(soft music) – A playing card is freely
selected from the deck and signed by the participant. The magician removes the
two red aces from the deck. He then loses the signed
playing card into the deck of playing cards before shuffling them. The playing cards are placed aside and the two red aces are taken. The red aces are then waved
above the deck of cards, where a single playing card is seen to magically appear between them. This playing card is revealed to be, none other than, the signed selection. I am Daniel Madison and in this video, I’m gonna teach you everything that I know about the Mad Sandwich Load. (upbeat music) Charlie, I’m sorry. It’s been over a month since my last video and I can’t apologise enough. I’m working so hard behind the scenes so that my life can be on
YouTube, so that everything I do can be on YouTube, at
least two videos a week. Charlie, that’s what I’m working for. The last few videos were
all about sandwich effects and there’s something
that I don’t wanna miss and it’s the Mad Sandwich Load. You know it very well,
Charlie, you already know it. It’s the idea of getting a playing card between two red aces, for
example, without anybody knowing. So you can set yourself up cleanly, safely in the best possible
way for a sandwich effect. So without further ado, let’s get to it. I’m daddy Madison, you’re a good boy and this is the Mad Sandwich Load. (upbeat music) I am Daniel Madison, welcome back. Fanks for being here,
Charlie Madison and I, really appreciate choosing to
spend some time with us today. It’s been almost a month
since my last video, and I can only apologise. Behind the scenes, I’m working very hard, to find my way on to YouTube,
at least twice a week. So you’ll see a lot
more of me from now on. Now my last four videos
over the past month have gone to The Malliance
only over Madison.ist but the videos before that, were all focused on sandwich effects. I wanna move on from sandwich effects. I don’t want to be
limited to just giving you sandwich effects. But there’s one very important thing that I wanna give this
very moment to cap off that subject and that’s the
idea of the Mad Sandwich Load. Now we all have our favourite
personal sandwich effects. I’ve provided a few, check
back on my previous videos, you’ll see quite a few sandwich effects. The most important part of
the sandwich effect, I think, is not the revolution itself
but the sleight hand technique that you use to load the
selection inside or in between should I’d say, those red aces. In the Mad Sandwich Load, this very video, I’m gonna teach you a way
to get the signed selection in between the two sandwich playing cards, in the fairest possible way, that can’t possibly be backtracked. It’s a little bit dangerous,
it’s a little bit risky, but with my help, with my guidance, I’m gonna make this
move, so easy to master. Without further ado, get
yourself a deck of playing cards. I’m daddy Madison. This is the Mad Sandwich Load. As ever, we’re gonna be
using the two red aces, as our sandwich cards and Susan sausage has helped
us once more by signing the four of clubs to
help us with this trick. I’ve got a GoPro filming up
here because there’s a lot that you need to see
from my point of view, from your point of view as a performer, so that you can see the
most crucial moment, which is the loading moment itself. Now the loading moment in a
sandwich effect is the secret, the hidden, the deceptive moment, where we get the signed card
loaded between two red aces before our audience has any idea, that we’ve done it, has
any idea what’s going on. So, for me, when it comes
to the sandwich plot, or any plight magic, to be honest, I mean, we can use a
sandwich plot as an example. But the most important moment
is, unknown to the audience, like they don’t see the
important thing that we see that we should be thinking about. And this is what as a student of magic, this is what you should be focusing on. When it comes to the
development, the practise and the creation of your magic tricks. And it’s all about the way that it flows, the way that it works for the audience. So that when they go away,
they’re gonna try to think, how did he do that? It is not our intention and it should never be our
ambition to fool our audience. We’re not here to fool them. We’re here to offer, to provide, to deliver a moment of
magic, a little mini miracle. Now, it is human nature, it is innate, our audience will try to figure out how. A lot of people just want the experience. They just wanna be baffled
and fall in love with magic and experience that magic. A lot of people, their
