That was set in 2004 for speed, for card throwing.
You are known for your skill in card manipulation. How would you distinguish magic from cardistry?
When they're fused together, they're indistinguishable, because of the flow state. Here are some flourishes, here are some card tricks - I think it can be seamlessly blended together. When I watch young cardists out there, I'm just amazed by the things that I see them doing these days. I'm totally delighted, and it's magical for me. Magicians that call cardistry "juggling" are just not getting what it's about. It's about entering a flow state, mastering these series of moves, and then pushing the envelope, until you have many of these different flourishes that you can string together seamlessly. That's the elegance of it.
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.

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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.
Do you have any thoughts about the current boom in cardistry, and how this has become immensely popular in recent years?
The deck of cards is a great equalizer, isn't it? Here you have 52 objects, and now all you have to do is add your creativity and countless hours of practice and commitment to perfection. It's not like you can buy it. Acquiring the next magic illusion is quite different than acquiring the next impossible flourish with cards. You just can't do it, it has to come from the heart and soul. That's why I think cardistry became such a phenomenon. It doesn't have any language barriers, cultural barriers, or status barriers. All that separates one from being average or great is the commitment to perfection, artistry, and beauty.
What brand/type playing cards did you first use when you started magic and card manipulation?
I used every card I could get my hands on. There were bridge-size decks for card fanning that would have four different colors or four different patterns, so you could get the different color fans out of them. Really good fanning decks are sorely lacking today; I very rarely see any of these new decks being good fanning decks. But I would collect every thin card I could possibly find at that time. Very few people at that time were making flesh colored cards. Sometimes you had to strip cards down, and then paint them flesh colored, and use lots of powder to make them fan again.
Early on I used Crusaders, because in my teens that's what Jeff Sheridan was using, so I used Crusaders that you could get at Woolworth's. Bee cards are okay, but when they reach a certain age they just crack. A lot of the `old school' used and swore by the old Denver Plaids and the old Steamboats. So when I was in my tens and early teens (11-15 years old), there was a lot of Steamboats, and in my later teens I used Crusaders.
What brand/type playing cards do you mostly use today?
I switched over to my own brand, when I had my own cards printed by Phoenix (my cards are available on my site here). Phoenix really pays attention to their cutting and I'm very fond of Phoenix brand cards published by Christian Schenk from Card-Shark.
What do you think are the essential qualities of a good deck of playing cards?
The ability to fan them out of the pack, and their ability to faro shuffle. Those are the two prime ingredients. That they don't need fanning powder. That they're not too slippery, so you don't have to work with them too long to get the finish off, and that they faro well. I'm mostly a stage performer, and I do close up as well. I love some of the decks that you have, with the very whimsical face designs. But for me it's the way the cards handle more than the way they look.
Has the quality of playing cards has improved over the years?
Oh, absolutely. Absolutely the quality has improved over the years. The finishes these days and the deck designs are just incredible.

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What are your thoughts on the explosion of custom playing cards that we are seeing today?
For me personally, I don't see enough nice fanning decks. I would collect them, but they're not out there.
I think the next step for card collectors is: how do you store and display them? The serious person will start to make floor to ceiling displays for walls of cards with a giant ladder, like a library so you can have these decks on display. I've seen some people have little wall panels that will hold 20 decks or so, but how about something like a turning rack, like the racks for displaying CDs or a turning poster rack? If somebody could come up with some sort of system.
And now we have some place to display them and take them out, then the great question is: do I take them out of the box, or are they just sealed? Or do I always have to buy two decks - one to play with, one to keep sealed? I see people doing both.
However I have yet to see a really beautiful card collection display that goes beyond `decks in a drawer', or `decks on a wall', or `decks on a tabletop'. If you consider these cards art (and they are - the back designs and the front designs are art), how do you display this art? How do you put it in a frame, and how do you appreciate it? Do you put it in a shoebox and say "Here's my card collection"? Do you have it in a little wall display of 20 decks and say "Here are my 20 decks"?
What impact has crowdfunding like Kickstarter had on the custom playing card industry and collecting?
People feel part of the creation, and feel like they can be patrons of the art. It's like: "Oh, I can be part of this, I can be part of this creative process, I can be a co-collaborator." So that's a good thing that I'll say about it. People support what they help create, and people feel like they're helping create art. I think we need more people that are patrons of the arts. And playing cards is a very good way to share your wealth, and support other people's creative enterprises.
Do you recommend performing magicians get their own branded custom deck of playing cards?
Absolutely. But it depends on what impression you want to make. Some people like to use regular cards because they look very normal. I use my own cards because they're very special, and they have my name on them. If somebody looks at my cards, they'll say, "Wow, Jeff has his own brand of playing cards, he must be very good." You can drive a car, but you can design and manufacture your own car. Who do you deem more magical? Probably the person that's designed their own car.
And when I throw my cards into the audience, it's not the end of my show. It's the beginning of an adventure, because on the back the card it says: "Every card has a special meaning. To discover this card's secret, you have to go to my website." So now they have to go on this mysterious quest to find out the meaning of their card. It's a tarot information site. And when they get to my website after they catch one of my special cards, now they have an opportunity to pick an email address of a friend, and throw that card around the world to them. So I'm continuing the tradition that got me into magic; I'm throwing a card out and saying, "Here, pick this card." And they pick up that card in the audience, and hopefully it will take them on a magical adventure for the rest of their lives.
How many decks or cards have I gone through throughout the years? Tens of thousands. I go through at least two decks a show, for tens of thousands of shows.
Do you personally collect playing cards?
I'm not manic about it, but I collect good fanning decks. If a particular design of a more standard deck hits my radar, I'll pick it up. I like some of your decks, they're very beautiful.
Sometimes it's the box - it makes a statement. Sometimes the card box is the tuxedo for the cards. So the card box in my opinion has a lot to do with matching the performer's style and creating an aesthetic for the magical performance.
And it's even how you take the cards out of the box. If you read Roberto Giobbi's books, he's got very special ideas on how to remove the cards from the box, and how the box is put away. The Dean of the Mystery School teaches what he feels is the proper way to present a pack of cards out of your pocket, remove it from the deck gracefully, and place the box away. There are more refined ways to present a deck of cards to people than just tossing a box of cards on the table.
A deck of cards is a wonderful, mysterious, enchanting object. Fortunes are won and lost, and lives have come and gone on the turn of a single playing card. I live in Las Vegas, which is a town that was built on playing cards, divination systems, dice, and spinning wheels of fortune. Cards have an incredibly deep history and connection to mystery, and they're inherently very mysterious. So it's no wonder how people are attracted to their many different manifestations these days, whether it's a special box, or a back design, or a limited edition.

