Mehow - Group Attraction Manifesto Vol. 1

GET THE GIRL!

Group Attraction M a n i f e s t o

M E HOW

www.mehow.tv

www.groupattraction.com 888-mehow-tv Photo credits: Page i, iStock, copyright Goldmund; pages ii-iii, iStock, copyright Pascal Genest; page iv, iStock, copyright Mario13; page iv, iStock, copyright Aleksandr Frolov; page vi, iStock, copyright, Paul Buceta; page xx, iStock, copyright Aleksandr Frolov; page xvi, iStock, copyright, Robert Deal; page 8, iStock, copyright David Falk; page 20, iStock, copyright Roger Lecuyer; page 135, iStock, copyright modellocate; page 138, iStock, copyright Ivana Korab; page 216, iStock, copyright Ivan Josifovic; page 222, iStock, copyright Vuk Nenezic; page 262, iStock, copyright Jeremiah Deasey; page 274, iStock, copyright Aleksandr Frolov; page 278, iStock, copyright Jeremiah Deasey; backcover lower right, iStock, copyright Robert Deal; backcover and page xix, iStock, copyright Vasko Miokovic.

D E D I C AT I O N

This is dedicated to all the men and women out there who still haven’t met each other—-yet? —mehow

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T est i m o n i als

“ After we’ve been disillusioned with the so called ‘natural game’, which in-infield evidence showed to be nothing more than acting drunk and getting nowhere with it, Mehow strikes again with even more power than before. In his new ‘Group Attraction’ workframe, Mehow offers a highly structured game with precise step by step instructions and know-how to getting results in the field. It works for him that’s for sure, and it seems that he’s made a bigger effort than ever to deliver his knowledge as comprehensively as possible to his students.” -- PUARatings.com

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“ Mehow’s Group Attraction... let me tell you this guys, this one blows me away how good it is! This WILL be the standard for the next generation of PUAs! This is really exciting and powerful stuff guys!” -- The Adonis Method

“This is absolutely the most thorough, detailed and M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

useful way any manual could ever teach pick-up. It’s actually shocking to think that with the 1000s of manuals out there that Mehow’s Group Attraction Manifesto actually appears to be the first to do something like this and it’s been done so well. I like the homework drill too. It looks like this Group Attraction Manifesto really does contain absolutely everything!” -- Vince-Charming

“The Group Attraction Manifesto will be a precious gem when released, and believe me when I say it will change your game completely... I have read, viewed and listen a lot of stuff and I personally believe this is the way to become a super natural. That’s why I love this company, a

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lot of value and always searching and learning more. No market BS or renamed products. This is real and it’s golden!” -- StayAlive

“I’ve read through this a few times (can’t believe this is going to be over 400 pages)...I have one word to describe it, REVOLUTIONARY!!! Everything is going to change with the release of this product.” -- TomSawyer

“ Mehow has been the first one to understand that you need to read, watch and hear at the same time, to make the learning process almost 100% complete. I must credit him that brilliant innovation... Congratulations and thanks for your great work, Mehow!” -- Jasons

“I am a conceited bastard who knows he has game, but I was humbled by how much knowledge he has of ‘the game’. He broke it down on levels that I hadn’t even thought of, and he pointed out a

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lot of things that I do subconsciously when I am successful... He basically made a fan out of me.” -- Ghost

“Hi Mehow! I just LOVE your book; it fits more with my personality than every other system out there. Thank you”

M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

-- J, from France

“I have already read through the book now a couple times... Really solid, exciting and inspirational. As wells as brilliant, and beautiful! I have already had a million breakthroughs and revelations!!! Thank you so much for this book, I love it!” Easily worth 3 times the price. Mehow is a great instructor. I could tell he cares about his students. Great seminar, and quality products, infield video and books. I look forward to future products. If I didn’t see this live I would not have fully understood the book. So this was awesome!” -- W. from Orange County, 24

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“ Mehow should rise out of the floor with smoke and strobes!” -- J. from San Francisco, 25

“ Mehow was awesome at explaining things. He really got a lot of stuff to click in my mind that other MPUA’s could not!” -- M. from Santa Monica, 35

“I have to say amazing!!! AMAZING!! This book has changed my life at this point!!! THANK YOU MEHOW!!! I have already used some of the ideas from your book and they totally make sense... It’s like I have instant success when I am out!!! Opinion openers are a thing of the past!!!” -- Babyface

“I’ve tried a lot of styles in seduction. MM, RSD, Badboy (direct), vibing aso. They’re nearly as many ways in seducing a woman as there’re stars in the sky. The most methods only work the best for the master himself leaving alone the poor little milked AFC’s behind... You’ve been the

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first PUG who shows a pick up step by step with 100% real infield footage! -- Stefan

“OH MY FREEKIN GOD!!! YOU HAVE GOT TO BE KIDDING ME!!! This has officially gotten OUT OF HAND! After reading the excepts from Group Attraction Manifesto all I can do is laugh and shake my M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

head.... Mehow, you have officially made pickup TOO EASY!!! ....I love you! Platonically of course :) haha I mean after reading GTG Manual and watching all the Infeild Insiders and Infeild Exposed DVD’s my game improved ten-fold. My deep understanding of what’s going on along every little step of the interaction (Thanks to your products) allows me to close consistently and easily every time. After reading GTG Manual I felt like i held the keys to heaven... BUT NOW...YOU RELEASE THIS!!! An even DEEPER, MORE DETAILED explanation of what’s going on!!!!!! You’ve got to be kidding me!!!! I am dumbfounded by the fact that I now know even MORE than I did before about Subcommunication, Delivery of Routines, Body Language, Pure Kino, Giving Value

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etc... and that’s only about a ten pages of the whole book!!! AAAAAAAAHHHHH!!!! This is freekin awesome!!!... I truly feel like Neo from the Matrix....I can see and understand everything so deeply now...and that makes pickup super easy because when you truly understand something, YOU ARE IN CONTROL and, the task before you becomes easy, effortless and DAMN ENJOYABLE!!! Thank you thank you thank you Mehow!!!...I didn’t think you could top your previous products, but once again you have come out WAY WAY ON TOP. This book is a master piece, congratulations. Thank you for making pickup a hundred times easier!! You rock dude!” --JT

“ Group Attraction is the NEXT LEVEL of pick up. Mehow has stripped out all of the unnecessary limitations of existing systems (ie: arbitrarily picking a target) and taken the parts that work and broken them down to a new level of detail and clarity. Not to mention the innovations on top of those (PureKino, Microloops, etc).

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mPUAs have been telling us for years to have ‘good’ body language,vocal tonality, eye contact, etc, but haven’t been able to convey the exact way to do it, not to mention how to operate on all of these channels simultaneously. Now we have a way to model every interaction down to the exact timing, as well as new discoveries on how to insure this timing works consistently, so there is no more guess work M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

in getting strong kino and compliance from the second you enter a set. This system allowed me to instantly break down what was working in my stack and why, and gave me new ways to analyze what wasn’t working, so I could immediately troubleshoot it and correct my delivery. Sub-communication has become a very important concept to anyone on the cutting edge of pickup, but until now, has been a fairly esoteric one. Now we have a shortcut to greatly improve our conscious subcommunications, which will lead to them more quickly becoming natural unconscious level subcommunications. In other words: turn yourself into that cool guy that women are naturally and effortlessly attracted to MUCH quicker.

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Since I started using a Group Attraction stack, I’m opening sets and hooking them HARD in 2 minutes. I’ve had several nights where I only needed to do ONE set because my stack worked so well that my wings and I just spent the rest of the night with that set. And it’s virtually impossible to become the dancing monkey when after two minutes of massive BT&A pumping material, you are immediately on to qualification. You give so much value in those 2-3 minutes that they’re tripping over themselves trying to give you equal value back, which allows you to sit back, relax and do the really fun part: make a connection with someone.” --Matt “Wonderboy”, New York, NY

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C o n t e n ts

NDA and Security Reminder

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Acknowledgments

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Letter from Mehow

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Chapter 1: Introduction – Group Attraction™ and PureKino™ 9

1.2 Prerequisites

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1.3 How to Use This Book

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Chapter 2: Group Attraction (GA) – Theory and Practice

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The Mehow Model

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Mehow Training Method

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Group Attraction vs. Target Attraction

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Which Attraction Techniques to Use?

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History of GA

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The Group Attraction Model and The Mehow Model

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Group IOIs and IODs

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The Group Attraction Model

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Where can you use GA?

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Group Attraction and Direct vs. Indirect Opening

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How Group Attraction Works

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Microloop Theory Basics

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IOIs, IODs, and Giving Value

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Advanced Microloop Theory: Multiple Channels & M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

Instant Compliance Group Love/Hate Teasing

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Group Projections

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PureKinoTM

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Group Dynamics

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Practicing GA Learning Roadmap Conclusion Chapter 3: Opening

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139 141

Subcommunication

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Delivery

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Opening Material, the Walkup, the Stance The Walkup

co ntents

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Evil Clown Frame

Calibrating Friendliness with Multiple Channels

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179 184 186

The Stance

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The Opening Material

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Multi-Channel Timing

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Kino Pinging

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Group Compliment Openers

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Group Love/Hate Teasing

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More Timing and Sequencing

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Material

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False Time Constraints

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Transitionary Compliments

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Putting It All Together

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Appendix A: Group “3-7” Full DNA Code

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Appendix B: Fuji on Natural Stacking

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Appendix C: Fuji on Body Language

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Appendix D: Terms and Conditions; Non Disclosure Agreement 277 Appendix E: Glossary

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N o n-D i s clos u re Ag reem e n t

NDA

Security Reminder

This book represents 2 years of work. Don’t steal it. Get yours at www.groupattraction.com. This book contains a lot of secret sauce. Much of the contents are patent pending. By using or reading it you agree to be bound by a Non Disclosure Agreement and the rest of the applicable Terms and Conditions, which are available online at www.groupattraction.com/ terms. The Terms and Conditions relevant to

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the print edition are in Appendix D: Terms and Conditions. Per the Non Disclosure Agreement in Appendix D, you can discuss the contents of this book only with other people who have been granted access to this book by us and who are bound to treat this material subject to the Non-Disclosure Agreement and the Terms and Conditions. If you don’t agree to the Terms and Conditions delete all digital copies and return any printed copies back to us before reading. The Terms and Conditions M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

contain the applicable instructions. We reserve the right to revoke any of your access or rights to this book, our forum, or our websites in the event you violate any of the terms and conditions we require for such.

