
English: 
- I have the King of Diamonds,
and during the performance,
I adjust my glasses, at which
point the card switches.
If I show you this from
an exposed point of view,
I have the King of Diamonds,
and during the performance,
I adjust my glasses, at which
point the card switches.
If I show you this from
the side, you can see
I have the King of Diamonds,
and during the performance,
I adjust my glasses, at
which point the cards switch.
(slow jazz music)
Charlie, Charlie, Charlie.
You're looking good, ladyman.
You on a diet or something?
Charlie, if you're not
prepared to start your day
with a good dance, then get the fuck out.
(laughs loudly) Charlie, don't
get jealous 'cause my sausage

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English: 
is bigger than yours,
it's not a competition.
Boy, I'm excited for today.
Today is the day that we're
going to finally share
the Dope Switch.
Yes!
Charlie, I know that you didn't
want me to share this one,
but it's time, man, it's time.
This is one of those utility
devices, as you know,
that's gonna be so helpful for
people when they wanna switch
one playing card for another
when they're right in front of somebody.
Why did I call it the
Dope Switch, Charlie?
Because it sounds better
than the Invisible Top Change
Lateral Tenkai Palm Switch,
and it is actually dope.
Dope.
You can't say that word properly, Charlie.
Dope.
Dope.
Dope!
You know me, Charlie,
I'm not a time-waster,
so I'm not gonna waste anymore time.
Let's get straight to it.
I'm Daddy Madison.
Does that make you Baby
Madison or Charlie Madison?
Let's get into the Dope Switch.
(slow jazz music)

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English: 
- [Charlie Voiceover] Silly savage!
- Hi, I'm Daniel Madison, welcome back.
Thanks, thanks for being here.
I do appreciate you choosing
to spend a bit more time
with me and Charlie Madison today.
I get so excited at times like
this, times when it's time
to share an absolute F-swearword
miracle of a move.
This is the Invisible Top Change.
This is a Lateral Palm Tenkai Switch.
There's all kinds of
different names for it.
I'm calling it the Dope Switch.
Not yet, not yet, not yet.
I show the King of Diamonds,
and in the action of just
adjusting my glasses,
I'm able to switch the playing cards.
The nine of Clubs is now here.
Where's the King of Diamonds?
If I turn to the side,
I can expose everything
and show you that the King
is held out very dirtily,
in a very dirty way,
right in front of my face.
So, at an exposed angle, the
King is here, the nine is here,

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English: 
and then in a brief moment
of just adjusting my glasses,
I'm able to switch playing
cards right in front of you.
This is such a beautiful,
dangerous, daring, bold move
that isn't really when you
get down to the nitty-gritty.
I'm going to teach you
everything about this move
and make it easy for you to master,
and even easier to execute and
perform and stun people with.
Now, I tipped this move in a few,
if you can hear that
tapping, the dripping,
I've got a leak in my ceiling,
so please forgive the dripping.
It's actually got a smooth
beat to it. (clicks fingers)
So, I tipped this move a few
times, but I've always used it
as kind of a device, a utility,
to achieve a different kind of trick.
I think it is very
valuable for you to learn
something like this, a switch that's clean
and as fair as this that you
can apply to other tricks.
So, instead of focusing
on a trick in this video,
we're gonna stick to the actual sleight,

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English: 
and I'm gonna teach you
everything I know about this
Dope Switch.
Here's what it looks like one more time,
now that you know how it works,
now that I've got this here.
We're talking about the King of Diamonds,
and then the moment when
I just adjust my glasses,
just move my glasses,
I'm actually holding out
the King up here now and the nine is here.
We're gonna go over all
the intricate details
of how to get into it,
how to get out of it,
how to execute and achieve it
to the best of your possible advantage.
You can see how excited I am over this.
Let's get straight to it.
I'm Daddy Madison and
this is the Dope Switch.
Yes!
So, let's get straight to the
mechanics of the Dope Switch.
Before we figure out ways of
applying this to magic tricks,
how you get into it, how you
get out of it, all that jazz,
I wanna start by taking a closer look
at the actual technique, the mechanics,
how it works, how you get away with it.
For me,
it's a slight advantage because
I'm wearing these glasses.
You don't need to wear glasses,