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Do you use playing cards for anything besides card magic and card manipulation?
I give very extensive workshops on the history of Tarot. We have an extraordinary collection of Tarot decks here, and also Tarot books. We also collected the greatest Tarot teachers from around the world to come and teach every year at the Las Vegas Tarot Summit.
Is there anything else you'd like to share?
I did an entire performance based on two cards. I did an off-Broadway show called Mask of the Mystic, and it was about two playing cards: the Magician card and the Fool card of the Tarot. I had originally designed an entire show around the Major Arcana of the Tarot cards back in the '80s, with a performance piece for each and every card. But the show was so dense with symbolism and meaning and complex, that I decided to keep it to just the first two cards. I played the Magician card, and a juggler named Michael Marlon played the Fool card, the innocent. There was a great dynamic between a trickster and an all too serious mage wizard character, and it was about the relationship between being blissfully ignorant, and being overly-fixated on the symbolism and meaning of magic.
That really sums up the experience with playing cards. Playing cards can be used for gambling. They can be used as a pastime to pass the time and play solitaire. They can be used for card magic. They can be used for cardistry. And for me, a deck of playing cards is a magic carpet that has taken me all over the world and has introduced me to incredible experiences, taken me to incredible places, and introduced me to all of the people I love most dearly in life.
So whether you're a fool just beginning your journey through the playing card story, or if you're at the end of your story as a wizard counting down your days, remember that there is a deck of playing cards - and perhaps a single playing card - that can change a person's life. So next time a person says "Pick a card," remember that this moment can change a life forever.

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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.

WHO IS JEFF MCBRIDE?
Chances are you are reading this article because you already have some interest in playing cards. 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 playing card 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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PLAYING CARDS & CARD MANIPULATION
You have set several Guinness World Records. What can you tell us about these?
I have three Guinness World Records, two of them for coin rolling, and one of them for card spinning. My Guinness World Record certificate states that I was able to "single handedly spin or scale a record of 106 playing cards within 60 seconds." That was set in 2004 for speed, for card throwing.
You are known for your skill in card manipulation. How would you distinguish magic from cardistry?
When they're fused together, they're indistinguishable, because of the flow state. Here are some flourishes, here are some card tricks - I think it can be seamlessly blended together. When I watch young cardists out there, I'm just amazed by the things that I see them doing these days. I'm totally delighted, and it's magical for me. Magicians that call cardistry "juggling" are just not getting what it's about. It's about entering a flow state, mastering these series of moves, and then pushing the envelope, until you have many of these different flourishes that you can string together seamlessly. That's the elegance of it.
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.

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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.
Do you have any thoughts about the current boom in cardistry, and how this has become immensely popular in recent years?
The deck of cards is a great equalizer, isn't it? Here you have 52 objects, and now all you have to do is add your creativity and countless hours of practice and commitment to perfection. It's not like you can buy it. Acquiring the next magic illusion is quite different than acquiring the next impossible flourish with cards. You just can't do it, it has to come from the heart and soul. That's why I think cardistry became such a phenomenon. It doesn't have any language barriers, cultural barriers, or status barriers. All that separates one from being average or great is the commitment to perfection, artistry, and beauty.
What brand/type playing cards did you first use when you started magic and card manipulation?
I used every card I could get my hands on. There were bridge-size decks for card fanning that would have four different colors or four different patterns, so you could get the different color fans out of them. Really good fanning decks are sorely lacking today; I very rarely see any of these new decks being good fanning decks. But I would collect every thin card I could possibly find at that time. Very few people at that time were making flesh colored cards. Sometimes you had to strip cards down, and then paint them flesh colored, and use lots of powder to make them fan again.
Early on I used Crusaders, because in my teens that's what Jeff Sheridan was using, so I used Crusaders that you could get at Woolworth's. Bee cards are okay, but when they reach a certain age they just crack. A lot of the `old school' used and swore by the old Denver Plaids and the old Steamboats. So when I was in my tens and early teens (11-15 years old), there was a lot of Steamboats, and in my later teens I used Crusaders.
What brand/type playing cards do you mostly use today?
I switched over to my own brand, when I had my own cards printed by Phoenix (my cards are available on my site here). Phoenix really pays attention to their cutting and I'm very fond of Phoenix brand cards published by Christian Schenk from Card-Shark.
What do you think are the essential qualities of a good deck of playing cards?
The ability to fan them out of the pack, and their ability to faro shuffle. Those are the two prime ingredients. That they don't need fanning powder. That they're not too slippery, so you don't have to work with them too long to get the finish off, and that they faro well. I'm mostly a stage performer, and I do close up as well. I love some of the decks that you have, with the very whimsical face designs. But for me it's the way the cards handle more than the way they look.
Has the quality of playing cards has improved over the years?
Oh, absolutely. Absolutely the quality has improved over the years. The finishes these days and the deck designs are just incredible.

