- The magician hands the playing cards
over to Susan Sausage.
He advises her to shuffle,
then a split second
the deck is seen to switch.
I am Daniel Madison and
this is the Mad Deck Switch.
(low fi hip hop music)
The magician hands the play
cards over to Susan Sausage,
he advises her to shuffle them.
Once Susan has shuffled the playing cards,
the magician takes them back,
and within a split second
the deck is seen to switch.
I am Daniel Madison and
this is the Mad Deck Switch.
Hi, I am Daniel Madison, welcome back.
Fanx for bein' here, fanx
for choosin' to spend
a bit more time with me and Charlie today.
The response from
yesterday's video was wild,
so fanx, fanx, fanx.
So yesterday I taught the mad switch,
today we're gonna go one step further,
teach my most favourite, my
most beloved deck switch.
This is the Mad Deck Switch.
Now this deck switch,
although dexteritivly,
dex, what's the word?
Although dexterously challengin',
I'm gonna make it as easy as possible.
I'm gonna make this so easy
to execute and perform.
The sleights, the technique.
It is a little bit more difficult,
but that's what it takes
to be a master sleight of hand artist,
to be a master magician, you
have to take those risky,
those dangerous techniques.
You can't be afraid of sleights.
A lot of sleights, a lot of
moves, a lot of techniques,
they're gonna scare you.
But you're not a scared little girl,
you're a big wolf, you're
a bear, you're a lion.
You're like me, you're a lion. (laughs)
You have to act like that, you
have to have that confidence.
That confidence that could only come
with a practise and
mastery of sleight of hand.
You have to be a comfortable
person to execute
and perform sleight of hand like this.
In this video I'm gonna teach
you everything that I know
about the best deck switchin'
technique that I know.
I'm gonna take away the fear,
and by the end of this video
you're gonna be an expert
at switchin' the deck like a boss.
Without further ado,
let's get straight to it.
I'm Daniel Madison, this
is the Mad Deck Switch.
(gunshot)
Daniel, I'm just going to shop,
do you want anything other
than fur and sausages?
Night-night, suit yourself, bye.
(laughs)
What am I doin'?
Getting straight to the mechanics,
I'm gonna switch the black
deck for the pink deck.
We need the contrast,
especially in teachin'
so you can see exactly what
happens, how it happens,
when it happens, without confusion.
Obviously the idea for this
will be, not in most cases,
but the general idea for this
would be you switch one black
deck for another black deck
that look exactly the same.
So that for example, while Susan Sausages
is shufflin' the black playing cards,
once she's finished, I
switch it for another deck
of black playing cards that
looks exactly the same.
This time the deck I've
switched is in order.
Maybe it's in a stack that you use,
or maybe you're a bit like me
and you like to finish with a deck,
after somebody's shufflin' it
the deck is in complete
brand-new deck order.
One of my favourite things to do.
In fact, that's my
favourite way to end a set
is after everybody's
shuffled those playing cards,
you just spread them out
and they're in brand-new deck
order, it's a beautiful thing.
I use the box on this video
as the point of distraction.
You do need a point of distraction.
But I'm gonna show you
a few different things,
because if you don't like usin' the box,
I have this really nice idea
where you leave a playing card behind.
In fact, nah, I won't show you that first,
I'll show you the box first.
So we'll put the box here.
Just so that you know,
my table, my workspace,
I have a servante here, servante,
which is basically a shelf. (laughs)
I love doin' table work, I
love doin' gamblin' things,
and card chip things,
I just love the table.
And the idea that you've
got this huge opportunity
to hide a tonne of things.
So whenever I'm at a place that,
obviously not everywhere has a servante,
but most places have
things that you can use,
like a chair would do,
like I could just pull
a chair under there.
And don't worry, every
sleight that I come up with,
I don't rely on there bein' a servante,
or a table or somethin', so
I always have an alternative,
an alternate version which means
you don't have to drop a deck,
or drop playing cards on lap,
you can just keep them palmed,
or find a ways to your pocket.
