(sombre music) - I am Daniel Madison. No you're not. Magic is dead. Is that
what you were going to say? No you're not. I am Daniel Madison,
thanks for being here, I really do appreciate you
choosing to spend sometime with me. In this video I am going
to talk to you about my False Shuffle Theory. What it means is exactly what it is and how it can be detrimentally
vital and extremely helpful for your deceptive practises
and your deceptive methods to go along with the False Shuffle Theory. I'm also going to teach
you my vice shuffle, completely false in the hands shuffle. The playing cards look like
they're being very shuffled require a fancy fashion, when in fact, the entire deck of
playing cards does not mix and the order is completely retained. This is what it looks like. (sombre music) Though I've taught the vice
shuffle a few years back now, and I even put it on this channel, you can find it on my
channel a few years back and you can barely tell it's me because I don't have many tattoos and that's one of the biggest reasons why I wanted to get my fingers tattooed because looking back on my slide of hand demonstration videos, it could've been anybody's
hands, it could've been anybody. I could've said "Oh,
check this video out of me doing this stuff" and you look
at it and you can't see me so it could've been anybody. That was a problem for me at the time, so now you can recognise me by a finger which is quite funny. So, since I have come up
with this technique for shuffling a deck of playing
cards or making it look like you're shuffling a deck of playing cards. It's been many many moons and I've updated my
psychological approach to it. I developed the deceptive
strategy of method behind the shuffle itself
and I wanna talk about that a little bit as I'm
teaching this false shuffle, but at the same time one of the
most important things for me when approaching the deceptive
practise of false shuffles with a deck of playing cards
is the False Shuffle Theory. And it is as simple as this. In the past 20 years, I have not shuffled a deck
of playing cards fairly, not a single time in the past 20 years. Every time I shuffle a
deck of playing cards it is a false shuffle. A completely false shuffle.
I know quite a few. I do, I execute and I
practised about five specific false shuffles, all of them
look very natural and fair. I have to say the vice shuffle
that I'm going to teach in this video is at
the bottom of that list because to me it looks too fancy, it looks--
(meowing) Thanks. It looks like something's going on. It looks too pretty to be a
serious deceptive technique. Now, one of my other theories
that I talk about sometimes and I will talk about in an upcoming video is the Soap Theory, but I also call it the Dirty (swearing) Theory, and it is basically the idea of mastering, mastering an approach to playing
cards where it looks like you don't really know what you are doing. So that when anybody
looking, they look at you, they look like you don't
really know how to handle a deck of playing cards. It's the perfect and best way
to hide deceptive methods. But we will talk about
that in a different video. In this video we'll stick
to False Shuffle Theory. Now the reason I haven't
shuffled a deck of playing cards in almost 20 years is because
I want my false shuffles to be impenetrable, imperceptible, I want them to be perfect. If I learn a false in the hands
riffle shuffle, a false one, and I mix it up, I only
use it when I need it, and then I use a real riffle shuffle when the false shuffle
doesn't make a difference, so doesn't matter, they
gonna both look different and their gonna cause a conflict in the marriage between the two because ideally you
wanna take the real one and the false one and you
wanna find a middle ground where they can both get
away with looking like the same thing. Now my answer to this
problem, or my approach to this problem, that I've been
teaching for years and years and years, what is the point
of doing real shuffles? Why would you do a real shuffle? Why would you cause the
unnecessary conflict between the real shuffle
and the false shuffle. Think about it, you
don't need real shuffle. And, if you're in my position,
if you're a practitioner of the deceptive arts
of the slide of hand, the deceptive methods, why would you ever want to
shuffle a deck properly? Think about it. Now there's gonna to be
many times in your practise, where you need a deck to shuffle, but then those cases
always land themselves to the practise, with all
the audience involvement. So, give the deck for them
to shuffle, let them do it, but when you're shuffling,
don't ever do a real shuffle, you'll never need to,
you'll never need to. Even times when I needed,
or when it hasn't mattered, it doesn't make a difference
if the deck is shuffled or not, let's say a magician, he