insecurities come out when we show them magic and they think that we’re trying to fool them. And that we’re trying to belittle them and in them not knowing how it works, their insecurities start boiling, they think it makes them feel inferior. Now, we should never try
to do that to our audience. And if we sense that they are like that, maybe they’re experiencing
that, then it’s our duty, it’s our responsibility to make clear that we’re entertainers, we’re performers, we are performing
something, a moment of magic Now, I talked about this because
it’s been on my mind a lot and I wanna get this out. I want this message to carry across on all the things I teach. And this is a good moment for that. So, even though we’re
not trying to fool them, they are gonna go away
and they’re gonna try and figure out this kind
of, it’s like a puzzle, we’re presenting to them a
puzzle with missing pieces. Now they’re gonna try and figure that out. Whether they do it in front of you or whether they go home and do it. At some point, they’re gonna figure out or they’re gonna try to figure out. It is our job knowing that, to make sure that they can’t backtrack. This isn’t down to how good the trick is or how good we are performing the trick, it is how good we are at
the creation of the trick and certain moments within the trick that are designed, specifically to put a block in somebody’s way. If you’re not thinking of these things when you’re performing
and when you’re creating, then you’re setting yourself
up for potential disasters and potential failures. This trick or this loading technique is a good example of that, the whole concept of it and if you can apply this way of thinking to all of your magic and
all of your deception and trickery then you’re on a good path. So, if anything for me teaching this and I’ve wanted to teach this message, get this message into
a video for a long time and it’s perfectly arrived with the final sandwich offering. And I said final, maybe it’s
not my final sandwich offer but I wanna kind of round
up these sandwich ideas. Without further ado, I’m talking a lot, it’s important though. We are gonna present the trick. To begin with, the playing
card is selected and signed. This is the first thing that happened, the card is taken out. Perhaps you are already
in the midst of tricks, you’ve already done a few sandwich effects or a few other effects and
you leading up to this, either way, we have a signed playing card. Signed playing card
proves there’s only one of those playing cards. There’s something beautiful about us still being able to do beautiful
magic with a playing card that’s been interrupted
or interfered with, in a way that a signed playing card has. It proves that we’ve only got
one of those playing cards, whether we say that ever or not. So the card is selected to begin with, we then take our pairs. Whether you’re gonna do
that in a fancy way or not, we won’t go over that, in this video. We’re just gonna have two red aces, we’re gonna use this as
someone’s playing cards. Now, this is where it begins. This is where that story begins, that we can take them around the houses, so that they stay clear of the method or at least being able to figure that out. So it’s important that you pay attention to everything I’m about to say. So we take the red aces
out, we leave them in view. I like to give them to
Susan, I like to say, hold on to these. If you have a choice to say, here participant, hold on to these. Or put them on the table. Always give them, when you
give them to your participant, do not ever say, just check, there’s only two cards there, isn’t there? There’s only two, check,
double check, triple check, Look, try and peel them,
you don’t need to do that, you don’t need to prove that
there’s only two playing cards, a lot of magicians do this
and I’ve never understood it, just give them the cards, the fact that they can handle the cards means that you don’t have to say, there’s nothing between them. And also it’s saying that,
you kind of setting them up and you’re making them pay
more attention to the aces. Whereas if I just take them out and say, hold these, then we’re good. Again, this is an important note. Look, this moment, when I take
the signed playing card back, we’re gonna do two moves, that I’ve taught already on my channel. So I’ll leave links in
this video description. The first move is a Susan
Shift, or the Squeeze Shift or the Straddle Shift, I don’t know. So, people have thought of this. I know it as the Susan
Shift or the Squeeze Shift. So I will go over it very quickly. The card goes inside, in the middle. We can show it in the middle
and then when I push it inside, I actually push downside, a
bit like a Diagonal Palm Shift. Don’t confuse the Susan