We're gonna cover everything.
So black deck for a pink
deck, we're gonna use the box.
So the box is here, and the
pink deck is on the servante.
The deck is shuffled by
me, I hand it over to Susan
for her to shuffle.
My specific instruction is
once she's finished shufflin',
I need her to put the playing
cards back on the table,
because I want the, what's the word?
I want to be able to pick them up.
I want that level of freedom.
I want it to look like
I've got very low control
over what's goin' on.
And if she was to place
the deck in my hand,
it's one of those things
that I don't like seein' from magicians
where you have this situation.
Put it in my hand, put the
deck in my hand, face down,
make sure it's face down.
All these weird instructions
that you don't need.
I like the freedom of them finishin'
and just puttin' 'em on the table,
and then me just really casually pickin',
cheers Charlie, me and Charlie.
Me casually just pickin' 'em straight up.
I love that freedom, there's
somethin' nice about that.
So she puts them on the table.
While she's shuffling, under
the table I'm in the servante,
and I'm gettin' this deck in a palm.
It is a modified finger palm.
It's a strange name for it,
but they call this a finger palm,
where your fingers just curl
over and hold the deck here.
Now for me, my finger palm
is so open and so adjustable
that I can stretch my fingers out
and still keep the deck there,
so I still keep it here.
Because the deck is
pinched, and by the way,
they call this a gambler's palm.
So the deck is held between
the pinky and the thumb.
Now this is very difficult to achieve.
It's even harder to kind of
expose in the face up position,
'cause I'm usually like this.
But the grip is all playing
cards are bevelled, like this.
I think that's the right word,
skewed, is that the right word?
They're all like this
against the pinky here.
This is a very strange
angle to show you this at.
They're all against the pinky just here,
and the thumb is holdin' 'em in place
so that I have the freedom
to open my fingers.
At the same time, I can
move between a finger palm
and a gambler's palm.
I like this idea because
I don't want to be limited
to havin' a monkey fist
on the table, like this.
I wanna be able to hold my fingers open,
I wanna have that freedom to move around.
At times, if I'm not too
worried about my angles,
I'll go straight into kind
of a mixture of a gambler's
and a Tenkai palm with the whole deck.
So it's between the pinky and the thumb,
so that I can have these
windows in my fingers.
Other times it'll be pressed up
against the clunge of my
hand and my pinky like this,
so that I have a lot more freedom
over the edge of the table.
I will note at this point
that the edge of the table
is quite a useful device
for when you're palmin' an entire deck,
because I can literally
just hold it like this
and have my knuckles on the
end of the table like this,
and it still looks fair from the front,
like I've got a mirror in front of me,
so I can see how fair it looks.
And remember, at this point
nobody's lookin' for deceptions,
nobody's lookin' for
you bein' up to no good,
because they're all distracted.
I've clearly been shufflin' this deck,
I've clearly been handlin'
it with open hands,
I'm not hiding anything.
I've given it all up to you,
and I've just stood back,
waitin' for the playing
cards to be shuffled.
So my hands just drop down for a moment,
I get the deck, get it into palm,
come back here really naturally,
and meanwhile I've got the deck.
If this is in your pocket,
if you don't have a servante,
it's another very easy thing to just,
while they're shuffling to just nip aside
and grab that deck and
then come back into play.
When you have the deck here,
when you are holding out,
don't overcompensate by
trying to hide this arm.
Don't keep it under
the table, don't panic.
Don't worry, 'cause nobody's lookin',
nobody knows what's
comin', nobody's lookin',
and even after the fact,
after you've done the decks,
which nobody's gonna be lookin',
because there's always
somethin' else to look at.
This is what I mean by the balancin' act
between distraction, this guy,
and performance, the
actual deception itself,
you have to find the right balance.
And as always, you have to
be lookin' at their eyes.