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English: 
really don't need to wear glasses.
One of my favourite tricks of all time,
card to mouth, maybe
I'll teach that one day,
but card to mouth is a moment where,
for me, where I come up and
I just wipe my forehead.
What?
You know, but it's a human
thing, it's a very natural thing
to just come and wipe your forehead.
We'll get into it, but
right now I'm gonna focus on
using my glasses, and
then we'll look at all
the different ways to, not to justify
but motivate why we're gonna do the switch
in the way that we're gonna do it.
To begin with, the first
thing that we need to look at
is the way that we're gonna
be holding the nine of Clubs.
Now, the King of Diamonds is gonna be
the subject of the switch.
The nine of Clubs is gonna
be the deceptive card,
the deception itself.
The nine of Clubs is held in
a modified, lateral palm.
So, if we look closely at this, the tip,
humph, the tip of finger two
is on the outside corner of the card,

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English: 
and the inside corner of
the card is in between
my Spock hand.
It's in this gap here.
They call that
a flannel, I don't know.
So, it's in finger two
here and in the flannel.
So, finger two is pretty much just holding
the entire card in my hand.
So, the nine of Clubs is like this.
So, if we get it into that
position to begin with
and just focus on what that looks like
and what that feels like,
obviously we're not gonna be stuck
holding it like this.
Not yet, anyway.
It's gonna be held down here,
so it's much more comfortable
and easier when your hand's
in a natural position.
Now, you'll notice when you hold this hand
in front of you like this,
nature kind of takes over,
the instinct takes over,
and your hand kind of
just goes into its natural shape.
What happens is finger two
kind of retracts naturally
on its own, so you don't need
to grip the playing card.
Your hand will just do that naturally.
Not really, you don't
want the card to bend,
you just want it to be straight,

English: 
the grip is very, very light,
and you'll notice that finger
three curls much further in,
not much further but further
into the hand of finger two.
So, finger three goes
underneath that card,
allowing that card to balance.
So, it's balancing on finger three,
but finger two is holding
it against the hand.
The pinky goes in a little bit more
and finger one and the thumb just relax.
It's a very relaxed
behaviour of body language,
you just look like you're stuck there.
I'm just stuck here, what's the big deal?
Do you know what I
mean, it's very natural,
you don't have to hide it.
And that's an important thing,
don't think about hiding the playing card.
The way that this palm is designed,
that playing card will be hidden
when you just stand like this.
This is a very natural
way to stand, you know.
When you analyse it,
when you think about it,
it's quite weird because
I'm standing with my hands
in front of me like a dog,
but it's a very natural and acceptable way
in the audience, in a participant's mind.
It doesn't look unnatural
is what I'm trying to say.

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English: 
There was any easy way of saying that.
Play around with this for a little bit.
Just see how it feels, look in the mirror.
Always, always, always
practise in front of mirrors.
My entire room is surrounded by mirrors.
I'm not vain, this is all
for practise purposes.
I don't spend all day looking at myself.
Well, I do, but not my face.
Why am I talking about this?
So, look in front of a
mirror and get used to this,
this way of handling a playing card.
It becomes second nature.
Your hand is so relaxed and so carefree
that you're, in fact,
holding this card so lightly
that it could possibly fall out.
You don't want that to happen though.
So, you'll notice as well when
you're looking at your hand
in this position that your
thumb kind of naturally,
naturally it will lean towards,
it will go more towards finger two,
so it's almost on the top of this card.
You probably already
know this move anyway,
but I need to make sure I give
you the best possible lesson
in every aspect of this.
So, this is how I'm gonna be stood,

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English: 
and my hands are just here ready,
because in this moment,
this is a switch that means
I don't have the deck in my hand.
I don't have the deck in my
hand, I just have empty hands
and I'm waiting for a playing card.
So, let's say that I've given
the deck to Susan Sausage,
and I could say, I want you
to deal me the nine of Clubs.
Right, I know she's not gonna do it.
Well, she could do it because I'll have
a duplicate in there, but I'm gonna say,
I want you to deal me the nine of Clubs.
She deals me a playing card.
If she puts it on the
table, puts it in my hand,
we don't know yet, but
she gets out of the deck
the King of Diamonds,
not the nine of Clubs.
This allows us a moment of relaxation.
So, when you do the switch,
now I've got the card
in this hand, notice that
I'm still very natural,
very normal, nothing suspicious,
yet I'm still holding out the whole time,
we need the switch to
happen at a moment of
not misdirection but
attention manipulation.
We'll go over that.
I need to really focus on this
because I'm trying to explain
that it's a trick rather than a move.