Shift or Squeeze Shift as Diagonal Palm Shift, it’s not. So it goes down the side slightly. We squeeze that card under the deck, out of the back of the deck, sorry and then it goes underneath the deck. That’s move number one. So we’ve shifted their playing card, we’ve controlled it to
the bottom of the deck. Move number two, is The
Simple Tenkai Steal, I’ll leave a link in
this video to that video. And it’s called that for
a very obvious reason. This move is simple,
holding the deck, as so, like this, hold it from above,
we’re gonna take free hand and it looks like nothing’s happening. Yeah, I managed to
completely steal my card in a Tenkai Palm. Now, I know the camera
above saw that perfectly, which is ideal. So the card is here. It kind of gets manipulated
to the side a little bit and then backwards. And you know it’s in my
position, it’s automatically into a Tenkai Palm. I do need to clear the corner
so they can go over the top. But at this moment, we’re
gonna take the deck away, so it doesn’t really make a difference. Now, I’m not gonna teach this move here, but there is a move that will
teach on the channel soon, where the playing card goes in the middle and then we can shift it,
straight into a Tenkai Palm, like this, a bit like the Susan shift, a bit modified, a little
bit more difficult, a little bit more tricky. We teach that another time. The situation that you need to be in, from the playing card being signed, is it gets lost in the the deck. And then by the time you finish, it is in Tenkai Palm, the
right hand, face down. So once you’ve got the Tenkai Palm loaded, like so, we’re gonna take the
free hand, we take your deck and we’re gonna give it to Susan, right? Or we can put it on the
table, Susan’s not here, she’s in a box, behind the screen. We’re gonna give it to
Susan, we’re gonna say, take the deck, give it a shuffle. Now this is optional,
you can say shuffle it or you can say, just hold on to it. It’s nice if you let them shuffle. However, what you’re gonna do next, it might feel like asking Susan to shuffle is an intentional distraction
and I don’t want that. I don’t want her to think that. Also, she’s just seen me shuffle. I’ve just put this card in the deck. I do the shuffles and also,
that’s optional as well, I didn’t mention that. I mean, by all means,
put the card in the deck, shift it to the bottom, so it’s now on the bottom of the deck. Now do a few shuffles, keeping
that card at the bottom and now do the Tenkai Steal. Now, if you do that she’s seen you shuffle so you do not have to ask
her to shuffle, you don’t. If you go straight for the move,
to the shift into a Tenkai, straight from the deck
and we don’t shuffle. When you give it to Susan, by all means, tell her to shuffle the playing cards Again, you don’t have to go, there’s something nice about the card, them thinking that the
card is in the middle, and if you shuffle it, you might have moved it
to the top or the bottom or they might have done it. Either way, we’re gonna give this to Susan and we’re gonna instruct her, to hold it in her hand, like this. Susan look, hold the deck
in your hand, like this. Hold your hand down like this. So it allows us to give these options, where we are holding the palm
card here and the deck here. We now have a free hand and we say, hold your hand out, like this. We can now use the dirty
hand, by dirty I mean, that we’re holding out, we’re
palming the playing card. Using that hand we can now
put the deck into her hand, she’s not gonna see this. It’s gonna give that illusion that both our hands are now empty because she’s seen this hand empty because I’ve said, hold
your hand like this. I’m showing my hand empty. She’s still holding the aces, by the way, hold your hand like this, your other hand. I put the deck on top
and I now stand here. Now, I’ve two empty hands,
as far as she’s concerned, nobody can see this, she can’t see this. At this point, I now
take the red aces back, I gave the red aces to Susan, face up. I expect her, if she has good manners, to give them back to me, face
up, if she’s played along because she’s not gonna stand there when I give her the red aces and she’s not gonna start folding them and turning them over. She’s literally, I hate
the word literally. She’s actually just gonna stand there and hold them like this. So now she’s got a deck
facedown on her hand. She’s given me the red playing
cards back, two red aces. I’m in this situation,
I’ve got the Tenkai Palm, of her playing card here. I’ve got two races in this hand face up, this is the situation that we need. And now we need to get this card, we switch to the above view, I need to get her playing card in between these two playing cards. Now, if you look at my hands,
the situation in my hands, the actual method that