Lookin' where they're lookin',
and if you feel like they're
lookin' in the wrong place
you need to distract 'em.
And the distraction as well
needs to be a very subtle thing.
You can't go oh, look at
that big elephant over there.
It's gotta be somethin'
simple like for me,
if I'm here and I feel like
they're lookin' at this hand,
I'll open these fingers
and just start messin' around a tiny bit.
And it's enough to cause
them to look over here
and maybe question this hand.
Again, I'm thinkin' way too much,
there's no need to think this much,
but I guess it definitely needs sayin'.
So I'm in this position, I have
the deck like this, like so.
And again, the only practise,
the only thing that's
gonna train you in this,
and teach you the best way to do this
is in front of a mirror,
or repetition, practise,
practise, practise until
you get your angles right.
You wanna make this hand look
as natural as it possibly can
whilst holdin' a deck
of playin' cards in it,
which isn't an easy thing.
So I'm now here, the deck's
reshuffled and it's put down.
I wanna make sure that the
box is on my left side,
on the opposite side to the deck.
So it's over there, this allows me
to reach across my own
body, which is the cover.
This is a little moment of
cover that I'm gonna need,
because the deck's gonna be in this hand,
and I need to cover it up for a moment.
So that's why the box is
here and the deck's here.
I go to pick the deck
up that's been shuffled,
and as soon as this
hand starts comin' back,
the way that I hold the
deck, I use finger one
and I kick it slightly
into the back of my hand,
so it's further back than it should be.
Not questionably, can't say
that word, questionably,
you know what I'm tryin' to say.
But enough just so that I
know that when I put this deck
over it in a second, it's gonna cover.
So it's not all weird, I mean
it happens so quick as well.
I'm not rushin', certainly not rushin',
but I pick the deck up and
come back in this speed,
a very normal speed.
The destination, I want to come over here
to the edge of the table and stop here
with the deck hangin' over the table.
I don't necessarily drop it at this point,
I keep it in my hand,
we'll go to that right now.
So I'm here, the deck's been
shuffled, I pick the deck up,
I come over here, and as
the hand comes back like so,
this hand makes its
journey over to the box,
and this happens.
So I get the box, I'm not sure
if that went out of focus then
'cause I can't see the
screen, so I'll do that again.
So box is here, I get the deck,
as this hand comes back here this happens.
I'm gonna move the camera
so that you can see that,
because I realise I'm
completely coverin' that up
from the camera, I'll try to show you
completely over my shoulder.
So the box is here, deck's here,
grab this, come over here, this happens.
Then my shoulder gets in the way
and nobody can see anything, hah.
We're gonna change the camera angle
so that you can see a much better angle.
But Daniel Madison, why don't
you teach from this angle
in the first place?
I dunno, I'm still learning,
you know, I'm still learnin'.
So we'll catch up, so we're here,
the deck's here on the edge of the table.
I reach over and grab the deck here,
and as this comes back,
this comes forward,
notice all this hangin' out in the back,
which is a really good thing,
'cause it gives me the purpose
to just put my thumb on top
and steal the deck as this
hand continues its journey
to get the box.
At this point, notice that I'm
still holding onto the deck.
In most cases, I don't need to drop it,
I don't need to lap, I don't
need to get it on my servante.
In fact, in most cases I try and not to,
because when you drop this
deck onto any surface,
it's gonna make a noise,
and you also take a risk of it spillin'.
So we're not gonna drop it.
In performance, sometimes when
if I'm a table on a stage,
and I have a very, what
word am I lookin' for?
Reliable servante, when I know
that it's one of those net ones
where I can just drop and
it'll catch without sound,
then I'll certainly drop it.
But I don't drop the deck yet.
Don't try droppin' it
yet, keep hold of it.
And it'll feel awkward for a moment.
So here, here, now the
whole motivation here,
the whole purpose is the box
is here, you need the box.