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NDA and Security Reminder

Ack n ow le d g m e n ts

There are a lot of people who helped me create this product. The most instrumental person who helped me in my journey—even though he didn’t know it—was Mystery’s and my wing, Lovedrop. Lovedrop was an endless source of feedback and helpful criticism who led me down the path of relentlessly pursuing better and better game. Eventually that road led to the work you are reading today. I also could not have done this without the support of the Mehow, Inc. team: Mel (“I’m still the Muncher’s daddy.”), Fuji (“Call of Duty 4?, anyone, anyone?”), Brandon (we’ll actually meet

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one day), Alec (you don’t need any game if you are an agent), Eileen (thanks for sticking with me!), Steve (every once in a while it’s ok to not sarge), Tim, Gerry (“Dude, I have to show you this one burrito place, it’s bomb.”), George, Kamouflage (“you’d be even more amazing at PU if it weren’t for CS”), Julian (that sushi place you took me to is still #1), Debbie (I love not having to pay my own bills), Andre (one day . . . I’ll dress as fly as you), and Greg. I know I’m leaving M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

many folks out . . . but it’s important that your secret identities stay that way!!! I love all of you and you know who you are. I also want to thank our entire super-dedicated instructor staff and all of our students. I learned from many great PUAs on my path. Super special thanks go out to Mystery. Without him I would have never discovered this space at all. Lovedrop coached me relentlessly for a year when I sucked. I learned a ton from Tyler Durden, Hypnotica, Vin DiCarlo, Matador, Neil Strauss, Savoy, Juggler, David DeAngelo, Steve Piccus, IN10SE, Swinggcat, Will Hicks, Ross Jeffries, Sinn, Asian Playboy, Philos, and David Wygant. Finally, and most importantly, I want to thank all the women who helped me figure them out! —mehow 4

Ackn ow led gm ents

Lett er fro m Dear Friend,

Mehow

Thank you for purchasing The Group Attraction Manifesto™, the most advanced pickup system ever developed for party environment game. This book also represents the world’s first and only field-tested, patent-pending pickup methodology protected under U.S. Patent Application No. 12/018,098. But I don’t stop there. You will also receive cutting-edge training in Group Attraction™ and PureKino™ using my new boot camp-derived Mehow Training MethodTM—which is presented for the first time in this book. It’s been about a year since I wrote the groundbreaking Get the Girl!™ Nightlife Edition Manual (the “GTG Manual”) which has changed the lives of thousands around the globe. When I first wrote that book I was by no means done with teaching you everything I knew. Instead, I was starting you on a path to greatness. If you have read the Get the Girl! Manual then you have no doubt experienced great improvements in your

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interactions with women. Many guys have seen so much improvement that the Get the Girl! book was all they needed to change their lives. But many of you wanted more. You wanted more ability to create relationships with the women of your dreams and you wanted M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

to evolve simply for the sake of your own social evolution. That has always been the path I envisioned and planned. If you’ve been practicing the principles contained in The Get the Girl! Nightlife Edition Manual, you’ll be able to go out and use Group Attraction immediately after reading this book. I deliberately wrote the Get the Girl! Manual as a foundation for building upon your skill set in all sorts of ways. As you continue to study with me through this and other products, I’m only going to keep giving you more and more superpowers. The Group Attraction Manifesto is the first work building upon the foundation of the

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Letter from M eh ow

Get the Girl! Manual. This technology will permanently change your nightlife game and get you operating on a whole new level in terms of how you are able to attract and interact with the women you desire. You will control group dynamics with ease and will always get monster quantities of attraction. Most importantly, you will be able to choose the girl you like the most after spending some time with her and her friends so that you know you are putting your life energy into a woman you actually like! And finally, by practicing the methods contained in this book, your ability to kino escalate and “get the girl” will skyrocket to new heights. Gone are the days of arbitrary target selection—now you get to choose your target at will because all the women you talk to are totally into you. Enjoy!!! Mehow

o et t forg t ’ n s Do tion p.s. ques s u ask m at foru / e h .com in t tion c a r patt grou m. foru

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I n tro d u ct i o n— G r o u p At t r a c t i o n ™ a n d Pu re K i n o™

1.1

1

 ere is w hat y o u r f u t u re H attraction phase w ill look like:

It’s another hot summer Saturday night in the metropolis. The nightlife is teeming with gorgeous, scantily-clad women and rich men as long lines wait to get into velvet-roped clubs on what seems like every street corner. The city oozes glamour amidst an undercurrent of sexual tension. Even the dive bars are packed tonight. And there’s a distinct smell in the air. It’s the smell of perfume mixed with sweat, pheromones . . .

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and sex. Yes, it’s the smell of sex appeal . . . and it permeates the city like a cloud. A well-dressed man walks confidently along one of the ubiquitous streets in the center of the city. He’s approaching the crowd of people waiting to get into the hottest club in the city. He strolls casually past the lines of people with what appears to be a hint of a smile on his face. The door man recognizes him instantly and lifts the M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

rope. The man smiles and shakes the doorman’s hand. “Hello Jeff” The heavy bass beat of the music in the club creates a stark contrast to the high-pitched female giggles resonating from the entryway. Though the crowd is so thick it’s nearly suffocating, the man appears to cut through it effortlessly as he ascends the stairs to the rooftop bar. He zones out for a brief moment and becomes hyperaware of his environment. He feels the floor under the lightweight soles of his jet black, designer shoes. Every cell in his body resonates with the music being pumped through the sound system. And he smells that familiar combination of perfume, spilt alcohol, and sex appeal.

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“ Do you know what you started/ I just came here to party / But now we’re rockin on the dance floor / Acting naughty . . . ” As he reaches the top of the staircase, he steps into the open air and spots three gorgeous brunettes by the bar. Action. Before his mind knows what’s going on, his body is already instinctively in motion. He’s barely registered them in his field of vision before he’s standing in front of them with a giant grin on his face. The woman on his left is a svelte, doe-eyed seductress with a tight black dress, rich, flowing hair the color and richness of dark chocolate, and a sizzling sex appeal just simmering below the surface. On his right, the good girl who went bad. Deep, seductive eyes, short skirt, petite frame atop needle-thin stilettos, a top that could have been painted on, and an inexplicably sexy pair of librarian glasses. His hands reach out and touch their arms as his mouth opens on auto-pilot. “Heeyyyyyyy” The girls look up at me and make eye contact. For a split second that feels like eternity, I stand

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silent with a steely gaze and self-assured smile, communicating nothing and everything at the same time. Time is slowing down. “You guys are SO cute...” I hug the two next to me briefly as I continue: “...you’re like...my little sisters...” I push them away and like clockwork, the girls

M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

burst into laughter. My grin widens. “I’m going to adopt all of you and wrap you in bubble wrap and put you in my pocket and take you home...” “Wait...you’re potty trained, right?” More predictable laughter. Librarian glasses touches my arm. “You’re funny.” “Aww thank you,” he says as he pulls her in for a hug. You guys are really fun. I can’t stay though, I’m with my friends over there. But you know what...” “...if you guys were born as boys, what would your boy names be?” Giggles.

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“Jack” “Bobby” “Psh, that’s so normal sounding. Ok what would your STRIPPER names be?” “Jack HAMMER” “haha ok you guys want to know what MY stripper name would be? And no, it’s not Tiffany.” “YES!” “Ok...hmm...I’ll tell you what, I’m going to walk away (point) right over there and then I’m going to walk past you and you guys are going to ask my name.” I walk a few feet away and then turn around and walk back with a cocky, slightly overdone “I’m a male stripper” swagger. “What’s your name, handsome?” I pull them close with my hands at the small of their backs and then reach up and grab a handful of hair and pull. “Buck Wild” Their laughter gets the attention of everyone in the area and I know I’m done with attraction. And I can still freely pick any of these girls as my target.

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Welcome to my reality. Life is good. The days of arbitrarily picking a target are dead. Group Attraction (GA) and PureKino (PK) not only 1. Sarge (v): To go out explicitly to meet women. See Glossary for additional information.

allow you to sarge1 without a target, but also give you the toolset to give women the optimal emotional experience in the shortest amount of time. Note that I said, “give women an optimal emotional

M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

experience.” This is very important. What you are learning here is not manipulation. What you are learning here is how to use every available human communication channel to give 2. Emotional Value (n): Things that positively spike our emotions or otherwise make us feel good. See glossary for additional information.

women emotional value2. When you are able to accomplish that, you create an incredibly compelling reality that women want to be a part of. You will create a reality so compelling that women will always choose to continue hanging out with you. Fewer than one in a hundred men have the ability to give value to the point where they bend reality. When women meet a guy who can do that, the results look like mind control powers. In reality there’s

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no mind controller tractor beam sucking the girls in...they merely make the choice to continue the interaction because of the mind-boggling, valuegiving coolness that oozes from you. Women make that choice second-by-second and the longer that occurs, the more it becomes a permanent reality. What’s seriously amazing is how consistent this phenomenon is. It freaked me out when I first perfected it because it felt like mind control. I almost felt...guilty. Almost. But being so cool that after 3 minutes all the women you meet want to hang out with you isn’t something to be ashamed of. It’s nothing to be ashamed of because that “10” bombshell model isn’t experiencing any guilt from having dozens of men incredibly attracted to her night-after-night. In her reality, all the men are making the second-by-second, free will choice to pursue her. We’re just flipping that equation by creating her male equivalent. We’re not circumventing free will, we’re just creating realities so compelling that women will always pursue us. Fortunately, like anything worth doing, all this takes is a bit of practice and skill. Ultimately, what

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you’re doing is simply being an incredibly positive, dominant alpha male who channels his personality through the methods I describe in this book. You will not become someone else. You will still be you. But you’ll have superpowers. The superpowers work and have been tested by men from all walks of life and many age groups: from high school all the way to senior citizen age. They probably work after that as well. They also M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

work on all women in party situations, from 20s up to “cougar” age. So no matter what your or her age bracket is, you’ll get results. They probably work on women even older but we couldn’t find enough grannies in clubs that guys wanted to sleep with in order to test this. However, we can tell you that 18-year-old women are very responsive as well. In this manual I’m going to teach you in extreme detail how GA+PK work. I’m going to give you drills to practice at home and in-field so this becomes second nature. I will show you how to get “in the NOW” to obtain the powerful presence required to maximize these techniques. I will teach you how to construct your own routines. I will show you the road to naturalizing this skill set so that you can execute automatically, every

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time you go out. Ultimately, my goal is to make this knowledge totally intuitive and to give you unconscious competence3. As a beneficial side effect of practicing GA and PK you will also learn how to intuitively escalate in any situation. In the end, you will become a “super-natural”

3. Unconscious Competence (n): The most advanced of the 4 stages of competence in psychology. It refers to ingrained or instinctive ability.

...a guy who combines the intuitive skills of a “natural” with a guy who is consciously aware of everything that’s goes on. When you put both together you get something super indeed.

1. 2 P rere q u isites To get the most out of this book I highly recommend you read and understand the Get the Girl! Nightlife Edition Manual. You don’t need an extensive amount of skill or experience to start using Group Attraction, but you will need the foundations laid out in the GTG! Nightlife Edition Manual. You can get it at www. mehowgetthegirl.com. Reading the Microloop Theory™ (MLT) eBook that came with your Get the Girl! Manual will also help although I cover the basics in the following chapters.

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Another product which will be tremendously helpful is Infield Exposed, my 9 hour video demo and narration compilation. Seeing how things are supposed to be done is crucial to learning it yourself. Back in the “old days” we all had to learn from the occasional demo by a master but it was mostly a trial-and-error process. You can get Infield Exposed at www.infieldexposed.com. Lastly, I highly recommend Eckhart Tolle’s, The M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

Power of Now. It’s not specifically a pickup book but it will totally and completely change your life. I present some basics here but really getting into Tolle’s work will only make you a better, more loving, more value-giving person. You can find this book online or at your local bookstore.

1.3 H o w to Use T his B ook The first obvious step is to read this book or listen to it via audio. I know the video material that came with this product looks really appealing but I spent a lot of time creating a learning process for you that is very efficient. I developed learning procedures and drills for you to perform in the book along with guidelines on how to use

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I n t r o d u c t i o n — G r o u p At t r a c t i o n ™ a n d P u r e K i n o ™

them. If you skip around you won’t get the full benefit of the system. There is a lot of content in this book! Our philosophy is to give you the simplest models for understanding the pickup (that’s Microloop Theory and DNA Code™). When you use these models to fully document everything that happens in human interactions, you get a lot of content. Understand that after you read the book once, you will only have a surface understanding of the models and concepts. I don’t expect you to know or to have fully committed everything to your mind—but you will have an unreal understanding of how game really works. This is critical because you will then have a reference source full of information which you can use any time to solve any problem. That said, do read this book in its entirety at least once so that you get a broad understanding of the core concepts. Let’s Begin.