we’re gonna use is this. We’re gonna just put it inside
like this and then square up. Right? We’re gonna do that
right in front of Susan. But we can’t just do it because you can see what’s happening. You can see that I’m doing something. If I just stand here and
take the aces and then go. And then I’ll wave, you can
see something’s happened. It’s weird, it’s very strange. So, I’m gonna stand here like this. Now I need to prepare myself for the load and it needs to take place and be executed within
what appears to be natural, normal body language
and behaviour from me. So for me to do that,
I won’t just stand here and then do this. And then have it loaded. I won’t do that. I’ve seen magicians do that
over and over and over. I need a motivation. I need a reason for this hand
to be moving forward away from these and then these
hands coming together. It’s very simple. This is the pointy
point point hand, right? So, the Tenkai Palm allows
me to point my finger I’m gonna point to the deck. And we use this hand
and point to the deck. In her hand, she’s like this. And I’m gonna say, look, hold
your fingers out straight, hold the deck a little bit lower down. What I’m saying in that sentence, I don’t care about that instruction. All this does is, it allows
me to have my hand forward, the dirty hand forward like this. So it puts me in position to load. So this moment, when I’m
pointing to the deck, I need to make something up. Because there’s nothing to
be said, at this moment. There’s nothing to be said. So I’ll be like, just
move it down a little bit and hold your fingers are
a little more, perfect. Now in this position,
look where my hands are. The aces are separated. I need to make the palmed
Susan’s hostage, four of clubs I need to make the back
of it, press up against the back of the ace of
diamonds, the top ace. So, that’s gonna happen like this. So I point here, I move back slowly and I allow it to push
that ace up, not notably, not noticeably, so the ace is seen to move but as soon as I’ve feel them connect, I know I’m good to go. So as soon as it gets here, my hands are gonna come together. That playing card is forced
in between the red aces. And I’m gonna do this thing, I’m gonna spin them around
like this, into this hand and it looks like this hand has simply gone from here to here. And I’m moving the aces forward because they’re about to be used. So it’s all motivated, there’s
all a reason for everything, it’s all acknowledged in
our natural body language. So once again, red ace is here, look, move your hand, move it
down a little bit, perfect. So when the ace is here, it’s
kind of that moving forward and backwards like this. Not as a dancer, although
it’s nice to describe it as a dance on the way we learn,
on the way we teach magic, but I’m gonna take the aces here and the body language goes like this. So I’m here, point to this, by the way, you don’t want to take these
red aces all the way over here, they’re just coming back a little bit. And then the separation also, we don’t want to have a grip
on them, like death grip, we want it to be fairly relaxed. My thumb on top allows them
to just be displayed openly. At this point as well, you might
wanna just move them around a little bit like this, to kind of, I wouldn’t say, as over proving
there’s nothing between them but you can certainly
move them to show people that there’s nothing there,
other than the red races. So from here, I point
to this, they come back, the signed card goes up against
the back of these diamonds, they come together and I place
them in my hand like this and this hand moves back. So it looks exactly like,
where is the red ace? Yeah, a point here and then I come back. And this hand back here. Now you don’t have to
do this spinning thing. I found that I do that naturally. It started happening naturally because if I do this
and then come back here and then not do this spinning thing. There’s all this kind
of touching of the aces it doesn’t really make sense. And the spinning thing as well, it shouldn’t be done as a flourish. It’s just done as one of those non things that didn’t really mean anything. It was just me handling the cards freely, maybe even to over prove or to prove, there was nothing between them. So here, moves back slowly,
put them in my hand, prepare. I stand back at this point,
now that I’ve loaded, I stare at the deck, preparing mentally for what I’m about do. I now come over on the top of the aces and peel the bottom ace
out, thus protecting, hiding still the four of
clubs, behind that second ace. The right hand comes in like
this, finger one connects with the face of the four of clubs, finger two with the back