English: 
So, we'll skip the trick part of this
'cause I just wanna get
to the move to start with
and then we'll go over the trickery of it.
So, the moment when the guards are down,
that's when the switch happens.
In the most important part of the switch,
like any deception, you don't
look at what you're doing.
Don't look at what you're doing,
you wanna be making eye contact.
You wanna be looking at them
while they're doing something.
So, let's say Susan, you've
asked Susan to look through
the deck to find the nine of Clubs.
This gives you the perfect
opportunity to switch that card.
We're gonna hold the King
of Diamonds like this,
pinched between finger one
and the thumb, just like this.
The other three fingers are
open, this is very important,
they're open like this.
Not like this, you're not gonna stand here
with your fingers stretched
out, but just very relaxed.
We're simply gonna place
the King of Diamonds
into a Tenkai palm, into this hand.
It's gonna go straight into
it, there's no trickery in it.
There's no ifs, ands,
buts, ors, whatevers,

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English: 
you just simply put it into
a Tenkai palm in a very
calm,
relaxed, chilled out way.
You're not gonna rush, you're
not gonna try and hide it,
you're just gonna do it just like this.
So, your hands come together
for that brief moment.
It's now in Tenkai palm.
So, just practise that for
a little bit on its own,
just putting it in a Tenkai palm.
Now I've got two palmed cards,
and this feels very natural,
and from the front, I
can see on the monitor,
it looks very natural.
My hand is just chilled out,
yet it's holding two playing cards.
So, the King goes into a Tenkai palm,
and because your fingers are open like so,
you'll notice as soon
as that goes in here,
your fingers are already in place.
Finger one and two pinch the nine
and take it out of your hand.
So, the slight discrepancy
is that the King of Diamonds
is held between the thumb and finger one,
yet in a moment, in a split-second moment,
you're now holding that playing card
between finger one and
two, but it's not something

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English: 
I'm ever concerned about
or ever worried about,
and it's the easiest thing in the world
to readjust that grip.
So, if we look at the grip
of thumb and finger one,
Tenkai, finger one and
two, and I just switch
finger one and the thumb.
So, it's not something to worry about
but definitely needs addressing.
So, that's the switch.
Nine of Clubs is here, King
into Tenkai, take the next card.
Hand is still very relaxed.
This hand doesn't move, and
that's the point of this,
that's the drive of this.
The objective of this
is for this hand to look
as normal as possible
because if this hand moves
or starts acting suspiciously,
then you're drawing attention
to it that you don't want.
So, from here, and I'll
do it for the camera,
so I'm standing here,
she deals me the King,
the King is no good,
so I stand on the light and burn my foot,
but I've switched the
card at the same time.
Great misdirection.
Now then, why not just leave it like that?
Why do the whole glasses
thing, why go up to my glasses?

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English: 
For me, this switch, this move,
and most switches like this,
where the hands
don't necessarily come together,
for me, that doesn't work with me.
When somebody does a switch
where their hands come
together for a second,
arguably, your audience or
participant won't notice that.
I would, so that's why I
kind of step away from it
and find a motivation so
that nobody could possibly
question what I'm doing,
so nobody would say,
but why did his hands come
together at that moment,
maybe that's when he switched it.
If they try and reverse engineer
it, maybe that's the point
where they realise, ah,
his hands came together
for a split second,
you know, for a moment,
so I need to find a way around it.
Also, I know I don't need to
hide the card that's switched.
I know that I don't need to
do that, so I take the King,
and at this point the switch
has been achieved, and I,
oh, and by the way, when you
actually go for the switch,

English: 
when the King comes in like
this, you might find it easier
to grip this card between
fingers two and three.
Certainly don't go three
and four, it looks weird.
It's like you're holding a sausage.
But, still, I would still
suggest that you don't hold it
like this 'cause this looks unnatural.
I mean, this you can kind of get away with
because it's so easy to
adjust back onto the thumb,
but you have to play around with what's
the most comfortable for you.
Please don't do this, please
don't hold the card like this.
It's just weird.
So,
to kind of justify or not give
them a reason to work out,
or not give them a lead in
working out what I've done,
I have to justify why my
hands have come together,
not necessarily for the participant
because they won't think about it,
the audience won't think about it.
And they certainly won't think about it
when I come up to adjust my glasses
because this is all
just a natural movement,
whereas if I just do the
switch and then stand here,
there's this weird moment
where your hands came together