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What are your thoughts on the explosion of custom playing cards that we are seeing today?
For me personally, I don't see enough nice fanning decks. I would collect them, but they're not out there.
I think the next step for card collectors is: how do you store and display them? The serious person will start to make floor to ceiling displays for walls of cards with a giant ladder, like a library so you can have these decks on display. I've seen some people have little wall panels that will hold 20 decks or so, but how about something like a turning rack, like the racks for displaying CDs or a turning poster rack? If somebody could come up with some sort of system.
And now we have some place to display them and take them out, then the great question is: do I take them out of the box, or are they just sealed? Or do I always have to buy two decks - one to play with, one to keep sealed? I see people doing both.
However I have yet to see a really beautiful card collection display that goes beyond `decks in a drawer', or `decks on a wall', or `decks on a tabletop'. If you consider these cards art (and they are - the back designs and the front designs are art), how do you display this art? How do you put it in a frame, and how do you appreciate it? Do you put it in a shoebox and say "Here's my card collection"? Do you have it in a little wall display of 20 decks and say "Here are my 20 decks"?
What impact has crowdfunding like Kickstarter had on the custom playing card industry and collecting?
People feel part of the creation, and feel like they can be patrons of the art. It's like: "Oh, I can be part of this, I can be part of this creative process, I can be a co-collaborator." So that's a good thing that I'll say about it. People support what they help create, and people feel like they're helping create art. I think we need more people that are patrons of the arts. And playing cards is a very good way to share your wealth, and support other people's creative enterprises.
Do you recommend performing magicians get their own branded custom deck of playing cards?
Absolutely. But it depends on what impression you want to make. Some people like to use regular cards because they look very normal. I use my own cards because they're very special, and they have my name on them. If somebody looks at my cards, they'll say, "Wow, Jeff has his own brand of playing cards, he must be very good." You can drive a car, but you can design and manufacture your own car. Who do you deem more magical? Probably the person that's designed their own car.
And when I throw my cards into the audience, it's not the end of my show. It's the beginning of an adventure, because on the back the card it says: "Every card has a special meaning. To discover this card's secret, you have to go to my website." So now they have to go on this mysterious quest to find out the meaning of their card. It's a tarot information site. And when they get to my website after they catch one of my special cards, now they have an opportunity to pick an email address of a friend, and throw that card around the world to them. So I'm continuing the tradition that got me into magic; I'm throwing a card out and saying, "Here, pick this card." And they pick up that card in the audience, and hopefully it will take them on a magical adventure for the rest of their lives.
How many decks or cards have I gone through throughout the years? Tens of thousands. I go through at least two decks a show, for tens of thousands of shows.
Do you personally collect playing cards?
I'm not manic about it, but I collect good fanning decks. If a particular design of a more standard deck hits my radar, I'll pick it up. I like some of your decks, they're very beautiful.
Sometimes it's the box - it makes a statement. Sometimes the card box is the tuxedo for the cards. So the card box in my opinion has a lot to do with matching the performer's style and creating an aesthetic for the magical performance.
And it's even how you take the cards out of the box. If you read Roberto Giobbi's books, he's got very special ideas on how to remove the cards from the box, and how the box is put away. The Dean of the Mystery School teaches what he feels is the proper way to present a pack of cards out of your pocket, remove it from the deck gracefully, and place the box away. There are more refined ways to present a deck of cards to people than just tossing a box of cards on the table.
A deck of cards is a wonderful, mysterious, enchanting object. Fortunes are won and lost, and lives have come and gone on the turn of a single playing card. I live in Las Vegas, which is a town that was built on playing cards, divination systems, dice, and spinning wheels of fortune. Cards have an incredibly deep history and connection to mystery, and they're inherently very mysterious. So it's no wonder how people are attracted to their many different manifestations these days, whether it's a special box, or a back design, or a limited edition.

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Do you use playing cards for anything besides card magic and card manipulation?
I give very extensive workshops on the history of Tarot. We have an extraordinary collection of Tarot decks here, and also Tarot books. We also collected the greatest Tarot teachers from around the world to come and teach every year at the Las Vegas Tarot Summit.
Is there anything else you'd like to share?
I did an entire performance based on two cards. I did an off-Broadway show called Mask of the Mystic, and it was about two playing cards: the Magician card and the Fool card of the Tarot. I had originally designed an entire show around the Major Arcana of the Tarot cards back in the '80s, with a performance piece for each and every card. But the show was so dense with symbolism and meaning and complex, that I decided to keep it to just the first two cards. I played the Magician card, and a juggler named Michael Marlon played the Fool card, the innocent. There was a great dynamic between a trickster and an all too serious mage wizard character, and it was about the relationship between being blissfully ignorant, and being overly-fixated on the symbolism and meaning of magic.
That really sums up the experience with playing cards. Playing cards can be used for gambling. They can be used as a pastime to pass the time and play solitaire. They can be used for card magic. They can be used for cardistry. And for me, a deck of playing cards is a magic carpet that has taken me all over the world and has introduced me to incredible experiences, taken me to incredible places, and introduced me to all of the people I love most dearly in life.
So whether you're a fool just beginning your journey through the playing card story, or if you're at the end of your story as a wizard counting down your days, remember that there is a deck of playing cards - and perhaps a single playing card - that can change a person's life. So next time a person says "Pick a card," remember that this moment can change a life forever.

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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.