Or you're just movin' the box.
We'll get to the explanations,
explaining yourself in a second,
but this is our motivation for the switch.
So I get the deck, this
hand has to go over here
and get the box, I'm not
gonna slow this hand down,
don't make this mistake
of goin', stoppin',
and then carryin' on, it has
to be one solid movement,
like this, my hand doesn't stop.
So the audience is
lookin' kind of this way,
so they don't see this movement.
And if they're watchin' your hand,
the psychology of this
forces them to look,
to try and figure out what you're doin'.
So they can see your
hand goin' over this way,
they see the box, they
know what you're doin'.
Meanwhile, they're completely distracted.
So I get the box, I bring it back.
Now that I'm in this very dirty situation
where I've got a deck here, hidden.
As soon as I move the box out of the way,
I come back, take the deck
and spread it on the table,
and meanwhile, this hand,
notice this hand slowly
goes down to the servante,
leaves the deck down
there, then comes back.
Now, all that explanation,
all those actions afterwards is up to you,
we're gonna talk about that in a second,
but this is essentially yep,
this is essentially what happens.
I'm gonna show you a quicker speed.
So I'm here, I get the deck,
move over to get the box,
move this here, spread the deck.
I'm completely clean and
the deck has been switched.
So let's talk a little bit
about this whole situation
as an act, you have to
look at this as an act,
where we're part of a theatrical play here
with this whole thing.
And you have to balance
everything accurately.
The moves have to all be timed well,
and the motivation is very important.
We don't wanna hide, we
don't wanna hide anything.
There's that sayin',
that magic becomes art
when it has nothin' to hide.
So if we look like we're hidin' somethin',
we ruin it for the audience.
And that just makes us bad performers,
we want them to have the
best experience possible.
And if we're not relaxed,
if we're not comfortable,
if we don't do it accurately.
(cat meows)
That's right Charlie, if we
invite scepticism into it,
we make them believe that
we're tryin' to deceive them,
then it kind of ruins it.
So the best way to do that is
to use this sort of theory,
and act like I'm not really a magician,
I can just do things with playing cards,
and I wanna show you
something pretty cool.
I'm not trying to ah, I'm gonna get you.
I'm gonna get you with
this one, you just wait.
We don't like that attitude,
we're trying to entertain,
we're trying to give them an experience.
So with that in mind,
it allows us to relax
and just be a human being.
You know, we're not trying to be Gods,
we're not trying to be the
Jesus of magic, you know?
We're not Criss Angel. (laughs)
So yeah, relax, I'm a normal person,
I'm just like you across the
table who I'm showin' this to,
I just happen to know somethin'
and I'm gonna show it to you.
So with that relaxed attitude
it makes me chill out more
and makes me perform more
fluidly, and more in a way
that you're not gonna be
suspicious of anything.
So when I'm holdin' the deck out,
and I'm actin' normal,
and I'm movin' around,
I'm not trying to hide this,
I'm not coverin' it up.
And even if I flash, like you'll see
on plenty of my YouTube
videos, I'll flash.
I don't care, because I
know that in my timing,
for that moment, nobody's
lookin' at the flash bit,
they're lookin' at what
they should be lookin' at,
the box, or the deck.
So I'll even flash on film
and not care about it,
because the people who are lookin' there
are the wrong people, you're
here for the wrong reasons.
This is a demonstration of
what you should be showin'
to your participant, to Susan Sausage.
So we're gonna talk a
little bit about the box,
the distraction.
I like the box, but there's
another way around this,
where you don't have to use the box,
which also helps you with
a duplicate in your deck.
So we'll cover the box first, briefly.
So my servante, let's do
this from the pocket in back.
So I'm gonna have the
deck in my back pocket,
protruding like a little sausage.
The deck is here in play,
I'm doin' tricks with it,
I'm doin' all my stuff,
Susan goes to shuffle,
I'm just gonna chill out,
chill back, move back.