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G r o u p At t r a c t i o n ( G A ) — T h e o ry a n d P r a ct i c e

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In this chapter I’m going to present the structure of Group Attraction and its theoretical underpinnings. After finishing this section you’ll understand in detail how and why all this works. This will give you incredible insight into not only how to perform Group Attraction, but many other types of game as well. What we’re going to get into are the foundational building blocks of game. This understanding will thus apply to online game, day game, D2s, and much more. You’ll also gain significant insight into the secrets of escalation.

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We’ll start off with a refresher on the Mehow Model™ from the Get the Girl! Nightlife Edition Manual and explain how Group Attraction fits into that paradigm. Next, we’ll go into the Mehow Training Model™ where you’ll understand the process involved in quickly and easily learning pickup. After that we’ll dive deep into the differences between Group Attraction game and Target M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

Attraction game, how Group Attraction came about (which will teach you some very important lessons about how to learn it), and the structure behind it. Once you understand the structure you’ll be able to start creating your own Group Attraction stacks and improvising correctly. Finally, we’ll go into where you can use these techniques (more places than you think!), and how it meshes with both direct and indirect opening styles. The rest of the chapter is devoted to understanding the detailed mechanics of Group Attraction, including how all the individual elements (Group Teasing, Group Projections, and PureKino) work. That will be the most consciousness-expanding section of this chapter.

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Once you attain a higher consciousness, I’ll explain how to put all of this knowledge into practice so that you become a babe-magnet-ninja.

T he M eho w M odel

Opening

Isolation

Qualify

Attraction Comfort Kino Plowing

Figure 1 depicts the Mehow Model of Social

Sex

Figure 1

Interactions. This is identical to the one presented in the GTG! Nightlife Edition Manual. In the following section we‘re going to focus on the preliminary stages of opening, attracting, and isolating. I’m going to teach you new methods of attraction that build upon the material in the GTG

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Manual. After the isolation phase, simply return to the structure as described in the GTG Nightlife Edition Manual.

M eho w T raining M ethod Why do we practice pickup? What are we really doing when we practice? How can we increase the effectiveness of this practice? M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

There are a million training techniques and vessels available to us: Books, videos, state alteration exercises, drills (both in classroom and infield), learning plans, natural game techniques, routine stacking, infield practice, Neuro Linguistic Programming (NLP), and hypnosis, among others. Let’s discuss each of these and see what they do for us.

Home Study & Distance Learning (Books, Videos, Phone Training, Forums, etc): This is the traditional and most common way of absorbing intellectual pickup knowledge. Books and videos are best at imparting intellectual understanding so you understand how things work.

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Books are great at explaining theoretical concepts because you can easily review the concepts multiple times before going on to the next section. Video is invaluable in its ability to show you the subtle nuances involved in delivery, tonality, and body language. This is why we’re including both infield and classroom demo video in this product. These resources can also include Homework Exercises to strengthen your intellectual and intuitive understanding.

State Alteration Exercises: These are specific things you do to pump up your state4. Being in a happy, positive, and fullypresent state is very helpful in pickup as it allows you to free associate and get in “the zone.” In fact, its 100% necessary in the learning process as your mental state significantly influences your subcommunications5. Once you naturalize strong subcommunications, you can convey it regardless of state, but during the naturalization process your infield results will be very state-dependent. Later in this program I’ll show you my “Presence Exercise” which will get you into a positive, happy, and fully-present

4.  State (n): Concept referring to your current emotional state. Higher/ better state usually equates to better performance. Great “state” is akin to being “in the zone” in sports or competitions. 5.  Subcommunication (n): Information conveyed below the overt level, e.g. through subtext or implication. Common examples include body language, eye contact, or embedded DHVs. See glossary for more information.

state at the beginning of the night. Positive affirmations are another form of state alteration

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and utilize the power of the subconscious mind to invoke positive change. Finally, the “Light Consciousness Exercise” from page 17 of the GTG! Manual is reprinted at the end of this chapter and allows you to focus in on one part of your game while still remaining “in the moment.”

Drills (Classroom and Infield): Drills are the process of rehearsing or practicing M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

a particular part of your game. Like sports, skills, or abilities, practice trains your mind and neurology to react and perform a certain way. In short, you “play the way you practice.” Drills are useful in that they allow us to practice good habits in a controlled environment. They also allow the brain to intuitively begin absorbing material and concepts as they are being put into action. To build any skill, you have to learn in small chunks and then move on to the next step in a continual process. The goal of drills is to build up your intuitive knowledge through a structured learning plan until you have attained unconscious competence. In short, you can perform without consciously thinking about it.

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Learning Plan: Similar to drills, Learning Plans are structured blueprints which function as knowledge maps to help you maximize absorption and efficiency. Timing, order, and direction are all critical elements to the learning process which Learning Plans help to optimize. For example, the learning plan for Group Attraction involves reading this book in its entirety and then following the procedures in it. Learning Plans will also show you how to maximize the use of other tools such as Drills, Infield Practice, State Alteration Exercises, etc. We’re going to give you the full Learning Plan for GA at the end of this chapter.

Natural Game Techniques: While we are not specifically a “natural game” marketing company, we have always remained open minded to new techniques and paradigms. One thing natural game does very, very well is vibing and free association. We’ve adopted many of these exercises and concepts to help you maximize your results. Among other things, the ability to freely think on your feet while giving off a warm and friendly vibe are invaluable skills to have. Ultimately, there is no “one true way” in pickup.

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The best practitioners will always be those who take the best from every style and combine them into their own. Instead of dogmatically sticking to only one training method we present all of the useful ones to you so you learn at a maximum rate with maximum results.

Routine Stacking: Routine Stacking is the polar opposite of dogmatic M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

natural game. It is a rehearsed and practiced symphony of body language, verbal routines, and kinesthetic communication. While no technique is a magic pill, routine stacking is effective in its ability to teach mechanics and promote good habits. It is akin to rehearsing a speech before a speaking event. Learning correct mechanics is crucial as it both helps to alleviate approach anxiety by giving you a game plan, and it allows you to acquire a lot of time in the field with successful interactions. This is critical as field time is by far the most effective tool for naturalizing your skill set and developing the ‘field instinct’ to always know what to do or say. The structure of the stack also helps in that it promotes good habits. As in sports and most skills, we generally perform the way we practice. Think of a routine stack as a football or basketball play. Even if things don’t always

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go according to plan, the presence of the plan is always of great benefit. In the end, we all want to be naturals. That is, we want to have unconscious competence. We don’t want to be always thinking about what to do or say next. We want the skill set to be ingrained. But you have to start somewhere. Routine stacking facilitates you becoming this monster “natural” by giving you structure and good habits, teaching you mechanics and a game plan, and enabling you to have thousands of positive interactions in an incredibly short period of time.

Infield Practice: Infield practice is absolutely key to everything else. It is the glue that binds every technique, concept, and theory together. Preparation without execution is simply a colossal waste of time. Infield experience is the training ground where you’ll naturalize new behaviors, eliminate sticking points, generate loads of new material, and learn the most about women.

NLP and Hypnosis: These are a special breed of extremely effective state alteration exercises, both for yourself and the women you meet. They affect the subconscious

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on a deep level and can result in positive change and erase negative thoughts and feelings. They are the province of inner game work but also useful for outer game. I won’t be giving you any NLP/Hypnosis as a part of this product, but I highly recommend the “Get the Girl! Reinforcement Programming” trance by my good friend and master hypnotist Hypnotica. It can be found in the Get the Girl! Manual Nightlife Edition Collector’s Set. (Available at http://www.mehowgetthegirl.com/ M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

CollectorsSet) Ultimately, all these things affect our subconscious as depicted in Figure 2 below.

HOME STUDY DISTANCE LEARNING STATE EXCERCISES DRILLS NATURAL GAME ROUTINE STACKING INFIELD NLP/HYPNOSIS ETC... Fig 2

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In principle, if the correct information is wired into your subconscious when you “get in the now6,” you should reflect 100% attractive material and body language in the form of OUTPUT as shown in

6.  Refers to being in a present state of mind, a concept extensively discussed in Eckhart Tolle’s The Power of Now. See glossary for more information.

the diagram below. (See Fig 3.)

TRAINING

Now

Output

In this diagram, the books (knowledge and theory) and The Now (being in the present) both affect and train your subconscious. This results in Output of more effective and successful interactions. Feedback on this Output is then related back to a better understand of the knowledge and theory (books), and the training cycle continues.

Fig 3. Mehow Training Method—Feedback Loop

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There’s one problem though—when learning, and even after attaining mastery, you will still make mistakes and the wrong output will come out. What’s essential is that you receive proper feedback to tailor the teaching techniques you need to use. Feedback is often the missing link holding many people back from success. Not only do you need excellent instruction from a diverse set of M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

sources, but you need a customized way of knowing what to study—and when—in order to maximize your results. In short, you need both feedback and a custom training curriculum. This makes sense as your individual subcommunication and abilities can vary widely from even those individuals reading this book. So let’s examine the currently available feedback mechanisms for developing an individual curriculum:

-WomenIt’d be really great if you could have an honest conversation with the women you’ve met and ask, “How did I do?” and she would respond, “Well

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your conversational ratio in comfort should have been closer to 50%/50%, and I didn’t like how you didn’t lead when we went to look for my friends, and I wish you didn’t get weird when I gave you that shit test about the shoes (and I really didn’t like your shoes) … bottom line, you could have taken me home but because you fucked up xyz I only gave you my number.” Not going to happen. Women generally only give you feedback in terms of non-specific Indicators of Disinterest (IODs7) which can mean anything from “you did nothing wrong” to “you totally creeped her out.” For example, when she doesn’t come back from the bathroom that could mean either a) you weirded her out somehow, b) she was approached competently by someone else on the way back, c) her boyfriend showed up, or d) any combination of these or other events. You can’t tell from her actions what’s really happening. Female feedback is only somewhat useful when you

7.  Indicator of Disinterest (IOD) (n): Another term coined by Mystery. It is any signal from a group or individual which communicates or subcommunicates disinterest or indifference. See glossary for more information.

have a very specific and detailed context and you have a strong understanding of women and know how to read them well. And even then, there are still variables you can’t control or know about.

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If you’re new, it’s tough to learn anything at all from female negative feedback. Thus, most men typically rely on positive feedback as indicators that they are doing something right. But trying to figure out what to do in terms of evolving your own personal curriculum is generally a guessing game without more help.

-ForumsM e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

If you look at any given seduction forum, the posts usually read like this: “I was sarging chick A, and at some point I did B, and she responded with IOD C … and then I lost her.” Clearly, not much more helpful. Because female feedback is generally ineffective at helping us to break down our interactions, we often turn to others for help via forum posting. While this can be useful, it really depends on the quality of the forum and its members. Here at Mehow.tv we strive to have most posts answered by instructors, but even then there are a number of other factors such as:

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1. The posters often don’t tell the whole story because of ego or not being able to remember critical details. 2.  We can’t see what’s actually going on in the set with the women. 3.  We have no clue what the subcommunications of the poster are. 4. Egos typically inflate posted results. 5.  Problems are frequently so vast that they can’t be fixed with a post reply.