Going through old issues of the Wrestling Observer Newsletter and posting highlights in my own words. For anyone interested, I highly recommend signing up for the actual site at f4wonline and checking out the full archives.
PREVIOUS YEARS ARCHIVE:
1991 • 1992 • 1993 • 1994 • 1995 • 1996 • 1997 • 1998 • 1999


1-3-2000	1-10-2000	1-17-2000	1-24-2000
1-31-2000	2-7-2000	2-14-2000	2-21-2000
2-28-2000	3-6-2000	3-13-2000	3-20-2000
3-27-2000	4-3-2000	4-10-2000	4-17-2000
4-24-2000	5-1-2000	5-8-2000	5-15-2000
5-22-2000	5-29-2000	6-5-2000	6-12-2000
6-19-2000	6-26-2000	7-3-2000	7-10-2000
7-17-2000	7-24-2000	7-31-2000	8-7-2000
8-14-2000	8-21-2000	8-28-2000	9-4-2000
9-11-2000	9-18-2000	9-25-2000	10-01-2000
10-09-2000	10-15-2000	10-23-2000	10-30-2000

Bret Hart officially announced his retirement this week due to concussions he suffered starting back at Starrcade from a Goldberg kick. Doctors actually speculated that Hart may have had a concussion going into the match, but the kick magnified the damage. Following the Goldberg match, Hart continued to wrestle for a couple of weeks and got rocked again several times, particularly in a hardcore match with Terry Funk. Doctors said he's suffered about 10% brain damage, some of which may be permanent. Despite the injury, there was always the possibility that he could have remained an on-screen character in some role. But Hart was fired by WCW last week, which basically left him with no real options, since he has no intention of ever working for WWF again and said he doesn't want to end his career by working his way down the minor league food chain like so many other wrestlers do. Dave says Hart will be remembered for many things, and while his career had no shortage of memorable moments, the name Bret Hart will always be mostly associated with what happened in Montreal 3 years ago and with the death of his brother Owen. The first was the most historically influential match in modern times and Owen's death was the biggest mainstream news story in wrestling history. The last 3 years of Bret's life have been hell, from a disappointing WCW run, injuries, and the utter destruction of the Hart family in the wake of Owen's death. Dave thinks it's sad because if this was Japan or Mexico, the wrestling culture there is different. If a star on the level of Bret Hart retired there, they would have elaborate retirement ceremonies and make a huge deal of it. But here in America, he was double-crossed out of the WWF to avoid giving him a fond farewell, and then he was unceremoniously fired from WCW rather than having a chance to officially retire in the ring or give a speech for his fans. Then again, with the state of WCW, nobody would have believed a Bret Hart retirement speech anyway, since everyone would just suspect an angle. But it sucks that he's having to hang up the boots while unemployed and with no outlet to be given the send-off he deserves.
Dave recaps Bret's career, starting as a teenager in the Amarillo territory with Dory Funk, his time in Japan, and then starting in Stampede and working his way up the ladder there (he started as an opening match jobber). Forming the Hart Foundation with Neidhart, their years together in WWF, his singles run, becoming IC and WWF champion when business was down and Vince needed someone who wasn't exploding with steroids to be the face of the company. As WWF champion, business was weak in the U.S. but Hart was a huge draw when WWF toured internationally (which they did a lot more back then because U.S. business was so bad). And then of course, Shawn Michaels, the Screwjob, and off to WCW where he was the hottest star in the business upon arrival. But from there, he was the victim of injuries and horrible booking and Hart in WCW never clicked. Dave goes on and on about the countless times WCW dropped the ball with how they booked Bret. Anyway, Hart has ruled out ever wrestling again, for fear of more brain damage and not wanting to live the rest of his life as a drooling vegetable. He also shot down the idea of ever being a manager because he's unhappy with the direction of the business and says he's leaving the industry entirely, not just the in-ring part. He plans to spend the next year working on a book about his life and doing some acting. Luckily, he should be well off financially. He earned north of 7 figures during his last four years in the business and has a Lloyds of London disability policy that will pay him the equivalent of 6 months salary, which will be another million or so.
Bret Hart announced his retirement in his Calgary Sun column and since you can't just easily find this online anymore, here's what Bret wrote:

There will come a time when you believe everything is finished. That'll be the beginning." -- Louis La'Amour.
I'm really sorry to have to say that my professional wrestling career is over--forever. Although I've expected it to end for some time now, I could in no way ever prepare for it.
I suppose it doesn't do much good to speak negatively about how this or that has gone for me. I feel it is more fitting right now to remember the more positive aspects of my long and great career. I have not one regret. I'm proud of all my achievements, especially my seven World Heavyweight Championships.
I will miss the cities, the countries, especially the people--all colours, all religions, all ages, all languages. I've always tried my absolute best in every match, in every city, big or small, in countries all around the world.
I cannot begin to explain how proud I am to have touched so many people with the ability to wrestle. My heart is filled with memories. Like when I was mobbed at the Wailing Wall in Jerusalem by Palestinian children, tears in their eyes, kissing my hands. In Belfast, Ireland, being cheered on by both Catholic and Protestant fans, the emotions that poured out as I walked around the ring high-fiving our victory together. The time I was in Bahrain, Saudi Arabia, where they waved Canadian flags and chanted O Canada! I could go on endlessly, but maybe it's easier to say I was privileged to be the only world champion who really travelled the world.
I hope that my fans who have kept the faith, believing in me, may in some small way take some lesson from me that will help them in their lifetime. I will never forget how touched I was in Rochester, N.Y. in one of my last matches, when a bunch of die-hard fans held up a sign that read: Parking $10, Program $5, Ticket $35, watching Bret Hitman Hart wrestle--priceless."
I'm forever grateful for the doors that opened bringing me to America. Thank you for having me, for giving me so much. I thank all my fans everywhere. I owe you all for everything I am.
As for the wrestlers, it would mean a lot to me to always be remembered as "one of the boys." I've made great friendships that will last my lifetime and look forward to an easier life filled with reminiscing.
To all of you who worked with me, carried me, and trusted me, those who allowed my success to continue while theirs did not, all from a deep sense of tradition and honour. I tried to always work hard to be champion in your eyes first. My greatest accomplishment is knowing that I never seriously harmed one wrestler. It may not seem important, but I want it remembered that in all the years I never, ever refused to lose to another wrestler--except once--and that was that fateful day in Montreal, where it's clear that I stood up for "the boys."
I could begin to list all the great wrestlers I either watched or worked with, but it would take forever. I will simply say that I'd give anything to climb into the ring with so many of you just one more time. To most people, wrestling is stupid, it's fake, it doesn't mean anything. When I think about it, I'm reminded of a quote by George Braque: "Art is a sound turned to light."
I drift back to a time when I was 23 years old, wrestling for my father, in Regina, making $150 a night. It looked like it was going to be a near full crowd on hand to see me take on my arch rival, The Dynamite Kid, in a ladder match. The title and a bag supposedly containing $5,000 dangled from a string above the ring. Whoever could climb the ladder and grab it first would be the winner.
We were both so young when I look back on it now, so intense, when the bell rang, we tore into each other, ferociously, eventually spilling out onto the floor. I went to slam Dynamite's head into a steel chair. He, of course, had his hands up for protection, but I had no idea he would hit it so hard. His head bounced back, I tried to turn, but our heads smashed. I split the back of his head open and shattered my face, one of those rare accidents.
I could tell it was bad. I could poke my finger through a gaping hole in the middle of my nose. The blood poured. We fought on. I remember Dynamite jumping up high, gripping that heavy steel ladder coming down straight down on my head. I didn't move. The crowd gasped. I dreamed a smile--because he never even touched me. He really was the best. Finally, I had him right where I wanted him, but the referee was down. That's when J.R. Foley crept up on the apron and whacked me across the back with his heavy walking stick. Down I went. The crowd was furious--so unfair. Dynamite began to climb to the top, his fingers reaching. Suddenly, I jumped up, throwing a perfect desperation drop kick, just like he asked me. "...just barely touch the ladder with your toes. I'll control how I go over."
Sure enough, the ladder wobbled and tipped, he grimaced, over they both went, with amazing timing. Dynamite leapt off, straddling the top rope, bouncing up and out right on top of J.R. Foley. But the ladder hit the top rope with such force, bouncing all the way back, heading right toward me. I was lucky I saw it. I rolled and rolled as fast as I could. It crashed with a thud, missing my head by only inches. I sat up, checking to see if Dynamite was hurt. He appeared to be all right, but still both of us knew we'd be going for some stitches.
He was riding with me, so he had to duck down when we drove past the fans on the way to the Pasqua Hospital. From there, we drove back home, all night, so that we could wrestle the following night, too tired to say a word to each other.
But if I can stop right there...to somehow try and explain just what it is that I will miss the most about wrestling, I loved it all so much. I stood that big steel ladder up, one step up, climbing higher and higher, the crowd soaring with me, louder and louder, the blood dripping off my nose...reaching...I pulled that belt down and there it was--it happened. The crowd exploded.
We blew the roof off...so loud I could not hear a single sound except the beating of my own heart. If you're lucky enough to find a way of life you live, you also have to find the courage to finally say goodbye.
I'll put my guns in the ground. I can't shoot them any more.