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English: 
for no reason and you didn't
try and cover your tracks.
So, when they backtrack, that's the moment
that they're gonna get you out.
So, people might argue that I'm thinking
too much about this, but I want
this to be as clean,
as absolutely clean as humanly possible.
And me
adjusting my glasses
puts an image into a person's
mind, into the audience,
the participant's mind,
it puts an image into their
mind that I can't possibly
be holding anything in this
hand to be able to have my hand
near my face, touching something else,
moving something else.
It's not possible.
Of course, it is possible,
but it puts that image
in the participant's mind
that there's no two ways
about that hand being empty.
It has to be empty for
him to have done that.
And also, for him to take the
risk to put his hand up there,
obviously there's no card in his hand.
So,

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English: 
you transmit that information
that your hand's empty
without having to go,
oh, look, nothing in my
hands, nothing to see,
but you are doing that
in a very, very subtle
and very impressively psychological way.
So, if we look at this
move from start to finish,
I would stand here with a
card in my hand, palm hidden.
I get the King of Diamonds.
It's not the nine of Clubs.
Can you just go through the deck and find
the nine of Clubs for me please?
Obviously that's not the
path, I'm trying to focus
on the ... (laughs loudly)
That would be the worst trick ever.
So, it goes from here, you do the switch,
and as soon as I've got that in Tenkai,
this hand doesn't pull the card away,
and this is the most important
part of this deception.
So, for all the people
who've skipped this part,
(laughs loudly) because I
know a lot of people do.
So, nine of Clubs, this is
the most important point

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English: 
in this entire video, the King comes here,
my left does not take that card
away, it stays where it is,
and that allows that moment
to be completely overlooked
where the hands came together,
because it's justified.
King here, the left hand
stays exactly where it is.
This hand moves upwards 'cause it can,
because it's taken the Tenkai.
Obviously it doesn't have
to go around this card.
It can move upwards.
Now, this is something that
you're gonna have to work on
in a mirror, your angles,
but from a Tenkai palm,
if I just turn my hand naturally,
not even turn my hand, just lift my arm,
that card remains hidden,
completely hidden from head view,
even from side angles,
especially from that side, from your side,
when my hands appear.
And it's also something that I don't rush.
So,
the important lesson, the
left hand does not move
once you switch the cards.
It's the right hand
that does the movements,

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English: 
and that is why and that
is how we can justifly,
not justifly, what, not justify,
but it gives us the
motivation to have clearance
from the possible point of
them working out the deception
or uncovering what you've done.
I hope that makes sense.
So, the King here, the
left hand doesn't move,
the right hand comes
up, I adjust my glasses,
I come back down,
and now I can get rid
of this card somewhere,
or what I prefer to do,
leave it in my hand,
because no one's looking at this hand.
Nobody's looking at this hand,
all the while this card is being switched
right in front of them
and they have no idea,
so now we have the nine of Clubs.
So, from start to finish, the nine's here,
they deal me a card, King of
Diamonds, I adjust my glasses,
and the cards have switched.
So, that is essentially the,
I don't like the word essentially,
I'm gonna try and stop using it.
So, that is the crux,
that is the information
of how you achieve and
execute the Dope Switch.

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English: 
We're going to switch angles
and I'm going to talk to you
a little bit more clearly
about how we would get into
that position, how we
would use this in magic,
in performance, in deception,
and also how we clean up,
and what you can do if you
don't wear glasses like I do.
(laughs loudly) Let's go.
So, the Dope Switch came
from, oh, by the way,
it's nice of Charlie to
join us for this, isn't it?
He's actually just hiding my microphone.
It's very difficult
sometimes when you're filming
more information, more of
me, to hide the microphone,
and I don't even know why it's important
to hide the microphone.
It doesn't really make much sense,
but the microphone's right here.
So what?
So, the Dope Switch came from an idea of,
for those people who know, and
I'm sure that everybody knows
the Top Change, the
idea of having the deck
in their left hand in kind
of a relaxed, easy grip