-WingsThe next step in the evolution of feedback is feedback from wingmen. This can be fairly effective but it often relies on the expertise of the wing and still contains a variety of other limitations: 1.  Very few wings are experts, even those who claim to be. 3.  Many genuine experts are poor instructors. 4.  Most experts don’t want to go out with beginners. 5.  Most of the time the wing can’t hear what you’re saying.

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6. The wing is usually out to pick up with you, not sit down and teach you. Thus, he’s out to have fun and your instruction and feedback are limited. 8. It’s difficult for a wing to stand close enough to hear without affecting the set.

M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

9. If your wing is actively winging you, his ability to observe you is substantially limited.

-Live TrainingLive training is largely considered to be the current state-of-the-art feedback system.  In this type of training you have a professional instructor observe your sets and give live feedback. In addition to instructors knowing exactly how to listen in on sets without “tainting” them, our staff also utilizes exclusive, remote audio technology to hear all of the details from afar, even in a loud dance club. The professional instructor can give you loads of live feedback and a report on what he observed, but there are still limitations: 1. The instructor is typically coaching more than one student.

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2.  Most instructors can’t be close enough to the set without affecting it. 3. In the club environment, it’s difficult to observe all of the pertinent details as they goes by second-by-second because there is so much going on. 4. Immediate feedback is only immediately useful for simple corrections. Any corrections for non-trivial sticking points will have to be worked on over many nights. Additionally, much of the feedback a student receives on the spot will be forgotten. 5.  Boot camps are relatively expensive and frequently require time off, travel, and travel expenses. 6. It’s difficult to absorb all of the information typically available in a boot camp in one weekend (incidentally, this is why we offer multiple levels of boot camps, starting with the Get the Girl! LIVE SeminarTM and ending with the Get the Girl! LIVE Infield IntensiveTM).

So WHAT DO YOU DO!? You use absolutely all of the aforementioned methods to maximize feedback to correct and

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improve your game. Without accurate feedback you won’t progress fast enough and you’ll run the risk of stagnating, getting discouraged, and quitting. In short, you’ll never get what you wanted out of this. Ultimately, the best feedback is to have you videotaped in field. After realizing how effective this feedback system was for our own development, we began to offer this service as part of a new

M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

“Hot Seat” Program (www.getthegirlhotseat.com) and 8. Continuity Program (n): A learning system spanning multiple weeks, months, or years designed to follow your progress and make continual updates and adjustments. For more details, see http://www. getthegirlunleashed.com.

several continuity programs8. Video feedback is useful in its unique ability to let you see yourself in the 3rd person along with rewind, replay, and review abilities. It’s particularly useful for kinesthetic techniques and body language. Short of that, we also recommend audio recording of your interactions as they allow you to dissect at least the verbal aspect of your game. We’ll give you a detailed map of exactly how and when to use each type of feedback in the “Practicing GA” section at the end of this chapter. As you can see, we don’t endorse any secret “do only these 3 things and become a mad PUA ninja” training philosophies. We simply give you the tools, tactics, and techniques to perfect your game.

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In this product we have included elements from each of the aforementioned categories to help you in your development. Things like Drills for the approach and the Group Attraction/Pure Kino, Routine Stacking over interrupts, a State Alteration Exercise for getting in the moment, and a myriad of classic instruction through classroom and infield video, text, and audio along with plenty of Homework Exercises.

G ro u p Attraction vs. Target Attraction In the community to this day, there exists the concept of the “target” as the woman you arbitrarily “pick” at the beginning of the set. It turns out that this whole concept is unnecessary and limiting.

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A target only needs to exist if you’re alienating 9.  Active Disinterest (n): A concept developed by Mystery which involves approaching and attracting a target by demonstrating higher value and simultaneously conveying disinterest.

her through active disinterest9 and indirect game. But what we’re about to show you is pickup through the giving value paradigm, which operates on a whole different level. In many conventional pickup models, attraction

M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

is designed for a specific target by utilizing 10.  Individual False Disqualification (n): Theory developed by Mystery which attempts to convey disinterest in the target through tactically deployed “negs” or false disqualifiers. Note that these disqualifiers are primarily designed to false disqualify—that is, they can be remedied through her investment. True disqualifiers would be counterproductive to the interaction.

individual false disqualification10 (often referred to as “negs”), active disinterest, and social value manipulation. Group dynamics are controlled by alienating the obstacle so as to appear to not be a potential suitor while demonstrating value to the group and winning the obstacles over. When you combine false disqualification with target-based attraction and obstacle handling through value demonstrations, this allows you to isolate with the target with excellent consistency. However, it also poses a potential problem: You must pick the target at the beginning of the set, most of the time before you really get to know her, and often before you even open. This causes a few restrictions, some of which include finding out that you don’t like your target, getting “caught” on this being a pickup,

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finding out your target is married to the bartender, or insufficient early kino. The ultimate goal is to run the attraction phase to get attraction and isolation with the woman we like. But you can accomplish this same goal by instead: ttracting all the women in the set by A giving emotional value. Controlling all the men in the set by controlling the women … through giving emotional value. Unlike the aforementioned target-based approach, Group Attraction (GA) attracts all the women in a particular group, giving you the option to choose your ‘target’ at any time. In Group Attraction there are no targets until you decide which woman you are most attracted to. We accomplish this by using kino and running attraction techniques on all the women in the set at the same time. This provides the following tactical advantages: ttracting all of the women at once A creates instant jealousy plotlines and

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they start competing for you and gaming themselves into being even more into you. ince you’re attracting all the girls, S the value you bring to the women increases drastically compared to target-based game, thereby allowing you even greater control over the men and more logistical control over the women because they’re all attracted to you. Because the men in a set are controlled  M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

by the women (who are controlled by you through the value exchange), traditional AMOGing is largely unnecessary. ou gain the ability to kino right off Y the opener, and on “gaggles” of women all at once. The more kino you get, the more compliance you have, which will be backwards rationalized into attraction. This will be discussed later in the chapter in further detail. ince you’re not singling out one S woman, AFCs and uninformed women won’t see you as “hitting on their friend.” The fact that you’re attracting the whole group is in itself a disqualifier. I have yet to hear the “Are you hitting on all of us?” shit test. Society as a whole is so used

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to suspected romantic interactions being one-on-one things that it really haven’t caught on to the “one-to-many” Group Attraction methods.  You can generate social proof much faster using group attraction as a result of the massive group buying temperature (BT)11 spike. Four women throwing their arms around you and giggling generates massively more social proof than one woman flipping her hair at you. And most importantly …  You get to pick the target at your

11.  Buying Temperature (n): Concept and term pioneered by Tyler Durden which represents a woman’s emotional receptivity and the degree to which she is receptive to intimacy or physical contact. See glossary for more information.

leisure while interacting with the group. This allows you to pick the target that you’re genuinely attracted to, and not arbitrarily forced before you approach the set.

W h i c h At t r a ct i o n T e c h n i q u e s t o U s e ? There’s a pretty wide variety of attraction techniques available to us. All of them give emotional value via subcommunication. Attraction techniques include demonstrations of higher value (DHV)12 stories, emotion-based communication, push/pull13,

12.  Demonstrations of High Value (DHV) (n): Term coined by Mystery which describes a way to obliquely convey attractive qualities about oneself without appearing to brag. See glossary for more information. 13.  Push-Pull (n): Technique popularized by Swinggcat involving a highly emotionally stimulating combination of interest and disinterest. See glossary for more information.

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14. 

Credit: Mystery

M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

15.  Elastic Band Snapback Effect (n): Concept pioneered by Tyler Durden explaining why women chase your validation with temporary indicators of interest when you strip them of sexual power. See glossary. 16.  Cocky & Funny (C&F) (n): Technique by David DeAngelo, characterized by a combination of humor and cockiness. See glossary. 17.  AMOGing (v): Taking control of the interaction and displaying dominance over other the men; The process of tooling the men in a set in order to take their women. Credit: Tyler Durden. See glossary. 18.  Wildman Game (n): Popularized by direct game proponents such as Gunwitch of mASF fame. Involves aggressiveness, sexual intent, and extreme displays of dominance. See glossary. 19.  Interactive Value Demonstration (IVD) (n): Attraction technique popularized by Neil Strauss (Style). See glossary.

cold reading, future/past/present projections and plotlines, teasing/banter, disqualification/ negs14, elastic bands15, cocky and funny16, role playing, AMOGing17, buying temperature spiking, kino, Chase Cycling/Microloop Theory™, wildman game18, palmistry, magic/mentalism, lifestyle, singing, interactive value demonstrations19, and many, many more. With Group Attraction we’re going to focus on attraction techniques that radically stimulate emotions (give emotional value). The goal is to sufficiently attract entire groups of women while simultaneously subcommunicating attractive qualities about oneself. Subcommunicating attractive qualities and emotional content both give emotional value. Some of the techniques we’ll use for this include Group Love/Hate Teasing™, Group Projections™, and PureKino™. We’ll also implement several other key elements including kino, chillness, Microloop Theory™, and Evil Clown Frame™.

H istory o f G A Let me start by telling you how PureKino came about. Back when I was a –beginner I was very high energy. So high energy, in fact, that in set I

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was essentially a mid-30s, balding, pale, dancing monkey. I would get a lot of spiky20 attraction and sometimes get the girl by using this to isolate and then do the real work in comfort.

20.  Refers to buying temperature spikes. In other words, spiking her emotional state but lacking any real attraction to the individual.

Back in those days I was rolling a lot with my good friend and wing, Lovedrop. Lovedrop always had some sort of secret plan for getting my game to the next level, except he wouldn’t tell me about it until right when he sprung it on me. So one night when my dancing monkey was particularly acting up, he followed me around the club telling me to be ‘chill21’ constantly.

21.  A relaxed, unaffected state of being. At peace with oneself and others.

When I did that, half my sets didn’t hook at all and walked away wondering how a dork like me even got into such a swanky establishment, and the other half of the sets would hook super hard. So being “chill” made things solid if it hooked, but otherwise I lost the set. Back to the drawing board. Clearly hooking only half the time wasn’t acceptable I started to think about the mechanisms available to us which caused sets to hook. Here’s what I came up with:

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  Super-tight ‘I live on planet Mehow and it’s a wild and fun place to be’ subcommunications. Touching, lots of touching (kino) and compliance

I learned this from being infield a ton - I noticed that when I did those things, sets seemed more solid. So I started to think about how I could run M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

attraction with just those two things … and PureKino™ was born. I call it that because with PureKino you can literally run an entire attraction phase by touching and verbally plowing emotional value. If you can get a large amount of touching and compliance in attraction, you can effectively maximize the “chill” factor you can bring into your game. Along with excellent subcommunications, this will allow you to win over sets with great consistency. The result is super-tight attraction. The best thing about PureKino is that the material teaches you how to become wild and fun, and it’s the single most effective field exercise for teaching how to escalate physically. All of a sudden you find yourself with super-ninja

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escalation skills that you can easily improvise at any moment. This allows you to bring all of your other pickup skills to new levels as well. Hello exponential game growth. PureKino is such an excellent escalation and teaching tool that it spawned the development of Microloop Theory and Group Attraction by practicing it. Microloop Theory came to me about six months before I wrote the Get the Girl! Manual and had been doing PureKino for a year and a half. All of a sudden I noticed that I could escalate any girl, any time. I noticed it most when I was winging Mystery on a demo tape for a TV network and I watched the footage and noticed that I had grabbed the obstacle and didn’t let go for 10 minutes … and she was completely compliant. Unfortunately that set was entirely improvised and I wasn’t wired for sound so I had no idea what I said. But I noticed that after practicing PureKino for a long time, I intuitively knew when to escalate so it would always work. After analyzing my own footage for three months after that incident, I figured out what was allowing me to always escalate and why PureKino worked so well. My intuitive knowledge had started to surpass my intellectual knowledge. I could do things I didn’t understand.