The WWF/Owen Hart lawsuit was verbally settled out of court, pending a court approval scheduled later this week. Various sources have pegged the settlement at $18 million. It's believed Stu and Helen Hart will receive somewhere between $2-3 million, with the rest going to Martha Hart and her two young children. Martha told the Calgary Sun that the whole ordeal has been a nightmare and she can't say much more for legal reasons but that she's satisfied with the settlement. It's believed that WWF may file suit against the company that manufactured the rigging equipment, but Vince McMahon would only say that they are exploring their options on that. Martha Hart had previously vowed she would never settle before the case went to court, but those close to her say she was tired of the stress and was particularly upset that the case had torn the Hart family apart. Stu and Helen in particular were eager to settle and get it over with. The first round of settlement talks went poorly, with McMahon reportedly offering $17 million and refusing to budge, while Martha's initial asking price was said to be $32 million. It ended with Martha "cutting a promo" on Vince (oh Dave...) and talks broke off. The case was made more complicated by different Hart members' inability to stop talking to the media against lawyers' advice. At one point, Ellie Neidhart (Nattie's mom), who has sided against her parents and with WWF in the case, took a document from Stu Hart regarding all of the Hart children getting money out of the case and passed it on to WWF's lawyers, which engulfed the Hart lawyers in a storm of controversy and nearly blew up their whole case. The original Feb. 2001 court date was postponed indefinitely following that and with no new court date in sight so it was likely to continue dragging on for months and maybe even years. So ultimately, Martha decided to settle (yeah I think to this day, Martha blames Ellie for almost destroying the case and that's why she was forced to settle). As of press time, Bret Hart hasn't yet commented on the settlement, but he knew it was coming. He was on the Observer Live online show the day before it was finalized and said he understood Martha's position and would support whatever decision she made.
The downward spiral of Davey Boy Smith hit a new low this week when he was arrested on 2 separate occasions for allegedly threatening the life of his estranged wife, Diana Hart-Smith. Dave talks about Smith's worsening drug problems in recent years along with all his health issues in between and how he's been in and out of the hospital constantly in the last two years. He also had a motorcycle accident a few weeks ago, multiple rehab stints, etc. Anyway, Smith was arrested on Oct. 25th and again on Oct. 26th. The first time, it was on 2 counts of threatening to kill his wife and her sister Ellie (again...Nattie's mom). After being released the next day, he allegedly threatened his wife again and was arrested again. She thought he was still in custody and went back to the house and was surprised to find him there and that led to the second arrest. Police have been to their house several times in the last few months for domestic disputes. There was also an incident a while back with Smith getting into a fight with Diana's new boyfriend, a Stampede wrestler who wrestles under the name Dick Butkus Jr. during which 85-year-old Stu Hart had to get involved and help break it up. Anyway, Smith spent this past weekend behind bars in Calgary, spending his time signing autographs for other inmates, but was released on the 30th on bail. But he faces 5 charges related to all his threats. Part of the conditions for his release were paying a $10,000 fine and he's not allowed to have any contact with Diana, Ellie, Bruce Hart, or Diana's new boyfriend. (Dave later mentions that Davey Boy is shacking up with Bruce's estranged wife Andrea now. Man, this fuckin' family, I tell ya...) He's also not allowed to drink or take any non-prescribed drugs and is ordered to stay away from where his wife is staying, along with staying away from Bruce Hart's home and Stu Hart's home. He was also ordered to enter rehab, even though he denied in court that he still has a drug problem.
Davey Boy is still under WWF contract, though he hasn't wrestled a match in months. But the WWF has suspended him pending the company's own investigation of the charges. In the past, he blamed his drug issues and back problems from taking a bump on Ultimate Warrior's trap door in the ring when he was in WCW. Dave recaps the series of events that led to him getting rehired by WWF and talks about how they hired Jim Neidhart back as well and it was no secret that Smith, Diana, and Neidhart's wife Ellie were all planning to testify against the family in the Owen Hart case if it had gone to trial. So it wasn't exactly a coincidence that both Smith and Neidhart got jobs that neither of them really had any business getting (Neidhart was hired as a trainer, which everyone knew he wasn't qualified for and Smith was brought back as a wrestler despite a crippling back injury and more crippling drug problem). Neidhart was quietly released a few weeks ago and with the Owen Hart lawsuit finally settled, it probably doesn't look good for Smith (indeed, he never stepped foot in the WWF again).
WCW Halloween Havoc is in the books and was possibly the worst wrestling PPV of the year. At this point, you'd think everyone in WCW would be putting their best foot forward to impress potential buyers, especially if that buyer ends up being the WWF and Vince becomes their new boss. But it was almost all bad matches and abysmal booking. The only bright side is that it was in Vegas and a lot of the tickets were sold to casinos for giveaways, so the show ended up being one of the biggest live gates WCW has had in awhile, even if the crowd wasn't exactly all wrestling fans. Russo is now out of the picture (claiming post-concussion syndrome and stress), but the show was booked by guys like Ed Ferrara and Bill Banks, who are basically mini-Russos and are just keeping his chair warm. So it wasn't quite the same scattershot chaos as most Russo-booked shows, but it still had the same lack of understanding about what makes a good wrestling show that Russo has perfected. Everyone involved (Ferrara, Banks, Terry Taylor, Johnny Ace, etc.) were told to continue Russo's stories rather than changing direction so everything mostly stayed the same.
Other notes from Halloween Havoc: the opening tag title three-way match was the best and really only good match on the show., due to Mysterio, Kidman, and Alex Wright's performances. In typical WCW fashion, they had a top notch snafu showing Palumbo and Stasiak in their street clothes backstage, just seconds after being in their gear and doing a run-in on the previous match. So they put up a thing on the screen that said "taped earlier in the day" to cover for it, but then during the segment, Palumbo and Stasiak were talking about what they just did in the ring minutes earlier. David Flair looked totally lost in his first blood match with Bagwell and even though he's been a midcard star in WCW for over a year now, Dave says if he went to OVW, he'd still be the worst guy on the roster. David Flair is just not ready for the big leagues and it shows. Negative star. Mike Sanders vs. The Cat in a kickboxing match was a total clusterfuck that Cat apparently refused to do the job for since it's "his" gimmick match, so he lost by count-out instead, even though the time limit for the last round had already expired and it was just a mess. Negative half star. Mike Awesome vs. Vampiro is negative 2.5 stars. That's three matches in a row in the negatives, with 2 DUD rankings book-ending them. Dave expected Awesome/Vampiro to actually be good but it had more blown spots than any match he's seen on PPV in years. They were apparently supposed to do a table spot to end the match but they couldn't find any tables under the ring and the match fell apart and Vampiro ended up taking a top rope powerbomb that gave him a concussion and shook him up badly (didn't stop WCW from having him take another powerbomb at the Thunder taping the next day, even though he told them beforehand about the concussion, but we'll get there). And babyface world champion Booker T was booed by a good chunk of the crowd during his match with Scott Steiner.
The latest PRIDE event in Japan drew a sellout crowd mostly due to so many pro wrestlers being involved. It also saw Naoya Ogawa defeat Masaaki Satake in a match most people believed was worked. Ogawa is Antonio Inoki's protege and he's keeping Ogawa protected. Dave says it definitely helps Ogawa keep his name and star power in a highly publicized match, but it doesn't say a lot for PRIDE's credibility. There's also suspicion that Nobuhiko Takada's fight against Igor Vovchanchyn was somewhat worked. Takada lost, but Igor is one of the top ranked heavyweights in the world and Takada went nearly 2 full rounds with him. Most people suspect the finish wasn't worked, but that Igor was told to take it easy on him because Takada is still a big draw and they wanted him to look strong in defeat against a guy he had no chance with. There were several other wrestlers on the card as well. Inoki came out at intermission and announced he was putting together his own show at the Osaka Dome for New Year's Eve (this ends up being the Inoki Bom-Ba-Ye show, which also sees Inoki come out of retirement for his final "match" ever. More on all this in a bit).
Genichiro Tenryu, at age 51, defeated Toshiaki Kawada to win the tournament and be crowned AJPW's newest Triple Crown champion, filling the vacancy left over after previous champion Kobashi left for NOAH. This complicates the AJPW/NJPW angle. There's 2 Tokyo Dome shows coming up in January. The first is NJPW's Jan. 4th show and there's another one near the end of the month that's an AJPW show, but will have some NJPW involvement. But Motoko Baba wants to protect the champion because she's hoping AJPW will still survive after the NJPW angle is over. In the past, companies like UWFI and WAR were desperate to survive and started working with NJPW, only to be devoured by NJPW's booking and left to die after the angle ran its course. Mrs. Baba is hoping to avoid the same fate, so she's not going to let Tenryu work a NJPW show and lose (remember, at the last show, NJPW's champion Kensuke Sasaki lost to Kawada and they won't let that happen 2 times in a row). Now that he's not the champion, it frees Kawada up to have a rematch with Sasaki, where he will presumably return the favor and do the job, but it won't be to unify the titles anymore.