I'm not gonna go like this, you know?
I'm gonna be here, while she's shufflin',
it gives me the freedom to just chill out,
maybe talk to somebody,
or mention somethin'.
Meanwhile, my body language is
very relaxed and comfortable.
Meanwhile, I've got the deck.
And the whole behaviour of it
brings in no question whatsoever.
I'm not gonna do the
magician thing and go please,
shuffle the deck, I'll
stand here and do nothin'.
Don't look at me, don't be
lookin' at me, see I did nothin'.
I'll just put this sharpie in my pocket.
I hate that too, please don't do that.
I'll just get this sharpie,
let me just see where the box is, oh,
it's on the table, nevermind.
You know, all these weird
things that are so unnecessary.
I know I don't need to cover
you lookin' at my back pocket.
I don't care if you do, because
my body language covers it.
You're busy, you're the one who's busy
with the playing cards.
If anything we're lookin'
at Susan's shuffle.
And that's a nice technique too sometimes,
if someone picks the
playing cards and say right,
let's see how good you are at shufflin'.
You don't need to do that,
but I've seen that done
in a really nice way sometimes.
Obviously not humiliating Susan,
but drawing attention to Susan.
But the body language itself is enough,
I don't have to worry
where anybody's lookin',
because I'm so chilled out
that I am certainly not the
guy who's up to no good.
And it's just a move, that little moment
of just grabbin' the playing cards
without trying to distract too much.
The body language itself
is enough of a distraction.
So I've got the playing cards, I'm back,
I'm gonna stand like this in position.
Again, a very human thing to
do, very normal thing to do.
I'm not gonna be a magician
and have this weird stance,
I'm just gonna be a very normal person.
Then she's put the deck on the table,
please put the cards down.
I grab them, I'm talkin', my head's up,
I'm lookin' at everybody
talkin' to everybody.
Now I've got the deck in position,
I bring it over to the edge
in a very normal, casual way.
It's not a performance,
as far as they know
this is not a performance.
This is just me takin' the cards,
movin' the box from here to
here, that's all I'm doin'.
Obviously the justification,
the motivation of movin' a
box is weird, it's bizarre,
so maybe now that's a good opportunity
to actually go to your pocket,
so that they know what you
goin' to your pocket looks like,
which if you think about
it, makes a lot of sense.
Because when I took this deck
out of my pocket in the first
place, it was a very normal,
kind of natural behavioural kind of thing.
I'm just chillin', out,
I'm just comin' back here,
I've got the playing cards.
That doesn't look like me
goin' to my pocket, does it?
It looks like nothin'.
So maybe now, once we do the deck switch,
I'll just put the box away.
Now this looks like me going to my pocket.
Now I come back, get the
deck and come down here.
Once again, I can now
put this in my pocket
as the deck's slowly bein' spread.
Doesn't look like this, it
didn't look like me doin' this,
it looks like somethin',
like normal behaviour.
I hope that makes sense,
the psychology of that.
I'll run through that one more time
so you know exactly what I mean.
Let's begin with the black deck
actually in my back pocket.
So it's here, I've
already got the pink deck
set up in place.
So from here, look, this
is what it looks like,
me takin' somethin' out of my pocket.
I'm showin' you, I'm showin'
you what that looks like.
The box goes down, let's have a look.
Yeah, we give that a
shuffle, give it to Susan.
Please shuffle the playing cards.
Think back, the pink deck
shoulda been in there too.
Let's say it was in there
so we don't have to do
this whole thing again.
So please, shuffle the deck.
I come back, I'm talkin',
I chill, I get the deck,
I'm back, I'm good to go.
By this time she's still shufflin',
so now she's shuffled,
I take the deck back,
I say look, we're just
gonna put the box away,
we don't need the box.
So you shuffled these playing
cards and spread them out.