wants to show me something, he gives me the cards
and says please shuffle. I'll still do a false shuffle. In card games I'll do a false shuffle. Even when it' not needed,
especially when it's not needed, because that's practise for
me, that's my normal practise. The main reason I do this is
so that I have one shuffle, always and forever, and
it's a false shuffle. I do the false shuffle
when it's necessary, when it's needed, it looks on point. Now, when it comes to do a shuffle that doesn't need to be deceptive, needs to be real, I do a false too, it looks exactly the same
way as a false shuffle, so you're creating this
level of psychology, one for yourself in your
mind to deal with them, and you don't have to
deal with the baggage that comes among with finding a merge between a false shuffle and a
real shuffle and making them look similar. But also to audience, to the
participants, to onlookers, I've had people watching
me shuffle for 20 years and I want my shuffles
to look exactly the same, false or real or the way you do that, ditch the real shuffle. You don't need to do it,
you don't need to do it. In practising and
executing false shuffles when you don't even need
to do a false shuffle, you're gonna be the best,
you're gonna be the best, you can be that shuffle. I think I made my point,
I think made my point. So, false shuffle theory
for you to practise, never do a real shuffle again, always be doing false shuffle, always. False over hand shuffle,
false in hands riffle shuffle, table shuffles. All completely false, that
way, when it comes to a point where you really need
to do a false shuffle, it looks imperceptible
to the shuffles of people are used to see from you,
because it's exactly the same. Because it's exactly the same. The amount of magicians,
practitioners, cardmen, shuffling whose real shuffle
looks completely foreign to that false shuffle, is beyond a joke. And it's pathetic in
the same plays to deals, to false deals, to real deals. In fact, I apply the same
principle, the same idea, the same psychology to dealing, when it doesn't matter about dealing, I bought to deal every single
time. Every single time. Even in a game where it's not necessary, even when it's not needed, when someone asks me to deal cards, when the demonstrate new
tricks, I'll hit about deals, every single time no
one would ever see them because they don't know what
my real shuffle looks like, and to them that is the real shuffle. I heard the story, I've
written about it a few times, I'm trying to get the names and references why it was Dai Vernon, a Dai Vernon story, including Walter Scott brother, brother matters and for
all, for all the people, for all the stories, I can't remember the names of this story, oh yeah, Charles (mumbling), Charles (mumbling). So, this guy says, forget this story. This guy demonstrates and he says, what did you notice about my deals, he demonstrates loads and
deals, what did you notice, and Dai Vernon says, you know, I think you
did it a few seconds, but what did you notice specifically, nothing else. Well, he says, you didn't notice me going from this grip to this grip? So he changes his grip
from one group to another, and I see this in magicians, and I see this in cardboard practitioners, they change their grip
for every different deal, and it's absolutely
pathetic, absolutely stupid, and it's a terrible, and it's a terrible, betrayal, and it's a terrible
demonstration of deception. Grip should not change,
not from one millimetre of a figure, a place, can ruin everything. When I see people like
that, who are professionals, I think, no you're not, no you're not. There's a guy called Jason,
I can't remember his name, I probably shouldn't say it
even if I don't remember, he's an American guy called
Jason who seems to be on point with everything but, it's just terrible when you actually look at it
for what it's designed to be, just like if I've more playing cards, for gambling techniques,
and card tricks techniques, it's suppose to be real, it's suppose to be designed
for real environment, people like this, people
like this guy (mumbling), you take them off the magic and stream, put them in the card table and
they (swearing) their pants, (swearing), because
they don't know how to, they don't know the environment, they've known in an environment
where it doesn't matter, doesn't matter if your fingers
are among the wrong place, and it's by practise, now
this (swearing) teaches, so, he's a terrible,
he's a terrible example of a card tricker, of a gambler,
and he's teaching people, what the (swearing). So, I'm bleeding into
reasons why the industry and the community soaks
a massive (swearing). So I'm trying to stop myself
and let's get to the money, let's get to the teaching
of the vice shuffle. (meowing) Thank you. - [Daniel Madison] Now,
we're gonna start with a deck of playing cards, you