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Group Attraction also came about from practicing PureKino in field. I noticed that when I used it, I didn’t need to have a target and all the girls were attracted. This got me thinking about how to make all of my game work on attracting groups of women. So I stopped negging or singling out the ‘target’ and started group teasing. I also stopped telling DHV stories in attraction (energy was too low and I lost the set too much) and changed my future projections from one girl (the target) to M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

all the girls. Once I put everything together, my attraction game became massively more effective, and Group Attraction and PureKino were born. The important lesson for you here is: Intuitive knowledge is super-critical to mastering pickup. This is why I want you to spend a lot of time drilling and piles of time infield. Creativity and individual expressions of your personality can only come from intuitive knowledge of the raw materials. I want you to develop an intuitive knowledge of pickup that far surpasses your conscious knowledge so that you can operate on an instinctive level and ultimately become a natural.

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T he G ro u p Attraction M odel and T he M eho w M odel One of the main underlying concept behind group attraction is to take techniques which are well known to work on one girl and making them work for groups. There are three main elements to this structure: Group Love/Hate Teasing (GLHT or gT) Group Projections (GP) PureKino (PK) We’re going to take these 3 tools and put them into the Open and Attraction structure you learned in the Get the Girl! Nightlife Edition Manual as shown on the next page. The main tool you’ll be using in Group Attraction is the Group Indicator of Interest (gIOI) and Group Indicator of Disinterest (gIOD). Before we get any deeper into Group Attraction, let’s discuss gIOIs and gIODs.

Group IOIs and IODs Group IOIs are either verbal or nonverbal indicators of interest towards a group of people.

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The Meh ow Mo del

Opening

Isolation

Qualify

Attraction

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Comfort Kino Plowing

Sex

Group Attraction

Fig 4. Group Attraction

Types and examples of group IOIs (gIOIs) are:

inside The Mehow Model ino (touching)—Any simultaneous K touching and/or sequential touching of the people in a set. Examples include group hugs, dancing with more than one girl, handshakes, high-5s, ‘Give me the rock!’ (with more than one girl), and any group touching, either simultaneously or in sequence (PureKino contains a lot of this).

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ompliments—Any verbal compliments to C the group as a whole such as, ‘You guys are fun!’, ‘You guys have a cool energy!’, ‘You guys are sort of fun though’ and ‘You guys are special’ etc. Explicit Verbal IOIs—Such as ‘I love you guys!’ Direct Openers—Examples include ‘You guys are fun, I had to come over here and say hi!’ or simply the act of walking up directly to a group without excuse or reason and saying anything. ositive Body Language—A head tilt, P standing closer, facing the group, smiling at them. Note that some forms of IOIs telegraph too much interest and become needy. Leaning in is a good example of a group IOI that you generally do NOT want to use. sking Rapport-type Questions—(e.g., A “Where are you guys from?”, “So what are your names?”) ork or Investment—When you give emoW tional value of any kind to the group.

Group IODs are the polar opposite. They are general indicators of disinterest (romantic or

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otherwise) in a group of people. In pickup terms, gIODs are generally verbal or nonverbal cues that you give to indicate a lack of interest. These cues range from subtle indifference (looking away, not caring about the outcome of the interaction) to deliberately walking away from the set. Examples of group IODs (gIODs) include:

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ino Discontinue—Pushing girls away K from you after you touch them or stopping kino of any kind. roup Disqualifiers & Verbal IODs—Verbal G indicators that you are not interested in them, e.g. ‘You guys suck!’, ‘You guys are too nerdy for me!’, ‘You guys are geeky!’, ‘You guys are nerdy!’ , ‘It’s the feisty ones you always have to watch out for!’, ‘Oh my God, you are total space aliens!’, ‘You guys are total knuckleheads!’, ‘You’re like my little sisters’, ‘We could never be friends’, etc. roup False Time Constraint (FTC)—A G verbal or non verbal cue that you are leaving soon. This creates scarcity and when timed correctly, can generate massive compliance. Verbally, the FTC is generally a variation of, ‘I have to go in a second, my friends are

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here.’ This is typically accompanied by a non verbal component where you give negative body language to convey the same communication. It’s usually effective to utilize at least one FTC in the interaction, preferably early on. egative Body Language—Non verbal cues N showing disinterest or avoidance. Commonly implemented via back turning, getting distracted, walking away, or breaking eye contact. ot Investing/Working—not giving N emotional value to a group of people or explicitly defying a value request.

Note that gIOIs and gIODs operate independently of emotional value. Some of them give emotional value and some do not. This understanding will become crucial when we discuss calibration and the relationship between gIOIs/gIODs and giving emotional value in the “How Group Attraction Works” section.

The Group Attraction Model When you combine similar gIOIs and gIODs, you get Group Love/Hate Teasing (gLHT), also abbreviated as Group Teasing (gT).

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The overall structure of Group Attraction is to Open, then attract through PureKino and Future Projections while sporadically using gLHT. If you’ll recall from the Get the Girl! Nightlife Edition Manual, the opening phase consists of the following steps:

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Table 1

GTG! Manual Open i n g

1. Opener (IOI) 2. Tease the Loudest Girl (IOI, IOD) 3.  False Time Constrain (IOD) 4. Transitionary Compliment.*(gIOI) 5. Continue to Attraction

*The Transitionary Compliment is in the Get the Girl! Nightlife edition manual but is not emphasized. It smoothes the transition to attraction by giving the group a small gIOI such as “You guys are fun.”

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When you “group-erize” the above structure, you end up with the Group Attraction opening model which looks like this:

Table 2

G r o u p At t r a c t i o n O p e n i n g

Step

IOI/IOD

Example

1. Opener

gIOD

“Heeeeeeyyyyyy!”

2.  Tease Loudest Girl (2 parts)1

gIOI  “You guys must have been … the cutest



… ”

gIOD  “hall monitors in middle school.”

3.  False Time Constraint

gIOD

“I can’t stay long … ”

4.  Transitionary Compliment

gIOI  “You guys are fun ... Get this ...”

5.  Continue to Attraction

-----

---------------

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Q&A: Q:

“Hey, Mehow … didn’t you already teach us the exact same thing in the  Get the Girl! Nightlife Edition Manual?”

A:

“Yes and No. I did teach you the structure, but recall that you were  teasing the loudest girl, not the group in the Get the Girl! Nightlife Edition Manual. I also didn’t teach you the underlying group dynamics. The GTG! Manual was my deliberate effort to start giving you the

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intuitive abilities to perform group attraction while keeping it simple. If you have been practicing these techniques then you’ll have no problem transitioning to Group Attraction.”

Simplified, the above structure looks like the following:

Table 3

Si mple GA Open i n g Breakd ow n

1.  gIOI 2.1  gIOI 2.2  gIOD 3.  gIOD 4.  gIOI

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2.1 and 2.2 combine to form a Group Love/Hate Tease.

To further simplify things, were going to break the opening down into smaller parts shown below in Table 4:

Table 4

gIOI

and

gIOD

a n d O p e n i n g P h as es

1.  gIOI—Opening Material 2.  gIOI+gIOD—Group Love/Hate Teasing 3.  gIOD—False Time Constraint 4.  gIOI—Transitionary Compliment

Note: You can also open with gIODs and gIOIs or use other opening styles (indirect, social, direct, etc). We can even flip the order of the gIOIs and gIODs around as shown in Table 5:

Table 5

gIOI

and

gIOD

a n d O p e n i n g P h as es, a lt e r n at e

1.  gIOI—Opening Material 2.  gIOI+gIOD—Group Love/Hate Teasing 3.  gIOI—Transitionary Compliment 4.  gIOD—False Time Constraint

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In fact, the Group Attraction example I gave in the introduction corresponds to the Table 5 example. The attraction portion of Group Attraction simply consists of one or more Group Projections or 21.  Group Love/Hate Teasing. See glossary or the beginning of this section for more details.

PureKino routines combined with gLHT21.

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Table 6A

attr act i o n, Ext e n d e d V ers i o n

1.  Group Projection with more gIOI/gIOD 2.  gIOI and gIOD 3.  PureKino Routine 4.  gIOI and gIOD 5.  PureKino Routine 6. Isolate and Begin Qualification

Once you’ve naturalized your delivery and subcommunication using Group Attraction, your interactions will look more like the following:

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Table 6b

attr act i o n, s h o rt V ers i o n

1.  PureKino Routine with embedded gIOI/gIOD 2. Isolate and Begin Qualification

Putting all this together, you get the following Group Attraction Model:

Table 7

G A M o d e l, S h o rt V e rs i o n

1. Opening Material - gIOI 2.  Group Love/Hate Teasing—gIOI+gIOD 3.  False Time Constraint - gIOD 4. Transitionary Compliment - gIOI 5.  Group Projection or PureKino with more gIOI/gIOD 6. Isolate and Begin Qualification

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HO M EWO R K EXERCISE: “Read the sample

Group Attraction follows a basic structure and as long as you understand it, you can modify and create your own combinations and stacks to fit your personality and communication style.

Group Attraction stack in the Introduction on page 9-15 and label all the M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

gIOIs and gIODs. Then label the gIOIs and gIODs into their relative phases (e.g. Opening Material, Group Love/Hate Teasing, FTC, Transitionary Compliment and PureKino or Group Projections).

Where can y o u u se G A? Group attraction is most effective when used in day or nighttime party situation where you are cold approaching a set. Cold approaching means you are talking to women whom you have never met before. Examples are daytime parties (street fairs) or any bar or nightclub at night. If the energy of the environment is very low or “loungey,” you’ll want to tone down some of the techniques and use less kino. Group Attraction can also be used in non-party day game situations but without PureKino (Use the Group Teasing and Projections instead). Day time kino is much more subtle and low-key so calibrate to your surroundings. Remember the cardinal rule of always opening with slightly higher energy level than

22.  Credit: Neil Strauss/ Style

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that of the set.22

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G ro u p Attraction and D irect vs . I ndirect O pening Let’s back up for a second and give you guys a few definitions to work with. The terms ‘direct’ and ‘indirect’ are vague at best. Let’s define them in a bit more detail. ‘Indirect’ game typically uses indirect body language (opening with your body facing away from the set, “over the shoulder”) and an opener which attempts to engage the group in conversation while conveying disinterest. Most of the time this comes in the form of an opinion opener. Common examples are “Who lies more, men or women?” or “Would you ever date someone who’s still friends with his ex?” Conversely, “Direct” game uses direct body language (walk straight up, face the set), and direct verbals, ranging from implied direct (e.g. ‘Hey!’, ‘What’s up?’) to Sexual Direct (Asian Playboy’s ‘You are absolutely f*cking adorable.’ Get the APB issue of Infield Insider to see that in action! www.infieldinsidervault.com). The style taught in Get the Girl!TM and Group Attraction game is somewhat of a mix of the two extremes. The blend allows us to take most of

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the benefits of each style while minimizing the drawbacks. One interesting aspect to the two styles is that their individual elements can be combined, mixed, and matched. Nothing prevents you, for example, from taking the verbals from indirect (e.g. an opinion opener), and combining them with direct body language. And vice versa. You’ll have to make

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some slight modifications to stay congruent, but the styles can be blended more than people think. So really, just taking into account indirect and direct game, you have 4 different possibilities of opening styles (shown in Table 8). The last one, #4, is rarely used because it has a tendency to be incongruent. You are verbally stating that you want to meet them but your body language is conveying disinterest. There are very few circumstances where this is situationally relevant. The one time it is used heavily is when 23.  Example: Saying “hello” when women walk by you. It’s a low investment opener, meaning you don’t lose social value if she doesn’t acknowledge you. At the same time, it gives her an opportunity to engage you if she finds you attractive. It’s a small test for receptivity.