WATCH: Genichiro Tenryu vs. Toshiaki Kawada - AJPW Triple Crown Championship match

Let's look at some various poll results. Every issue has results for the polls they run online every day or so. Usually I skip over these because they're boring but they're kinda interesting this week. "How should WCW handle the situation with Kevin Nash and Scott Hall" got 55% of voters saying Nash should be suspended for going off script on live TV. As for the future of ECW, 30% of voters think it won't last much longer, while most everyone else thinks it will struggle but continue to survive. Whoops. And finally, Bret Hart's greatest match was 35% for the match with Owen at WM10 and 33% for the match with Austin at WM13.
Stan Hansen has an autobiography that was released in Japanese that is selling like crazy in Japan. Hansen is near the end of his career, but he's probably the most popular American wrestler in Japanese history and has been a top star there since the 70s. (Hansen had an English autobiography released in 2012 called The Last Outlaw. I'm not sure if it's the same book translated to English or if there's another one out there in Japanese from 12 years earlier).
NOAH will hold tournaments early next year to crown their first heavyweight, tag team, and junior heavyweight champions.
Shinya Hashimoto was pulled out of upcoming NJPW shows because they're apparently doing an angle where he is starting his own promotion, in order to do a feud with NJPW (turns out this wasn't an angle at all. Hashimoto really did get fired from NJPW around this time and started Pro Wrestling Zero-One. The real story there is murky and no one seems to know for sure exactly what led to his firing. I think he ended up doing one or two more matches for NJPW over the next year or so, but otherwise, this is the end of Hashimoto in NJPW).
Dave recently had a chance to read the book "Bodyslams!" by former WCW ring announcer Gary Michael Cappetta and liked it. It's not better than Mick Foley's book or anything, but Dave gives it credit for accuracy. Mostly it glosses over a lot of the scandalous stuff and is more about Cappetta's personal experiences rather than giving much detail on what was happening in the business at the time. Dave thinks the book could have gone into more detail on the things going on behind the scenes in WCW during pivotal periods like when Jim Herd, Kip Frey, or Bill Watts was in charge. Overall, definitely better than The Rock's farce of a book but still lacking what made Foley's and Dynamite Kid's books so fascinating.
Steve Allen, the famous comedian and first ever host of the Tonight Show, died last week at age 78. This is only relevant here because most recently, Allen has been one of the lead spokespeople for the PTC and has been one of the most vocal opponents of WWF programming. Ironically enough, early in his career, Allen worked on TV as a wrestling announcer in the 1950s, though he never took it seriously, and in 1990, he appeared at Wrestlemania 6.
The documentary "Gaea Girls", which is about a young woman trying to get into Japanese women's wrestling, has been winning some awards and been admitted to some film festivals.

WATCH: Gaea Girls documentary

"Walker: Texas Ranger" this week did an episode loosely based on Owen Hart's death. It's about a wrestler, in costume, who fell from the ceiling during a show. Although in the case of this show, it was a murder ordered by a ruthless promoter trying to take over the territory of another promoter, who's a kind, older guy. The obvious parallels were a more evil version of Vince McMahon and a gentler version of Stu Hart. Dave thought the episode sucked and also got really sad by it. Dave says he hasn't watched Over The Edge again since Owen's death and seeing it fictionally re-enacted for a TV show was really depressing.