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English: 
having a playing card, and then
switching the top two cards
right in front of somebody.
I was never a fan of
it and never liked it,
never really used it.
I never found a need to use
it because all the times
that you need to change
this card for the top card,
I just do it in front of people anyway,
and it's not necessarily
seen as a technique,
it's just a very kind of non thing
that happens when you're talking.
So, I always found it
a huge waste of time,
these professionals who can do
it really professionally and
really kind of whoof,
whoof.
Really, like, I never
got it 'cause that to me
feels a bit like wasted time,
and I'm not a person to
talk about wasted time
'cause I talk forever, mainly
about things that don't mean
anything to a lot of people, but anyway.
I finally found myself with
a few ideas that could use a
Top Change, but I don't like
the idea of it, and I
like to challenge myself

Dutch: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
as a performer, as a deceptive performer.
One of the ideas was,
imagine how clear it could be
and how clean and dope it would be
to be able to do a Top
Change without the deck,
and the idea initially came from
my Advocate, my pocket index.
So, basically, for those who don't know
what the Advocate is, the pocket index,
I have access to any single playing card
that anybody names within a few seconds.
So, empty-handed, they
name a playing card,
I put my hands down here,
and then I come back
and I've got whichever
playing card I need from here.
So, to do that, to get a playing card
and then to hide it into palms,
and then have a playing card dealt to me
and it's the wrong one, and then switch it
right in front of somebody,
that's real magic,
that really is real magic.
To say that I never had
the deck in my hands
the entire time, that's
when you breach on real,
unexplainable magic, so
I always aim for that.

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English: 
So, this became a device move
borne out of just a simple challenge,
that I end up using this so much.
So many tricks can be done with this
and so many beautiful things
can be done with this.
You know, even down to
the most basic thing,
which we're gonna talk about right now
'cause I'd like to inspire
your own creativity,
your own creative approach
to how we use this.
So, let's say we, in the
explanation part of this video
that we've just looked at,
I mentioned that you
give the deck to Susan
and you say, I want you to
deal me the nine of Clubs,
meanwhile you've got it held out.
So,
how do we get it held out?
Well, there's no secret to it.
For me, it's going to be
the top card of the deck,
and while we're talking,
while I'm shuffling,
while I'm explaining or, you
know, just general interaction,
no explanation needed, I just
simply push the top card over
and take it into that palm.
So, to tell you what that looks
like right in front of you
as we're talking, that's it, done, right?
You know, there's no method to it really
as long as you just do it

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German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
without looking at the
deck and without rushing.
You know, it's a very non moment
to just get and then give them the deck,
so as soon as the deck's been handed over,
you've got nothing in your hand.
Otherwise there are many different ways
and it depends on your situation,
and that's why I sometimes find it weird
to explain a move like this,
because it all depends on
that moment right there,
when you're with Susan,
because sometimes I'll
use the bottom card.
So, let's say the nine of
Clubs is on the bottom.
So, I'm going to take the deck,
showing this hand empty, take the deck.
So, I give it to her.
Now, this hand, it must mean
this hand is empty to her.
I've Gambler's Copped the
hell out of the nine of Clubs,
so it's now in Gambler's
Cop, and as we're talking,
as she's shuffling, I'm instructing her
with this empty hand,
and I'll do a transfer
into a Tenkai palm.
Now I can show this hand empty.
Obviously, again, not waving at anybody,
not over-exaggerating what I'm doing,

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English: 
but now I can afford
to show this hand empty
as I readjust the Tenkai
into a kind of, I think it's
like a Lateral Finger Palm,
the correct term for it.
Correct me if I'm wrong.
Now I'm in position,
and in those few non moments,
I've been able to show
both my hands empty.
So, she's shuffling and I say,
deal me the nine of Clubs,
or I want you to deal me a playing card,
we're aiming for the nine of Clubs.
So, she'll deal a playing card face-down
without looking from a shuffled deck
and this would be a moment where people
would expect a switch,
so they're going to be looking closely.
Yeah, he's going to switch it.
So, you show it, and you just pick it up,
finger at the edge like this, fingertips,
in the tip of finger one
and the thumb, you show it.
Now, this is how we need to
work the card for the switch,
but this transmits some
very important information,
that you're not going to switch the card
because how could you switch
a card if it's held like this?