brought a new deck order, the fact about me, my
playing cards are always in a brand new deck, always, always. In a show, I will do
tricks, always do tricks where the participant,
where the audience shuffles the playing cards, but always
end with the deck packet in order, mixed for fastening trick. One of the greatest tricks in
my repertoire, to be honest, the reactions you get
when you finish the set, where the deck is in
order is, I can't express how much I recommend this my students. So, order for me means,
ace to king of spades, ace to king of hearts,
ace to king of clubs, ace to king of diamonds. So, this bases here, king
of diamonds here on top. So, the deck of playing cards is in order, and here's what the
vice shuffle looks like. We're gonna split the deck in two, and then we're gonna shuffle like this, and then squeeze together. And nothing changes, the
deck of playing cards is still in brand new deck order. Once again, we with each half
together, straight them up, and the deck is still
in brand new deck order. I'll do this a little bit
closer if I can get focus. Slow this down so you
can really see those half mixing together. And you can see, everything back in order. So, this is a very very simple
idea, it's very knackie, so your fingers, they're gonna have to
work a little bit hard for people who don't know this. I know a few people notice, I already have told this
quite a lot of people. Essentially you're gonna,
hold it straight to, you're gonna hold the
back in a mechanics grip, this is Madison grip, just to
start with a grip like this, and you're gonna wear from
your thumb down the side, finger one underneath, to
get about a half the deck, finger one is gonna take this
half, roll this half over into this hand, so you
have each packet like this, hold just like this, now here
is where the knackie part comes in, the strange part comes in. In this position, all my
fingers are wrapped around each packet, this is
called a straddle grip. Finger two of each hand, this
finger is gonna go down here, all the way underneath each packet, so you can work like
this, thumbs can let go, you're gonna press each
packet into the clunge of each hands, I think
that's called the clunge, and finger one is gonna
press each packet back into the clunge, so it's
pressing the packet down into the clunge. Now, what you notice here instantly, your fingers three and four
of each hand can knackly make their wake to the edge
of the deck of each packet, and as you're pushing back
with finger one you'll notice the finger two underneath
closes each packet to bend like this and they will know, if you riffle down each
packet with finger one, this happens. So, this is the thing you need
to practise over anything. This is gonna be very knackie, if notice my thumbs
don't really do anything, they don't really need to
be anywhere or do anything. So, at this point the
packet in the right hand, and then riffle this first, a few cards, maybe four or five cards, before I start riffling them together. It's very important that
the right hand packet, a few cards on top, so
I'll let go about five, and then I'll start
riffling together like this, until they're all gone. Now, from this position,
fingers one and the thumb of my left hand are gonna
squeeze everything together so then my right hand can go from here, to here like this, thumb to the back, finger two to the front,
finger one on top. Now I can relax my group
in this hand slightly, with the left hand
slightly, finger one here is gonna push these top
five cards that we released, it's gonna push them over
like so it's gonna spread those cards over the top so
that everything is covered. So, from this position,
if you look underneath, finger three is still
protecting these packets from going together, while
on top, when I stop pressing, it looks like I'm pushing
the packets together. What happens underneath,
finger two of the right hand is gonna pivot down and this
packet is gonna pivot away from finger three, like so, still on top, the top three or four, maybe five cards are still pushed over. Now all I have to do 'cause
these packets are now separated, is lift up and push into that
gap, pushing this packet back, and nothing is changed. I'll do the shuffle again. Slowly, now that you know what's going on. You can kind of see what's happening. So that was a kind of protective view. Now I'll show you
everything as I'm doing it. Grip, hand comes over here. I push the top cards over
to give that illusion that the packets are pushing together, as I'm doing that I pivot,
break, and everything goes back on top like this. I'm trying to expose on this side. So, this is the expose angle, that's actually a pretty
good learning angle. And notice that I can do
the shuffle really slowly and still get away with
a looking like false, um, real shuffle like, I guess