WATCH: Walker: Texas Ranger re-enacts Owen Hart's death

Scott Hall was arrested this week for probation violation while he was already in court for a child custody hearing. This charge stems from some 1998 case where he keyed up a limo outside a strip club in Orlando. At the time, Hall had been given probation and ordered to complete a bunch of community service by April of 2000. He never completed the community service, so....probation violation. Hall was in court with his estranged wife Dana and he filed for sole custody of their 2 children, claiming Dana is "emotionally and mentally unstable and an unfit parent" but then Hall got arrested at the courthouse and the hearing was postponed. Speaking of, Dana herself has had 2 contempt-of-court charges against her recently for refusing to let Hall have visitation with their kids when she was supposed to.
PPV news: CMLL in Mexico is holding a big year end show in December and are negotiating for it to air on PPV in the U.S., which would be the first Lucha Libre PPV to air here since When Worlds Collide in 1994. And remember a few months back when a promoter in Australia brought in Dennis Rodman and a bunch of other kinda big name stars and ran a show? Well it will also air on PPV in the U.S. and Canada and Mexico next month. That show was headlined by Rodman vs. Curt Hennig which ended in a double-count out because apparently Rodman refused to do the job. Word is that show was terrible, like this year's version of Heroes of Wrestling, but Australia is so starved for live wrestling that the crowd heat was still off-the-charts.
Juventud Guerrera worked an indie show in Puerto Rico and right now, he's trying to get hired in WWF, or at least stay out of trouble long enough to get rehired by WCW. Guerrera has reached out to WWF through friends he has there, but after what happened with him last month in Australia, WWF apparently isn't interested.
The latest OVW show saw Nick Dinsmore win the OVW title from Rob Conway. On the same show, Brock Lesnar wrestled a dark match against former UFC fighter Ron Waterman. Lesnar won and hey, who knows, maybe he's got a future in beating up UFC fighters.
Ted Dibiase and Nikita Koloff are on a church tour together where they wrestle matches against each other and then preach sermons or something.
The lines between wrestling and MMA got blurrier this week when Atsushi Onita went to the PRIDE offices and met with their promoter. Onita then issued a challenge to Antonio Inoki for a match, saying he wants to retire (of course) and his last match has to be with Inoki. PRIDE officials put out a statement saying they wouldn't promote one of Onita's exploding barbed wire matches, but that they would gladly promote Inoki vs. Onita under PRIDE rules in their ring. Inoki responded, telling reporters that he's retired. There's rumor that Onita will be appearing at Inoki's New Year's Eve show to set up some kind of angle.
Paul Heyman and Sabu have a court date scheduled for later this month over their issues. If you remember, Sabu left ECW to go try to go to WCW but his contract prevented it. Heyman then sued Sabu for breach of contract when he started working other shows (particularly for XPW). Meanwhile, Sabu has also filed some legal paperwork to try to get out of his contract, so hopefully that will all be settled soon.
Speaking of ECW, there doesn't seem to be anything new happening on the TV front. Negotiations with USA have apparently stalled. So....not great news. The latest episode of ECW Hardcore TV shows the signs of how things are going. The in-ring action was good but the show is beginning to look more and more low-budget by the week, as the company continues struggling to stay afloat. The announcers weren't flown in (it was dubbed in later in post-production) and the lighting was terrible.
Still nothing new on the sale of WCW but rumors are flying like crazy because everyone is paranoid. For the first time, in an interview, Linda McMahon acknowledged that it's true that WWF is in discussions to purchase WCW but word is no substantial progress has been made yet.
Notes from Nitro: it was a sad episode because the crowd was tiny and it almost felt like a bad indie show, especially because the small crowd was pretty dead. It was a disaster, with a total of 1,454 fans in the building and only 768 of them paid. Even worse, they tried to paper it but only 33% of the free tickets that were given out were used. WCW literally can't even give this shit away. Ric Flair returned as the new CEO of WCW and got almost no pop at all from the crowd, then cut a boring promo. Dave thinks it's sad that this is where things have gotten for him. The greatest of all time, cutting middling promos in front of a small crowd for a dying company. Then Jarrett came out to talk and the mic went dead. The fans chanted for Scott Hall all through the Kronik/Palumbo & Stasiak match. Kevin Nash was on commentary but after last week, he was finally ordered to stop talking about Hall. So instead of mentioning Hall himself, when the crowd started chanting, Nash kept asking, "What are they chanting?" but the other announcers wouldn't acknowledge him.
Thunder was taped immediately after Nitro and the only notable thing there was a Lance Storm vs. Norman Smiley match that was apparently so bad that Storm went on his website afterward and pre-emptively apologized to the fans for the match. As of press time, it hasn't aired yet so I guess we'll see (the 2000 Thunders aren't on the Network and I can't find this online, so no idea how bad it was or wasn't).
Backstage morale in WCW isn't great, which probably goes without saying. Word is much of the crew, wrestlers and backstage employees alike, are so drained by all the negativity and sale rumors that everyone has pretty much mentally quit. They're all just going through the motions every week now while waiting to see what's going to happen with their jobs.
Buff Bagwell did an interview with the Observer website a few days before the Halloween Havoc PPV and had plenty of interesting things to say. He ripped on Vince Russo for the way he booked himself along with guys like Luger and DDP and basically just how awful Russo's booking is. He also complained about WCW fining people for showing up late. He complained about not getting a big raise like everyone else got back in 1998 because he was out with a neck injury when Bischoff was giving raises and complained about being underpaid compared to all the other "A-talent" like himself. Talked about how screwed up WCW is, saying Lex Luger is being paid $1.3 million a year to do jobs for Hugh Morrus. "Are you kidding me? Hugh is a great guy and all that, but he's not A-talent. I love him to death, but he's never going to draw a dime. We're talking about drawing money and he's never going to draw a fuckin' dime. And Luger is putting him over at house shows? Nothing is adding up. I know for a fact that if they try to get me to job for (David) Flair at Havoc, I'm going to walk out the door. I'm not doing it." In response to all this, WCW put Hugh Morrus over big on Nitro while they had Bagwell job to Luger in 2 minutes on the same show. Well, at least someone in WCW gets punished for the shit they say.

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Watch The Casino Online Full Series: Every Season & Episode

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Interview with magician Jeff McBride

Interview with playing card manipulator and magician Jeff McBride

Interview with card manipulator Jeff McBride

Wrestling Observer Rewind ★ Nov. 6, 2000

IMPORTANT NOTE: For only the second time ever in writing these Rewinds, I have hit the 40,000 character limit. So once again, the rest of this Rewind will be posted in a comment below, so keep scrolling. Upvote it for visibility I guess?

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