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English: 
You know, you've kind
of over-proven the fact
that you're not doing anything
by holding the card like this
without even saying anything.
So, we showed a card like this,
and at this point,
you've got an opportunity
to really play dumb and play it down,
and force them to back off.
If they're eyeballing you,
you could go like this,
is it the nine of Clubs, is it?
So, you've kind of shown
them that you've messed up,
that you've done the trick wrong,
and it causes that very vital,
important moment of, ah,
you know, relax, he's not doing anything,
he's just done it wrong,
the idiot did it wrong.
You know, they're not gonna think that
because the trick's not over yet,
you're just kind of beginning.
So, at this point, you've
created a moment of relaxation
where everybody's gonna chill out
because it's not the nine of Clubs,
and weirdly, your
audience, your participant,
would like to see you do it wrong.
It's really weird and it's really sad,
but it's kind of innate, it's
kind of natural to see that,
to want that from
magicians for some reason.

English: 
And as magicians, we
probably don't really know
what that feels like because
whenever I see a magician,
I'm rooting for him, like
I don't want him to mess up
because I know what that feels like.
So, I take it, is it, did
I get the nine of Clubs?
Ah!
Okay, can you find me the nine of Clubs
in the deck for me please?
So, obviously, (laughs
loudly) best script ever.
(in a comical voice) I'm
gonna find it for you,
the nine of Clubs, is it? (laughs loudly)
Create some script at that
point where you're gonna say,
okay, we need the nine of
Clubs, so find me the nine
of Clubs in the deck, meanwhile
you've done the switch.
So, okay, can you find me the
nine of Clubs in the deck?
All this movement, the justification,
not justification, that's the wrong word,
but the action of pointing to
the deck and giving a command,
first of all, doing this
shows or kind of proves
this hand must be empty
for you to use it so freely
and to be able to point,
meanwhile we're in Tenkai,

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Dutch: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
and then even more so if we
can bring our hand up here.
So, let's say you don't have glasses.
I can't see. (laughs loudly)
So, when it comes to
the card in mouth trick
that I mentioned earlier, in
fact, let me explain it to you
so you can see exactly what I mean.
For the card in mouth trick, I would show,
let's say I show the Two of Clubs.
I'd put it in the middle,
or in the middle of the bottom half,
and then I'd take the
top half and say, look,
this is better if we
just use half the deck.
You push it in for me, please.
And while I'm swiping my
head, the first time I do it,
they look up to see what I'm doing,
and then they see that
I'm just wiping my head,
so then they go, ah, he's
just wiping his head.
So then, when I come down
and say, "You push it in,"
and wipe my head again,
they don't need to look
because they know what I'm doing.
And the next time I do it, I go,
and then I'm clean, right?
So, the whole motivation,
the whole reasoning of coming
up here is already justified,
we've already put that

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Dutch: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
into their minds, so you
don't need the glasses thing.
You do need to do a little
bit of work before that point,
or should I say you might
need to do a bit of work
at that point by putting that
image in their head first.
Saying that, then you
might be thinking too much
at that point, so let's look
back at the switch itself,
nine of Clubs, King of
Diamonds, without glasses.
How would I do this without glasses?
And again, it's very
easily, simply justified
by it being such a natural,
human thing for somebody to do,
to just touch their face.
All right, I've got a
beard, I might have an itch,
you know, I might want to
move some hair out of my face.
I might want to just kind of
adjust my collar or something.
It all comes down to how
confident you are with the angles,
and the justification.
I keep using that word,
justification, I have to stop.
So, let's look at this.
So, nine is here, this is without glasses.
So, King, ah, find the
nine of Clubs for me,
I bring my hand up here
and I'm just gonna wipe

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
maybe the sweat because,
oh, crap, I got it wrong.
I'm sweating, you know?
But doing that from kinda head-on,
it looks like the hand is empty,
and that's what they'll think as well,
but they won't register
and they won't be looking
for anything because the card's
here and they have the deck,
and this hand has to be empty
if I'm doing something like this.
Now, we can nullify the whole video,
we can get rid of the whole
video based on one thing,
that we don't need to do this.
We don't need to put our hand up here.
We don't need to do that because I kind of
just justified it myself.
Justified, ugh!
I kind of explained it away
myself by, oh, you got it wrong,
find the nine of Clubs in
here, and that's enough
by going ahead and pointing to the deck.
That's enough
of a motivation.
Yeah, I guess justification
is the right word.
It's enough because the hands,
although they do come together,
it's in another action.
It's while I'm doing something else.