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you use low investment, direct openers with moving sets in a crowded part of the club.23 There are a number of unique advantages and disadvantages to each style. Pure Indirect communicates disinterest and allows you to congruently disqualify while demonstrating higher

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Table 8

o p e n i n g st y l es

1.  ‘Pure Direct’ -- direct body language with direct verbals (e.g. Get the Girl! and GA Method). 2.  ‘Pure Indirect’ -- indirect body language with an indirect opener (e.g. Mystery’s game). 3.  ‘Direct-Indirect’ —- Approaching with direct body language while using indirect verbals (e.g. opinion openers). Note that most implied direct approaches with situational openers also fall into this category. 4.  ‘Indirect-Direct’ —- An approach with indirect body language (facing away, body rocking, etc) while using direct verbals.

value. Additionally, it teaches the student how to convey disinterest and avoid telegraphing IOIs. Unfortunately, it often robs you of the ‘I’m an alpha guy’ sub-communications that a ‘direct’ walk up gets you. It’s also limiting in that you can only approach sets where it’s situationally relevant to open indirectly. To chase a set down or walk all the way across the bar to open would be incongruent with an indirect approach. Remember, the communication on an indirect

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approach is that you’re talking to the set because “they happened to be standing there,” not because you’re interested in them. On the other hand, direct approaches generally allow you to congruently approach any set (even chasing them down), depending on the intensity. Remember that the scale of indirect-direct is a continuum, not an either/or comparison. In other

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words, there are varying degrees of indirect and direct. See Figure 4.

in di r ect

D ir e c t

Indirect (opinion openers)

Neutral/Situational (“That band is awful, huh?”)



Implied/SocialDirect/Group Direct (“hey”/”what’s up guys”)

Sexual Direct (“you’re fucking sexy”)

Fig 4 In general, direct tends to be more dominant and ‘alpha’ because of the subcommunications behind walking directly up to a group and stating your

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intent or interest. The more direct your approach is on the scale, the more attraction you can create right off the opener due to dominance. But direct also has a number of disadvantages. The first being that the more direct you approach, the more your first appearance/first impression matters. This is why tall, good looking naturals with great subcommunications often approach very directly (see The Basic Rule of Direct/Indirect below) Direct forces the set to make up their mind about you almost immediately. If your first impression does not fit into the stereotype of at least ‘acceptable’ to the set, you’ll be immediately in damage control and more likely to be immediately blown out. The other rule is that the more disqualified you are in the venue (e.g. 50 years old in a young college crowd), the harder you have to work using direct. A well-dressed 21year-old at a college-scene bar can open with an IOI. A 50 year old man with grey hair will have to work much harder to achieve the same results with an IOI opener. Much of this comes from the social pressure women feel to not be associated with a disqualified male.

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The Basic Rule of Direct and Indirect: The more disqualified you are, the more disinterest (and less interest) you have to convey right off the approach. And conversely, the less disqualified you are, the more direct you can (and should) go. In other words, it’s unnecessary to run indirect game at your birthday party where your friends have rented out the club, you have immense social M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

proof, and every woman is giving you IOIs. Warm approaches should always be some form of direct. Conversely, running direct is going to be very difficult if your subcommunications are weak and you’re otherwise disqualified. Although looks, age, height, or other factors can play into your level of disqualification, much of it is dependent on your game and factors that you can control. A 50 year old guy in a bar isn’t necessarily disqualified because of his age. Imagine if that 50 year old was named Sean Connery or George Clooney. Most of the time, the disqualification comes from things that you can change. Fashion. Physical Fitness. Posture. Body Language. Your smile. Your game. Confidence. Tonality. Social Proof. In nearly every scenario, a disqualified guy can run ‘Pure Direct’ game with success. He just needs to make fewer mistakes. Women will tolerate more mistakes

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from Brad Pitt than they will from a fat, balding, middle aged man in a club. So in general, we advocate approaching direct in most venues as it tends to build attraction faster On the verbal level, the biggest difference between direct (‘Hey!’), and indirect (‘opinion opener’) openers is how fast you are able to give value to the group. When you open verbally direct, you skip the neutral conversation of the indirect/opinion opener and immediately hook the set by giving value. This gives you a considerable advantage in hooking sets26 consistently. Try it out for yourself: Go out one weekend with opinion openers. Then the next weekend, use the Get the Girl! style direct approach and see the difference in your hooking percentages. Aside from those distinctions, done correctly,

26.  Social Hook Point (n): The point in a cold approach interaction when the set no longer wants you to leave. This can range from before you even approach (instant hook) to a max of 15 or 20 minutes in. The verb “hooking” refers to getting to the Social Hook Point. Credit: Neil Strauss/ Style.

the two styles actually lead to the same result. Remember that indirect is merely an opening style. Once you’re in the Comfort Phase, the two styles merge into the same path. A few minutes into the set you usually can’t tell how it was opened. But what does this mean to you?

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The reason I prefer direct opening versus anything else is because it lets me sub-communicate more attractive qualities (alpha behavior, dominance, confidence, etc) and gets me to attraction much faster in the majority of social situations... thus increasing my social hook point percentage. That said, in Volume 2 I will also give you examples of using opinion openers with direct

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body language and how to use direct verbals and indirect body language when standing in a crowded part of the club with girls walking by you.

H o w G ro u p Attraction Works During GA we subcommunicate tons of emotional content and attractive qualities via Group Teasing, Projections, and PureKino. Subcommunicating emotional content and attractive qualities gives loads of emotional value. These techniques will hold the attention of all the women in the group and will spike their Buying 27.  Buying Temperature and Attraction. See glossary for more details.

Temperature and Attraction (BTA)27. A major component is PK which will further increase BTA. The buying temperature and attraction happens in 9 ways with GA:

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1.  Verbal Emotional Value Giving: Giving value on the verbal channel (e.g. humor, attractiveness, confidence, etc). 2.  Kinesthetic Emotional Value Giving from You: Touching the girls. Recall that touching spikes buying temperature. 3.  Kinesthetic Emotional Value Giving from the Girls to Girls: Buying temperature is spiked even when it doesn’t originate from you. 4. Eye Contact and Body Language Value Giving: Gives value on the nonverbal channel. 5.  Frame control: This is a form of dominance and confidence and thus both demonstrates and gives value. 6.  Jealousy and AMOGing: Both of these things spike buying temperature. Jealousy often makes her realize that she’s attracted to you. 7.  Backwards Rationalization: This is the process whereby women rationalize that the reason they complied has to be because they are attracted to you. In essence, they convince themselves that they’re attracted to you.

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8. Chase Cycling: Positive reinforcement for compliance and negative reinforcement for non-compliance.

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9.  Value Giving and Takeaways: The unpredictable nature of intermittent rewarding gives value by making you appear inherently attractive as well as conditioning her to invest in the interaction. Takeaways serve to create scarcity, thereby exponentially raising your value in her eyes. This happens on all channels. The key to making this work is in timing the various components into a synchronous whole. To solve the timing problem, you’ll learn the basics of Microloop TheoryTM (MLT) and we’ll introduce DNA Code—the Dynamics of Natural Attraction CodeTM. This will show you how each of the GA elements (Teasing, Projections, PureKino, and the resulting Group Dynamics) accomplish the aforementioned 9 goals. This understanding will give you the ability to spontaneously calibrate your GA performances and create your own routines.

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Microloop

Theory

Basics

All pickup interactions can be modeled via Microloops. They are the building blocks of social interactions. A Microloop is defined simply as a value exchange. A basic model is shown in Fig 5.

T/D

GV

GV

S ta r t here

Legend

T/D

The “value” in the above diagram is always

Figure 5: The

emotional value: Anything that the woman (or

MicroloopTM

you) like or enjoy and which stimulates you/her emotionally. Value is always subcommunicated. For example, when a beautiful woman sits next to you and touches you, that generates an emotional

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reaction in you and is one example of her giving you value. Conversely, when you kino or make her laugh, she’ll feel those emotions—that is you giving her value. The Takeaways are synonymous with IODs, whether toward a group (gIOD) or individual. A Directive is anything that directs an individual towards a desired behavior. When someone complies with a

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Directive, value is returned to the person issuing

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the directive. Hence, Directives are sometimes called Compliance Requests or Compliance Tests. Correct microloops are key in making interactions happen. Romance can’t happen without interactivity. Microloops show you how to sequence and time interactions very precisely so that interactions always create attraction and escalate. Observing microloops in actions has shown us a few trends which guide our behavior towards more consistent success. The most fundamental law of Microloop Theory is this: To get compliance, you have to give value first. Here’s an example of the qualification sequence, modeled using Microloops28:

28.  This is also a great example of a chase cycle.

1. Y ou’ve successfully attracted her by giving value and using the tools and elements described in this book as well as the Get the Girl! Nightlife Edition Manual. 2.1 Y ou subtly lean back, away from her. This is a Takeaway. You are subcommunicating that maybe you are not interested.

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2.2 Y ou: “What did you want to be when you were 7?”—This is a Directive. You are simultaneously testing for compliance and giving her direction on what she should do next.

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3 Her: “I wanted to be an astronaut. My parents thought it was funny. But then when I was 13 they wanted to send me to space camp. By then I was over it!”- She is now Giving You Value and complying. This makes her more invested in the interaction and therefore more attracted. 4 Y ou: “That’s awesome! I actually wanted to go to space camp just so that I could go in that gravity chamber where you can float!” —This is You Giving Her Value in exchange for her work. It is a psychological reward for her investment. She now associates complying with your requests with feeling good. This raises BT/A. 5.1 Y ou briefly look around the club and say “But I don’t know about girls from space camp … ” This is another Takeaway. Takeaways make you a challenge and create scarcity when used correctly. 5.2 Y ou: “Are you going to whip out your slide rule when I take you home to Mom? “—This is a combination of giving value (via humor), Takeaway (subtle IOD) and

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Directive (for her to answer or qualify herself). We can graphically depict these steps in the following diagram:

2.1/2.2 5.1/5.2 T/D

GV

GV

3

1

S ta r t here

4

Legend

T/D

But Microloop Theory goes beyond this simple

Fig 6: Microloop Theory

example. It models everything that happens in

Example

social interactions and even in relationships. And therein lies its power. Once I understood this principle my abilities really became amazing.