of the eight of hearts. This allows me a fair spread
when I come to spread them out. When I wave them over the top of the deck I’m now just gonna do this, right? And that reveals the card between them, it looks like it’s just appeared. Now, this is all down to your performance, what you choose to do. You might have your own way of doing this, your own unique way of doing this and by all means, do it however you want. But please don’t do this. Because I’ve seen it, too many times. And it hurts my brain, it really does. Don’t do it. Why are you doing that? The ideal movement at this point, we want it to look magical,
that’s the point, right? We want it to look beautiful,
like it just appeared. How can we do that? One swift movement, minimal movement. If we just stand there and do this, then that’s pathetic. We’re showing what we’ve done. We’re showing that, some point, we loaded it between the aces. If we wave once, twice,
and then it appears, it’s quite fast enough to blur the eye, so that they can’t see what happened. But it also gives us enough
time to go like this, here and then this, here. So, I know there’s quite
a few methods out there but I don’t like it when
it starts looking unnatural but this allows me to
separate the two red aces and have this card a
little bit further forward. Now ideally, you want this card to be lined up with the deck. So it’s in line, visually when you look, it looks like it’s just gone up. And depending on how you choose to perform and how you do perform, you
might wanna even say it, you might even say when you’re waving. I don’t mind seeing this to be honest, when people wave, and then go, your card, watch your card jump from the deck and then catch it between the aces. Your wording is important but I’m not gonna advise it at this point because I wanna focus on the technique, on the method itself. As long as you get to that point, fairly, so it looks like it’s in line with deck and between the aces. At this point, I like to just
give everything to Susan. Give her everything, let
her discover herself. Step back, you can move on,
you can go on to the style. Something which I taught a
few videos back, I think. Where you can continue,
do the same thing again, go through the whole same thing again, with a different kind
of loading technique, but I’ll have to stop at that point, what a great moment to stop. Now before we finish and I know I’m talking a lot
and this is all important, thank you for still being here. There’s one important thing
that I wanna talk about. So I’m gonna move the camera a little bit. I’m gonna take a few moments
to think about it, myself. But the idea of the parties backtracking and being able to backtrack and why everything that I’ve just done and taught you is vital and so important for blocking their memory,
when it comes to backtracking. So when we’re constructing deceptions, if we can create, if
we can learn to create and practise tricks the way
that I’ve explained this, so they can’t really be
backtracked properly. If we look at the steps of this plot, of this loading technique itself, we can apply that same way of thinking to anything we create, anything that we practise and
anything that we can perform. Let’s look at this from the beginning. So the same playing cards
taken and lost in the deck. And the first thing that’s done, is the deck is handed out to be shuffled or even if it’s not
handed out to be shuffled, it’s disconnected from us as the performer as the deceptionist, right? So it’s away from us. Because the deck’s away
from us and they believe that the playing card is lost inside. It feels like we’ve got very little control of this situation. And that’s the key point,
to have the participant, to have Susan’s hostage believe that we have no control or little control. That’s what goes such a long way and that’s what stops
them or in their tracks. Because we thought so
much about this so deeply. So I’ve removed myself or I’ve
lowered my level of control in their mind by simply
letting go of the deck. Now they see the card
going inside the deck. Now I can choose the
shuffle at this point, it looks like I’ve just
shuffled the inside. I steal the card in the Tenkai
Palm, I give them the deck and they believe that my hands are empty. It is in the fact that they
believe my hands are empty, the card is still in the deck, it has to be still in the deck. Why wouldn’t it be still in the deck? So if we can convince
them at certain moments and certain points, the playing
card is still in the deck, without looking obvious, without saying, it’s in there, promise,
look, it’s still in there. without trying to over convince them, then we’re just doing better