Dutch: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
I'm not just doing this,
and then that's it.
You know, yes, they're coming together,
but yes, it's for a very good reason.
So, I'm just chilled out, I'm like, ah,
okay, find the nine of
Clubs in the deck for me,
meanwhile you've done the switch.
So, getting rid of this card,
I don't worry about getting
rid of the, I can't see,
I don't worry about
getting rid of the card.
I don't worry about it.
If anything, to practise
my deceptive technique
and how good I can be
(mumbles) to challenge that,
I'll keep this here as long as I can.
And you might argue that that's
unnecessary and dangerous,
but that's how we improve
as deceptive artists.
That's how we improve as
sleight-of-hand artists,
as magicians.
That's how we improve knowing
where people are looking,
knowing our angles,
knowing when it's safe.
I'm looking forward to
getting to 100,000 subs
so that we can go to the
street and I can prove
a lot of things to you that
I tell you about on film,

Dutch: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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English: 
which is, in this trick, I
could probably just do this.
I could probably, ah, we got it wrong.
Ah, just find the nine of Clubs
for me in the deck, please.
Can you find the nine of Clubs for me?
Yeah, yeah, find the nine
of Clubs. (snaps fingers)
You know, there are things
you can get away with
when you're good or when you get good.
Being able to manipulate the
attention of the audience
and the participant, and the
control that you can have
over where they look or
why they're looking there,
all that psychological information
is far more important
than the technique, than the method.
So, that leads me up to a
completely different subject,
the point where I don't care
about the people who turn up
and they just want the
method, they just want to know
how that technique works, this motion,
and then skip the rest, because that,
that's like 5% of the whole thing.
I do feel a little bit
unfair with one thing,

Dutch: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
with not doing the street performances
or the real-world performances.
I don't know why we say street.
We say street performances
because of David Blaine,
obviously, but the
real-world performances,
I'm not showing you that yet.
Not yet because my focus right
now is on being a teacher,
being a mentor and a guide
to the technique and the
way that we practise,
and the way that we think and execute
and approach deception with playing cards.
So, when we go to the
street, to the real people,
then you're gonna see the whole,
the more important side of it.
So, I'm looking forward to that.
Anyway, we're gonna stop this video here
'cause it's another long one.
Let's go to the outro.
That was the Dope Switch.
Oh, it feels good to share
that one, it really does.
I've held onto that switch
for such a long time,
and in a way, I kind
of grew so used to it,
it became second-nature for me,
that I didn't really
appreciate the value of it
until I started showing it to
people as if it was nothing
and they were like, what the!

German: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Dutch: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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Dutch: 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

English: 
Why do I keep doing this?
And they were like,
yeah, that's pretty cool,
show me how it works, and
the more people wanted
to learn it, the more I
realised the true value of it.
So, I'm really happy that it's
become part of my library,
library here on my YouTube channel.
If you use this move or
any other moves of mine,
I'm always looking out for
people performing my own work,
I'll give advice where
I can and I'll see you
in the Comments section.
All I ask in return,
make sure you subscribe
so that you get that little
notification bell going
ding-ding-ding whenever
I drop a new tutorial.
I'll be back soon with
some dope tutorials,
new card tricks, Learn Magic.
Oh, yeah, check Learn Magic
out just for the Malliance
only over at Madison.ist.
Tonnes more stuff, but there's
some more of what I'm doing.
So, with the Malliance, Learn
Magic, the new format of mine,
the longer videos, the longer
it takes me to explain a move
or a sleight-of-hand technique,
a lot of them I want to save for my cult.
I'm just kidding, it's not a cult.

German: 
 
 
 
 
 
 
 

Dutch: 
 
 
 
 
 
 
 

English: 
The more I want to save for the Malliance,
so the new format is
only over at Madison.ist.
The doors are open, everybody's welcome.
Well, not everybody, but
I'll leave you with that.
I hope you enjoyed this video.
I'm Daddy Madison, Charlie Madison.
See you next time.