Meanwhile, I'm completely
got rid of the deck
in this back pocket, and the
box is here which is justified,
and the deck has been switched
without anybody knowin'.
All of that, obviously, is unnecessary.
Doesn't even need a servante,
doesn't need anything.
And in fact, you don't
even really need a table,
because once they've
shuffled the playing cards
and I'm here, I put this box away,
I take the deck here and
I could be like listen,
you shuffled these playing cards.
Meanwhile, I'm gettin' rid
of that deck in my pocket.
I'm gonna now give these
playing cards to you,
so the whole dance of it,
the whole body language
and the whole movement
kind of hides everything,
and justifies everything.
If we are using the servante,
which is the safe option,
then it's so much easier from the point
where the deck is on the servante,
I don't need pockets anymore.
So at this point I'm gonna get the deck
while they're shufflin'.
I take the deck back, look,
we'll get rid of the box,
we don't need the box.
I'll spread these cards out
here, everything's done.
The box is still in play, obviously,
and the decks change colour which again,
we're not doin' this to change the deck.
The colour of the deck, unless you are,
in which case you want the
deck to be here like this,
face down, thanks Charlie.
(cat meows)
You want these cards to be held face up.
So now when we take these
playing cards face up.
Box here, face up, we do
this, we move the box,
and now spread these,
and as far as they know
this is still a black back deck.
Whereas we know different,
it's a pink deck.
But that's kind of up to
you whether you do that.
So now that we know the mechanics of that,
and a little bit of the dance,
a little bit of the psychology of it,
you know the difficult version now,
so now you can move on and adapt this
to a single playing
card, or a single object.
Bear in mind, this doesn't
have to be a playing card.
This could be a playing
card and a business card,
could be just two objects.
As long as you can palm it in your hand.
So we have the seven,
move it out of the way
and it switched into a business card.
And that adaptation is up to you.
But let's look a little bit closer
to this as a card switch,
so one card for another.
(cat meows)
Perfect timing, Charlie.
This can be just a single card switch too.
For example, if somebody
deals me a playing card,
this is a king of diamonds
from the black Charlie deck.
If I move the box, in that moment
I'm able to completely switch that card
for a king of diamonds from
a deck of pink trawlers.
This really does open itself up
for a tonne of different things.
Once you learn the balancin' act
between the distraction and the mechanics,
then you could create
impossibly incredible,
beautiful, amazing moments in magic.
So I've brought you in a little bit closer
so you can appreciate the
action a little bit more.
Gonna use a king of
diamonds from both decks,
from the black deck and the pink deck.
Just like I did in the demo.
Let's get you in focus.
And now that you know the
deck switch version of this,
this is gonna come across very
easy, it's gonna be so easy.
And it starts bleeding
into work on my drop cop,
on my drop technique,
which I'm gonna share
soon on this channel,
which was a huge part of my moves project
that I released a few years back.
The whole idea of dropping playing cards
and catchin' them in a cop,
for many different reasons.
We'll get to that soon,
but this does kind of bleed into that,
and it does kind of stash on you
what those techniques look like.
Now let's think of this as a trick.
So I have a playing card
already palmed in my hand,
and it's in a Tenkai.
The participant deals me any
playing card that they want.
So they deal me, in fact,
we're gonna do this a bit different.
We're gonna do this is as a trick.
I shuffle the playing cards,
once I shuffled I palm
away the ace of spades.
So I palm it off, I give the deck
to shuffle to the participant.
Meanwhile, I have the
ace of spades in Tenkai.
They shuffle the playing cards,
and I could say listen, I'm gonna get you
to deal me the ace of spaces.
Ace of spades, so take any playing card
out of the deck from anywhere.
They take any playing card
out, deal it face down.
I pick it up, I move the
deck from here to here,
or I justify it anywhere that I want.
I turn the card over and
it's the ace of spades.
Obviously, the most important part of this
is that justification.
You need that justification
for your hand to move over.