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Microloops are the atomic building blocks of all human interactions. As you go through a pickup from beginning to end, you are constantly “microlooping”. Each microloop begins to give more and more value both from you to her and her to you. This is how escalation works. It’s important to have a rough idea of how much value you’ve given to her M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

relative to how much you’ve received. You can think of each escalating microloop as adding value to your or her “value bucket.” This “value bucket” can be thought of as holding the total amount of value each person receives in the interaction. This is illustrated in Fig 7. In any interaction you eventually have to return the value given to you. This brings us to the next law of the microloop: Always, over time, make sure that she is getting some value back for the value she is putting in. If people aren’t getting at least some return on their value investment they will end the interaction (bad for you, bad for her!). Put another way, if she’s constantly working for you and is receiving no reward or positive feedback,

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2.1/2.2 5.1/5.2

3

4

1

S ta r t here

Legend

she will eventually give up and assume that you

Fig 7: Value Buckets

don’t like her. But … Always, over time, make sure she is giving at least little more value then you are giving her. What this means in “bucket speak” is that you always want your value bucket (which contains the value she gave you) to be a little fuller than hers. This is illustrated in Fig 8:

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M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

few interactions

your bucket

lots of interactions

her bucket

your bucket

her bucket

Fig 8: Value Buckets

This creates an interesting phenomenon. When your

Over Time

value bucket is fuller than hers (e.g. she’s invested more in the interaction than you), she will generally continue to chase you because you are a challenge. She’s invested in you but you haven’t invested as much in her. In other words, the emotional value she receives from you is always at a relative scarcity so she considers it a commodity and will therefore work for it. This also explains why you often lose the set when a woman realizes that she “has you.” When she thinks

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she has you, it means her bucket is full and yours isn’t. It’s why a large amount of un-calibrated IOIs toward a woman often stops attraction and turns her off. Be aware that the structure of the Microloop is fluid—you don’t need every step to take place for it to work. The only real requirement is the eventual value exchange. Let’s examine the following example: “I’ll bet you girls were the hottest(GV) … hall monitors in middle school(T)” In the first clause (GV) you are giving value and in the second you are doing a takeaway (T). This particular interaction is modeled as follows:

Start

Give Value

Takeaway Fig 9: Tease Microloop Diagram

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In the particular case of a Tease, the Giving Value segment is an IOI (“You girls were the hottest…”) though you can give value in a variety of different ways. This works because an IOI from an un-needy, high social value guy gives emotional value. This is precisely why our approach and subcommunications are so important—if we don’t nail the opener, the tease may not work if the IOI doesn’t hold any emotional value. M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

This is how microloops are able to model every successful social interaction. Keep in mind, however, that some of the steps are optional/ skipped when modeling certain situations. Here are a few examples of the important ones: Basic Microloop: The main Microloop  omits the takeaway/directive from her to you as it’s largely a placeholder in the Attraction phase. Technically, when she stops talking, that’s a social cue (i.e. directive) for you to speak. However, we obviously don’t actually wait for her to do an explicit takeaway/directive before we reward her. As such, most of the following examples will also omit the female-tomale takeaway/directive. Her Takeaways and Directives are shown here because

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they’re very important for modeling certain interactions. We’ll get to those in Vol 2: Chapter 6—Contingencies and Interrupts. C  hase Cycling:

Similar to the basic Microloop, the chase cycle skips the aforementioned T/D and instead focuses in on rewarding her for working for you.

C  alibrating Friendliness: When you calibrate friendliness, you are giving friendly value in return for hers, usually with the only directive being that you each stop talking in order to cue each other. Being friendly is about value exchange--her friendly value for your friendly value or other types of equivalent emotional value. K  ino:

Kino is an interesting concept because it gives emotional value both to the giver and the receiver. For example, when you initiate kino, that’s a directive from you to her (reach for her hand). When she puts her hand in yours, she is now giving you emotional value by complying and establishing kino. Then you touching her hand gives her value back. Then when you let go of her hand, you are doing another subtle

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takeaway to optionally start the entire cycle over again. L ove/Hate Teasing:

This variation is modeled by figure 9. In other words, you do a takeaway and give value to her without waiting for her to give value back.

Understanding ML theory will give you the keys to M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

success in all of your social interactions. Later in this chapter I’ll explain how to model various social situations using multi-channel Microloops. This gives you a deep understanding of the proper timing and subcommunication required for successful interactions. Armed with this knowledge you’ll be able to perform Group Attraction flawlessly with a minimum amount of practice, and you’ll start to develop seemingly magic escalation powers you can use anytime during the pickup.

IOIs, IODs, and Giving Value Note: Before reading this section, make sure you read and understand the Group IOIs, Group IODs, and Giving Value concepts. During a social interaction, both your group and individual IOIs and IODs should strive to give as

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much emotional value as possible. However, there’s another important concept to keep in mind: “ Keep Her Suspended Between Hope and Doubt” —Lovedrop You’re striving to accomplish two goals at once: 1.  Give enough emotional value so that the set complies with your next directive or otherwise works for you or chases you. 2.  Keep a balance of IOIs/IODs and gIOIs and gIODs which keep the set uncertain of where things are going. They’re constantly wondering how much you like them– right up until sex with the target. This ambiguity makes you a challenge and builds massive sexual tension. Although there are some key distinctions, IOIs and IODs are closely linked to giving value. Used correctly, IOIs almost always give value. Conversely, IODs function as takeaways (thus, a removal of value). And when IOIs and IODs are used in combination, it almost always gives emotional value. The best thing about IOI-IOD combinations is that in one simple step, they accomplish both

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aforementioned goals: Giving value and suspending between hope and doubt. Fortunately, most of the tools we give you are already pre-calibrated to accomplish these goals automatically. Giving value and IOI-IOD combinations are already built-in to PureKino, Group Teasing, and Group Projections. However, it’s important to be aware of these two goals so that you can calibrate correctly if something goes wrong. By understanding M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

the fundamental concepts, you can self-correct onthe-fly, even in situations you might not be ready for. You’ll be able to determine if a girl’s IODs are due to a lack of giving value, too many IODs, too many IOIs, or some other factor. We’ll elaborate further on calibration in the Contingencies and Interrupts chapter. There’s an interesting relationship linking IOIs and IODs to emotional value. Note that general IOIs and IODs don’t inherently give value. It depends on the context and situation. For example, if you meet a girl and immediately throw an uncalibrated and unjustified IOI (“I like you”) or IOD (“I don’t like you”), you won’t be giving much emotional value, if any. However, if she’s attracted to you, simple IOIs and IODs then begin

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to take on value. If you’re in comfort twenty minutes into a solid interaction, either of the aforementioned IOIs/IODs will suddenly take on great emotional meaning for her. Similarly, overthe-top IOI-IOD combinations will also give value, even if you’ve just met her. Note that excessive IODs will blow you out largely because you are taking too much value away. One key point to remember is that IOIs and IODs often give value through humor and emotional stimulation. The IOI-IOD combination is funny because it fits into the textbook standup comedy structure: Setup-Punch. The initial IOI is the setup, and the IOD is the punch. The humor is generated from the surprise of the punch, especially given that the women usually start to make assumptions when you give the initial IOI. Additionally, exaggerating the IOIs and IODs amplify the overall effect. Consider the following example: “ You guys must be the absolutely … HOTTEST(IOI) … hall monitors in middle school (IOD) … I can see you with your clipboards checking off everybody … How did you guys get into this club (IOD).”

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Despite the punch line of this tease being an IOD,

A D V A N C ED NOTE

it still gives massive emotional value because of the humor and emotional stimulation. The other

M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

elements which make this work are deliveryNot only does

based. Just like standup comedy, timing, facial

balancing your value-

expressions, tonality, and other subcommunications

giving with IODs keep

are all critical to creating the desired effect.

her “suspended,” but

Although performing an IOI does not necessarily

the pairing of GV and

give value, giving value is always a subtle IOI.

IODs creates even more

Thus, if you give value over extended periods

emotional value. i.e.

of time, that becomes a big IOI. Whenever you

GV + IOD = more GV.

give value, you’re investing and working for

More on this later.

the girl on some level. This is always a subtle IOI. So even if you never explicitly verbally or kinesthetically give any IOIs, you still need to balance your value-giving with IODs in order to keep her “suspended between hope and doubt.”

Advanced Microloop Theory: Multiple Channels & Instant Compliance One of the really nifty things about Microloops is that they can exist simultaneously on different channels. I know that sounds confusing but keep reading.

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Channels, for our purposes, are simply different mediums of communication (verbal, kinesthetic, etc.). I denote channels using abbreviations such as P(v). The “P” represents you, the participant. The letter(s) in parentheses represent the channel, such as Verbal (v), Kinesthetic (k), or Eye Contact (ec). Although there are more, we’re going to focus on the main 5 channels in which you communicate: 1. The Verbal Channel—P(v)—What you say to her. 2. The Kino Channel—P(k)—Touching or physical contact. 3. The Eye Contact Channel—P(ec)—Keeping or maintaining eye contact. 4. The Verbal Subcommunication Channel—P (v-sub)—What you subcommunicate verbally. 5. The Kinesthetic Subcommunication Channel—P(k-sub)—What you subcommunicate kinesthetically.

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Channels are simply different ways to give value. The 4th and 5th channels are subcommunication-based, which will be explained in the next section. There’s a very important law of Microloop Theory which often uses channels:

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The Law of INSTANT COMPLIANCE: If you give value while simultaneously (or near simultaneously) making any reasonable compliance request, your request will always be granted. For example, the figure below depicts a Simultaneous Microloop occurring on the Kinesthetic channel while Giving Value on the Verbal channel (see detailed description below).

Kino

Verbal

Figure 10 The

Simultaneous

Microloop 88

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Male

Female

Microloops model kinesthetic communication as well as they model verbal interactions. This is fortunate as Group Attraction often has you simultaneously or sequentially microlooping29 on multiple channels. If you’re confused, keep reading--we’re about to explain what that means.

29 Doing microloops (e.g. value exchanges) with the girl or the set either on multiple channels or one right after another. Oftentimes both.

Let’s look at a simple, real-world example of Fig 10 in action. Here’s my “Space Alien” tease which is very effective once I’ve chosen a target: “You are the HOTTEST … space alien I’ve met all night … no, seriously … THIS GIRL is GORGEOUS … for being green on the inside … did she pee on the carpet when you guys first adopted her (sideways hug on SHB space alien) … because mine did (release hug).” What we’re doing here is cycling IOIs and IODs to give value while simultaneously giving a kinobased (nonverbal) directive. In other words, we’re following the law of instant compliance except

A D V A N C ED NOTE Microloop steps can be composed of additional submicroloops. For example, a general “giving value” step can actually be made up of several sub-

we’re doing it on two different channels.

microloops where

Fig 10 represents the space alien interaction by

and IODs or otherwise

showing the verbal Microloop (the main diagram)

creating value.

we’re cycling IOIs

along with the simultaneous, embedded kino-based Microloop.

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Because I’m giving value verbally while giving a directive with kino, she will always comply with the directive. In this case, that means complying with the sideways hug. This is the very essence of solid escalation—giving value in some way every time we escalate the interaction, either via kino or verbally.

M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

Subcommunication & Two-Channel DNA CodeTM The Get the Girl! Manual taught us that any value we present must always be subcommunicated. If you’ll recall, subcommunication is any information we convey or messages we send which occurs below the overt level. We subcommunicate with voice tone, body language, facial expressions, how we kino, how we pause when we speak, who we’re with, the subtexts in what we say, and much, much more. There are literally thousands of different ways to subcommunicate information. The difficulty in teaching subcommunication up until now largely stemmed from the fact that there was no established way to describe not only what you said, but what you subcommunicated.

