vh1 Pickup Artist Episode 5 Review: Demonstrations of Higher Value
I hate Rion.
I just wanted to get that out of the way. His prancing around stage and theater talk made me want to puke.ut the guy is a train wreck to watch… so I guess I’m glad he is still around. The guy clearly has no sex drive. Or maybe he just isn’t attracted to women… but I get absolutely no sense he actually wants to succeed with women.
Brian on the other hand was a clown. A very likable clown. But he clearly wasn’t getting any play anytime soon. “I love pickle juice” WTF?!?!?! It was sad to see him cry when he got the boot. But in all fairness, he probably should have been kicked off last week.
Matt shows some signs of competence in the field… but usually winds up blowing it. On one hand I find this frustrating, but on the other hand, I’ve been there. I know how it feels to have momentarily flashes of brilliance, only to revert back to my old ways.
Greg is clearly sneaking by on his looks. He doesn’t use any of the material in field.And if he mentions the weather in Phoenix one more time I think Mystery and Matador will snap.
For those of you who need a refresher on DHVs here is some classic advice from an old Mystery Method OAP.
So this is where we DEMONSTRATE that we have a higher value. How do we do this?
Storytelling is a crucial tool in your arsenal. You MUST learn how to entertain and keep a groups interest in a story that you tell. Good storytelling is necessary for effective sub-communication (which we describe below), and is prized as a valuable social skill in itself. Plan and practice your stories. (learn how to tell hypnotic stories)
Learn how to have a good hook line (e.g., hey, did you see that fight outside?
Learn how to leave open threads for your audience to ask about (e.g.,I was in Japan last week and all over Tokyo there are these machines that look like they sell soft drinks, but its actually like 50 flavors of milk. And you dont put coins in, you use your cell phone to dial a drink . . . the open thread here of course is what were you doing in Japan?
Learn how to seek input for your stories in a safe way that doesnt risk derailing where youre going with the story. For example, if you are telling a story about your nephew, you might start with â€œMy 8-year old nephew Samuel did the funniest thing this morning. You like kids right? [Wait for “yes” answer and then continue] Well, anyway, so heres what happened . . .
LIVE the story. This is most important principle of storytelling. If you are telling a story about a friends party, you have to see, hear, feel, smell, taste everything that youre talking about. Express emotion. Be interested in what youre talking about, or there is no chance that anyone else will be. Take your new friends on a journey with you through the story.
Sub-communication is the crucial art of communicating something about yourself without appearing to be trying to communicate it. This doesnt have to be verbal. Not showing signs of interest in a beautiful woman (yet) will sub-communicate that you have and have had beautiful women in your life and that her beauty does not phase you. Or it can be verbal, often combined with storytelling. Heres an example of part of a longer story ” which I exaggerated for effect:
My ex-girlfriend just picked me up at the airport tonight, and instead of her Audi she was driving a Maserati all of a sudden. It was too funny ” I tried to pretend that I didnt notice, and then like 100 yards outside the airport, we get pulled over. She didnt tell me until afterwards that theyd just given her the car for a photo shoot she was doing, so when the cop lights came on, I was totally wondering what was up. Finally, I whispered to her: Karen, if in the last three days youd become a drug baron and were on the FBI hit list, youd tell me right? Anyway, even when it turns out we just had a broken headlight, . . . Etc., etc., [continue on in any direction from here for a punch line]
In just a few sentences as part of story, we learn all sorts of things about the narrator. Most of these things, if he said them directly, would come off as bragging and would LOWER his value. But instead, because he sub-communicated them instead of communicated them, they RAISE his value. Here’s a quick list of some things that got communicated:
â€¢ He has an ex-girlfriend. Hes not a total loser.
â€¢ He is close enough to his ex-girlfriend that she would pick him up at the airport.
â€¢ He has a lifestyle where he travels (hes coming from the airport).
â€¢ His ex-girlfriend has an Audi. This doesnt necessarily give her a ton of value, but it gives her a little bit. Which gives you a bit of value by implication.
â€¢ His ex-girlfriend does photo shoots. She must be attractive.
â€¢ His ex-girlfriend does the kind of photo shoots where they’d give her a Maserati for the day as part of it. She must be very attractive.
The key to sub-communication is to make it subtle. A useful pattern is to be talking about something OTHER than what you are trying to sub-communicate. For example, in the story above, the purpose of the sub-communication is to tell the group that you are attractive to desirable women. However, the story itself is about getting pulled over by the police.
Use common sense and err on the side of too much subtlety, not too little. Don’t be the guy who says So I was at my accountants office today, trying to figure out how much taxes I owe on the $50 million I earned last year, when he spilled orange juice on the rug. Did you know orange juice stains don’t come out?. Stay far, far away from this. People will recognize that a story about orange juice stains did not require the details you included about how much money you make.
Also be aware of WHAT you are sub-communicating. The following things, if sub-communicated effectively, tend to be attractive to most women:
Pre-selection (other attractive women want you)
Social status (especially being the leader of men)
In control, not controlling
Intrigue/curiosity/unanswered questions about you
Being the protector of your loved ones
An interactive DHV is where you SHOW the group that you have higher value through something you are doing then and there. For example, making people laugh, telling them something interesting, teaching them something, being a good dancer, or doing anything that shows that you are a cool guy, is in itself a DHV.
The Neg is a very powerful tool. You simultaneously raise your social value relative to hers, while apparently disqualifying yourself as a potential suitor for her. For example, if you say to a woman Nice nails; are they real?she will be forced to admit to you that theyre not (obviously, dont use this one on a woman with real nails). Done correctly, this will momentarily embarrass her but in a way that doesnt make you appear to be socially awkward. You really WERE trying to compliment her. Its HER fault that she has imperfections, and that you just happened to address one of them. Obviously, one neg by itself will not lead to a relationship, but a well-calibrated neg in the context of a solid application of the Mystery Method can get you there.
As I mentioned above, the neg also disqualifies you as a potential suitor. Guys that hit on her simply dont do this kind of thing. Shell know it and her friends will know it. The fact that you are clearly NOT hitting on her sub-communicates several things:
It makes you a challenge. When every other guy fawns over her, but you arent won over yet, its more fun for her to try to get your attention and âconvert you than it is to play a game thats already won.
It gives you higher value. If youre not hitting on her, you must have other women in your life. Perhaps these women are more attractive and desirable than her. This reflects very well on you.
The best way to fully grasp the stuff, other than taking a bootcamp, is to study the material, practice, and rinse, wash, repeat, until you get in perfect.
Do girls leave you confused as to whether or not they like you?
Let's face it. Girl's don't make it easy for you. She will often send mixed signals leaving you unable to tell if she is being friendly or flirty. If you read her signals wrong you risk rejection and embarrassment. Or worse, you blow it with a girl who wanted to kiss you.
Here is a simple and innocent move that will instantly tell you if you're in the friend zone, or if she's waiting for you to kiss her.
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About Bobby Rio I'm Bobby Rio, one of the founders of TSB. I tend to write about what is on my mind so you'll find a mix of self development, social dynamics and dating articles/experiences. For a collection of some of my favorite articles check them out.