that's the beautiful thing about it. You get from here to here. It really does look, and you
can really push those packets into each other and
give that false illusion that they're going together completely. Because from the front it looks like they're really pushed in, and
now you can make it look like, when you're pushing those top cards over, you really are pushing everything. So, what I like to do, instead
of just moving the fingers like this to move everything over, I move the whole hand
like this, my hand slides over the packet like this,
just where those top cards are, and looks like I'm pushing them in. In that point, watch underneath, and break and go underneath, looks like I'm already
straight, but if you look how messy it is over here, now I just need to clean
up like this, and I'm done. And the deck seems completely
in brand new deck order. Once again, here. Riffle. Shift. Push. Break. On top. And then straight them up. (cards shuffling)
(sombre music) Now, one tip, when you are executing this, is you're gonna be worried
about everything stuck out, you're gonna get this natural need to try to hide or try
to rush in this moment. You don't need rush, you can
go very slowly and take it very calmly, pace yourself. One thing I like to do. Figure out where the eyes
are, where eye line is, and you do this. So, this is the vital moment,
where mixing is vital, you can see that I'm mixing, you can see that I'm pushing them once, you can see that push it in twice, now what I do, I turn my body,
my entire being to this side as I straight them up. Now, what's happening
in that moment is hiding all this clumpy mess, as it
makes its way underneath. And I'm hiding just turning this way, now I don't all the sudden just turn, I don't all the sudden just do this, I mean, what happens is
a timing pacing thing. So, I start here, I do this, now I start turning, and straight them up. Once again. Riffle. Push into this side as
I straight the deck up. And the deck is obviously
in brand new deck order. So that's the deceptive method,
now where all comes down to practise. So the key to practise,
the key to practise with this is just so obvious, I feel like I'm showing something so
obvious when I'm telling you just don't stop practising ,
just don't stop practising . And please, anybody listening
who's a practitioner, who wants to get into--
(phone ringing) Excuse me for a second. (swearing) Practising is just one
of those obvious things. The more time the more effort you put in, the better you're gonna be. There's not better practise
than the false shuffle theory, because the practise is constant,
the practise is no-stop. I'm never without a deck of
playing cards in my hands, but from right now. (laughing) But you never got that
playing cards to practise so, why would you practise something real, when you can practise something false, I'm sure this is strong
argument against abnormal less. practise, practise,
practise in front of mirror. Two people say don't
practise in front of mirror, I say go (swearing) yourself. Mirror is the best practise so exposable. I've seen people film
themselves and watch themselves but I can see things
and that's a good idea but it's a long process
and it's not direct, a direct curve of learning. The best is stood in front of the mirror, as if you're showing that
person as if you're watching. You can be too harsh to yourself,
be as harsh as possible, best way you get better. So, you might have seen the
Charley Ballers when took fly. I've been working on the idea for a while, and I wanted so save it to 2019 to show everybody Charley flying. But it's a much better work
presentative of who I am. And I am a pioneer, and I've
been through this journey, this year I won't talk
too much about this, I've been this all over
journey over the past two, three years to be fair, and everything is kind of undefined final. I feel like I like a farmer so, I've got a comfortable
place, for him and for me, and I feel like I found a
comfortable place for him and for me, where we can both get along and things work just fine. It kind of works. Sometimes I've been a
part, sometimes this was what I've needed, needed
to make those connections with anybody watching
this, anybody listening. I'm doing my best to stay
in the comments section in these videos on YouTube and I will be in the comments section of this video. If you wanna talk to me
it's the best way to do it. I'll leave you one one thing I've worked on the hell along March. What you're learning in my videos is linked in this video description. You want some of them, pick it up. You'd be spoil me directly so, thank you, and I can't thank you enough for that. I hope you enjoyed this video. I'll be back soon with more theory, more lessons on deceptive
methods, for now, I am Daniel Madison, see you next time. (sombre music)