and better for ourselves and for our performance. And one of the big ways of doing that it’s just by having empty hands, it’s just by showing
that our hands are empty, the moment after the playing
card has been lost in the deck. We give the red aces up, so they’re empty, there’s nothing between
them, we give them up. Right up until the moment that we load it. There’s only a few bits between the load and the trick being revealed,
that the card is hidden, that there’s a dirty,
dark, dangerous, deceptive moment happening. Right up until the load,
these playing cards can be inspected and can be seen. Even in my hands they can be seen to have nothing between them. Because right before that
moment, the dirty hand is the one that you least expect,
it is the free hand. Most magicians at this point would have the card loaded
already, so they’re safe, so that they don’t have to
worry and that is problematic. So with the red aces and with
the card in a Tenkai Palm, the fact that they have the deck and we’re never gonna
touch the deck again. That is gonna go in their mind, that will be in their memory. Oh, he put the card in the deck. The signed card was lost in the deck. I instantly took the deck from him. I was holding the red aces. They were in my hands. I had the deck, in one hand, I had the red aces in my
other hand and his hands, his hands, his hands were empty. This is the memory. That is what will get them. Because of those steps that we took. So when we take those red aces and we still handling them like this, and they’re watching at this point. Oh, there’s nothing going on, he’s just holding the red aces. Now, if there is a dirty hand
in this, it’s the free hand, But he’s using that to touch the deck or to point to the deck,
so it can be dirty. Then when we load, we
handle everything so freely, in this little spin around. And we have to be careful at this point that we don’t keep hold
of these for too long. And at this point, there’s
already been enough proving that there’s nothing between them, so we don’t have to do it again. We don’t have to over prove again. We just have to reveal the
playing card between them because all the way up
to this last moment, everything was clean now
and when they backtrack, those are the things that
they’re gonna remember. He didn’t have the deck though, he lost the card inside, gave me the deck, his hands were empty. I had hold of those red aces,
right until the very end, all he did was take the red aces off of me and wave them over the deck. Oh, well then, that must be
the moment where you loaded the card between them. No, his hands were empty and it happened within a few seconds. So, if we can put a lot of
our attention and time into that moment, into that way of
thinking, into that construct. The way that it’s gonna be
remembered by the participant, is if they try and figure us out, then we can create the most
beautiful deceptions of all. The sandwich plot, the sandwich principle, the sandwich trick is
older than Jesus, I think. It’s not new but with
a new way of thinking and with thinking like this and trying to develop magic this way, we can make it modern and
we can make it present and we can make it work, ideally,
in our world and our time, in this very moment, for us
as beautiful moments of magic. On that note, thanks for your time. That was the Mad Sandwich Load. Thanks for making it through that video. I know it was heavy, I know
there was a lot of information but as I always say, good magic,
important magic deceptions like that requires you to think this way, to think this much, in all
different kinds of directions to make sure that you cover everything, so that your magic is
impenetrable but also beautiful. There’s a few video links
in this video description that will take to The Simple Tenkai Palm and also The Susan Shift. Two videos that I mentioned
in this very video. You’ll also find links to my
dope new Charlie Madison merch. Now as always, I don’t
really feel comfortable about people tagging me when
they use my deceptions online because it leads your audience to me where they’re gonna discover the method. But I do like the idea that
we’ll start using a hashtag. I’ll figure that out and if
you have any suggestions, let me know in the comments. And to repeat myself, I’m sorry that I’ve been away
for a while, I’m working hard, I’m working very hard behind the scenes to clear things up so
that I can get back to YouTube full time, at least twice a week. So I’ll ask in return,
make sure you subscribe so that you get notification bell going, ding, ding, ding, ding,
ding, ding, ding, ding ,ding every time I drop a new tutorial. And on that note, thanks
so much for your time. Really appreciate you. I’m Daniel Madison. See you next time. (soft music)