One thing that I used to teach was,
so they're dealing with
the king, I have the ace.
I take the ace, the king is just movin'
that magic dust off of the table,
which strangely, nobody questions.
The magicians see it and they
go what the hell was that?
But a participant, they
wouldn't really question that,
it's just a weird thing.
Obviously I've grown up a bit
and I think that's a bad idea.
So we definitely do need
some kind of justification.
Maybe the box is here, maybe I could say,
and also this is a bit
of a creative development
for both of us, 'cause I'm
kinda just figuring out
how to teach this to you as well.
So I have the ace already here,
maybe they can deal that
playing card on top of the box.
A little bit strange, I know.
But I take the card, I
move the box now over here,
meanwhile, focus, meanwhile
I've executed the switch.
The mechanics of this is actually the same
as the deck switch, but we're in a Tenkai.
And I don't really need to lap anything
or take anything away,
because I can take this king,
put it into a gambler's cop position,
come over like this, curl my hand
so that this card does actually
go into a gambler's cop
as I pinch this card here.
Now, there a few different things here.
The hand's changing from this
position to this position.
So it's goin' like this to
this, two different actions.
But it's very justified,
because I can pick the card up like this,
and I can move it to this position,
and that's what it should look like.
So it should look like that.
Meanwhile, the hand is
offerin' that moment of shade.
One thing that I love to do,
especially when I have the servante,
when I have the table is this.
So I have the ace here, the king here.
I did mess that up a bit,
but the lapping switch
version of this is just so
nice when it's done correctly.
The king here, I move the box
and I'm completely clean
in this hand, look.
Completely no cards held out,
because I simply just
lapped the king of diamonds.
Once again, the ace here, the king here.
Move the deck here,
and I know the camera's
not at a very good angle,
so you can kinda see that,
but I guess that's the point.
I'm gonna move you over
a little bit as well, so.
Ace is here, king is here.
And even from that angle it
looks rather clean. (laughs)
That was the Mad Deck Switch.
Hope you enjoyed it,
hope you love this video.
Listen, I think by the
time we do the next video
we're gonna be at 50,000
subs, and I really need ideas.
I need to do somethin'.
I think this new change of direction
of teachin' more difficult, more risky,
more dangerous sleight of hand techniques
is a really good thing for us.
A good thing for me, a good thing for you.
I don't think there's too many people
teachin' the risky stuff.
It's very easy for magicians
to teach only the easy stuff,
just kind of the eye candy
stuff that anybody could do.
But I'm here for people
who are serious about sleight of hand,
and serious about the improvement
and the advancement of sleight of hand.
Magicians themselves,
I wanna make sure that
people watchin' this channel,
watchin' me and learnin' from me,
are learnin' the absolute best,
and learnin' everything
that they need to do,
because if you're on this journey,
if you've started this journey
where you wanna learn
the best sleight of hand,
the best card tricks, the best magic,
then you can't do it
with a floppy sausage.
You have to be all in, you
have to commit yourself to it.
Don't just learn the easy stuff,
you have to commit, you
have to have the confidence
to take on the risky stuff,
take on the dangerous stuff.
And let me tell you this,
one of the biggest lessons of all time:
you will learn the most from performin'.
You will learn the most from executing,
it's the best place to practise.
Obviously practise enough to a point
where you're confident
to take your deceptions,
and your sleight of hand, and your magic,
and your tricks out to the
public, out to the real people.
Get to a point where you're
confident enough to do that,
but by all means, understand and know
that the most you're gonna learn from this
is in the real world,
performin' and executin' for real people.
If you use this deck switch,
if you any of my deceptions on
the social networks, tag me.
I wanna see them, I
wanna see what you guys
are doin' with them, I
wanna see your progression.
And I love to watch magic
anyway, so bonus for me.
I'm Daniel Madison, fanks for bein' here,
fanks for your time, appreciate
it, see you next time.
Bye!
(lo fi hip hop music)