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Multi-Channel Notation fixes this. We accomplish this by specifying an attractive quality to subcommunicate along with the appropriate delivery instructions in parentheses. For example, here is the notation for higher energy/Fun: Higher energy/Fun (louder, big smile, energy slightly higher than the set) Now let’ s incorporate this style of notation into the space alien example: “ You are the HOTTEST higher energy(louder, big smile) … space alien I’ve met all night chill(flat voice tone, smiling) … no, seriously … THIS GIRL is GORGEOUS mischief(I’m messing with you guys voice tone) (sideways hug on SHB space alien) for being green on the inside chill(flat voice tone, smiling) … did she pee on the carpet (release hug) when you guys first adopted her genuine (warm voice tone) … because mine did.” Now let’s attempt to add in notation for Giving Value (GV), Takeaways (T), and Directives (D) so that you can see the Microloops just on the verbal channel.

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“You are the HOTTEST higher energy(louder, big smile) GV … space alien I’ve met all night chill(flat voice tone, smiling) T … no, seriously … THIS GIRL is GORGEOUS mischief(I’m messing with you guys voice tone) GV (sideways hug on SHB space alien) for being green on the inside chill(flat voice tone, smiling) T … did she pee on the carpet (release hug) when you guys first adopted her genuine (warm voice tone) M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

T+D(I’m asking a question)

… because mine did

GV

.”

As you can see, this is turning into a huge mess and we haven’t even begun to show you the other channels. Yet all this information is crucial to success. The problem lies in the fact that we’re trying to convey multiple pieces of information which co-exist simultaneously (verbals, subcommunication, and kino) in a medium which doesn’t coherently allow it. In essence, we’re trying to cram all the notes for all the instruments in a symphony onto one bar of sheet music. Clearly, we need something better. Allow me to (drum roll please) introduce to you … the Dynamics of Natural Attraction (DNA) Code. In this system, each communication channel

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(verbal, kino, subcom, etc) is presented on its own bar, exactly the way each instrument in a symphony is shown on the sheet music. If you’re not a music person or don’t get that analogy, don’t worry, it’ll become clear in a minute. Let’s ignore the Kino channel for a second and write out the “Space Alien” tease in twochannel DNA Code showing the verbals (P(v)) and subcommunications (P(sub)) channels on each line. Think of it like a mini table, where each segment of what you say accompanies what you should do on the other channels. So in the example below, “You are the HOTTEST” is the verbal communication. The subcommunication channel (the line below it) shows that when you say this part, you want to do it with higher energy. Additional channels go on their own lines and vertically line up in the same manner. The ellipses ( … ) denote pauses of 1/3 to a full second:



P(v) “You are the HOTTEST

(sub) higher energy (louder, big smile)



…space alien I’ve met all night…no, seriously…”



Chill (flat, relaxed, constant pitch and tonality).

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Now let’s further simplify this notation by omitting the delivery details (e.g. “louder, big smile”) since they always stay the same, and adding the microloop labeling as follows:



P(v) “You are the HOTTEST

… space alien I’ve met all night … no, seriously … ”

P(sub) Higher Energy(GV) _______

M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .







P(v) “This girl is gorgeous

… for being green on the inside … ”

P(sub) Mischief(GV) _____________







Chill(T) ___________________________________

P(v) “Did she pee on the carpet when you guys first adopted her?”

P(sub) Genuine (delivered deadpan)





Chill(T) ___________________________________

(T)

______________________

(D)

P(v) “Because mine did.”

P(sub) Chill(T) ____________



Note how thorough this notation is in describing each detail of your subcommunication. Not only are we telling you how to deliver your verbals, but we’re also giving you instruction on what to subcommunicate when you’re not talking. This is

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monstrously important as it’s often these tiny details which make or break a borderline set. As I analyzed my own sets by transcribing them using the DNA Code, I noticed something interesting. When I started writing everything down using 2-channel notation, I started to realize how certain delivery patterns give loads of emotional value. If we rewrite our space alien example without the verbals you’ll see the following subcommunication patterns:

P(sub) Higher Energy(GV) ___________ Chill(T) ____________________ P(sub) Mischief(GV) ________________ Chill(T) ____________________ P(sub) Genuine (delivered deadpan)

(T)



Genuine (delivered deadpan)

(D)

P(sub) Chill(T) ________________________________________________



There’s a clear pattern here. See how the communication mixes higher and lower energy styles? What I realized is that when you vary your delivery like this, it subcommunicates even more attractive qualities—like the ambiguity and mystery necessary to maintain the evil clown frame30.

30  Evil Clown Frame: The attitude of self amusement. See chapter 3 or Glossary for more details.

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For now, pay attention to the patterns you see in the notation—noticing these patterns will allow you to intuitively learn them over time so that eventually your subcommunication will allow you to talk about nothing and still sound absolutely fascinating.

HO M EWO R K D r i l l : M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

Now you’ll get a chance to listen to the audio portion of the book where I deliver the space alien routine reading it directly off the page—note how subtle the delivery shifts are. But also note how powerful the overall effect is. Rehearse the routine to yourself a few times, then record it and try to emulate my delivery as much as possible. You will eventually arrive at your own variation, but you’ll have mastered the fundamentals by practicing and imitating my delivery.

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5 Channel DNA Code—P(v), P(k), P (v-sub), P (k-sub), S(v) In the 2 channel example above I showed you a notation that allows for understanding the precise, coordinated timing of subcommunication delivery and verbals. That in itself will improve your game … but we need more tools so that you know exactly when and how to escalate. Remember that escalation is nothing more than getting compliance on kinesthetic microloops. In order to model the various elements of escalation, we need to be able to show the kino and kino subcommunication channels. Note that every physical communication channel can have its own subcommunication channel. The P(sub) from the examples in the previous section are really P(v-sub) as they represent your verbal subcommunication. To really show all of the details of kino, we’re going to add two more channels: Kinesthetic P(k) and the Kinesthetic Subcommunications P(k-sub). Continuing our example, here’s the 4-channel version of the “Space Alien” tease:

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Note: Blank cells indicate no conscious communication on that channel at that point in time.



P(v) “You are the hottest

P(v-sub) Higher Energy(GV) ___

M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .



P(k)

P(k-sub)



Chill(T) ________________________________________________

P(v) “This girl is gorgeous

P(v-sub) Mischief(GV) _________

… space alien I’ve met all night … no, seriously …”

Start sideways hug

Chill(T) ________________________________________________ Increase Hug Intensity__________________________________



Dominance (firm, unshaky kino)

P(v) “Did she pee on

…for being green on the inside…”

(D)

_______

(GV)

___________________________

the carpet when you guys first adopted her?...”

P(v-sub) Genuine(T)___________________________________________________________________

P(k) _____________________________ End Hug

P(k-sub) Dominance(GV) _



Un-needy(T) _____________________________

P(v) “Because mine did.”

P(v-sub) Chill(T) ___________

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(D)

In order to keep thing simple we’ve only shown the kino channel when it was happening. And there you have it, folks, the beginning of your understanding of the true power of multichannel social interaction. Note the following: 1. The kinesthetic channel shows one complete Microloop. It begins with a directive (when you initiate the hug), then moves into a rapid value-exchange loop through your mutual physical contact. This occurs because whenever you touch each other, you automatically exchange value due to the psychological reaction of physical human contact. The Microloop then finishes with a takeaway (Ending the kino). 2. It’s important to pay attention to the timing of when we started the kino Microloop. If the kino was started right at the beginning, it’d be less likely to work. But because we’ve given some emotional value on the verbal channel first, we’re much more likely to get compliance. Note that the kino Microloop begins right at the peak of the value-giving power meter. This is the Law of Instant Compliance at work. If you make

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any reasonable kino request when plowing value, your request will always be granted. This routine’s extremely high level of effectiveness is derived by following that law. 3.  Note all of the extra subcommunications that we identified on the second channel. We were able to subcommunicate dominance, un-

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neediness, and other traits in addition to the subcommunication from our verbals. There’s a pattern here that we can visually depict using a variation of the notation:



P(v) _______ (value peak)



P(k)



As explained in the “Microloop Theory Basics” section, when we cycle giving value and takeaways, 31.  A value exchange occurring on multiple channels, at least one of them being kinesthetic. For example, giving value on the verbal channel while escalating (getting compliance) on the kinesthetic channel.

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we tease, which gives more and more value over time. Then, right at the peak of the value, we spin off a kinesthetic simultaneous microloop31. The pattern you are seeing here is a more precise, highly practical depiction of Figure 10: The Simultaneous Microloop.

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You’ll be using this pattern constantly until you can initiate kino and always get compliance without having to say anything. But until that happens, everything works with this pattern. The timing I’m revealing here isn’t theoretical ramblings. It’s hard, field-tested fact. The laws of the Microloop were derived from hard-fought, empirical observations, not the other way around. In fact, the pattern is so common that we’ll use 2-channel DNA Code with P(v) and P(k) to describe just about every kino routine out there. It’s really simple once you’ve already internalized the subcommunication:



P(v) “You are the hottest



P(v) “This girl



P(k)

…space alien I’ve met all night…no, seriously … ”

is gorgeous …for being Start sideways hug

green on the inside…”

Increase Hug Intensity



P(v) “Did she pee on



P(k) ______________________________



P(v)



the carpet when you guys first adopted her?...” End Hug

“Because mine did.”

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That’s the beauty of the notation - you can depict certain channels and ignore others in order to focus on specific aspects of the game. Or you can depict the entire interaction all at once as if you are reading the music for a symphony. This is very appropriate as truly skilled pickup is a oneman symphony of multi-channel communication. Now we add the verbal communication from the Group

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(set) as S(v). Here’s what 5 channel DNA Code with Set Verbals looks like:



P(v) “You are the hottest” “…space alien I’ve met all night…no, seriously…”

P(v-sub) Higher Energy(GV)

S(v)



P(v) “This girl

(girls laugh)

is gorgeous

P(v-sub) Mischief(GV) ____________

P(k)

P(k-sub)

S(v)

Chill(T)



…for being green on the inside…” Chill(T) ___________________________



Start sideways hug ---------------------- Dominance (firm, unshaky kino)

(D)

_____________

Increase Hug Intensity (GV)

_________________

“Totally … ”

Note how I give them a second to respond, and then I being my new delivery toward the

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end of their responses. This keeps control of the set and further subcommunicates dominance while discouraging interruptions. It takes field practice to perfect the timing, but it’s ultimately very important. When you wait too long, you‘ll feel the “uncomfortable silence” effect. Now that you understand DNA Code and have grasped some of the subcommunication and delivery patterns that the notation can teach you, we’re going to examine how the three elements of Group Attraction work with DNA Code.

Group Love/Hate Teasing Group Love/Hate Teasing (gLHT) (also known as Group Teasing/GT) is the simplest and one of the most versatile elements of Group Attraction. You can use it both early on in the interaction to hook the set as well as periodically throughout attraction until isolate. Group Teasing consists of gIOI (GV) and gIOD (T) combinations. They can be on the same theme or not, but they always give emotional value. Regardless of whether we think of them as gIOIs+gIODs or Giving Value + Takeaways, they always add up to giving a lot of emotional value.

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In essence, the whole is greater than the sum of its parts. The only critical difference between standard target-based teasing and Group Teasing is that Group Teasing is done on the entire set. Here’s a simple example of a Group Tease using the same theme:

P(v) “You guys are the CUTEST

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P(v-sub) higher energy(GV/GIOI) _____

… hall monitors in middle school.” chill(T/GIOD) ____________________

I accidentally discovered GT infield about two years ago and it’s what eventually lead to Group Attraction. Looking back, I actually feel sort of foolish for not figuring out that if a tease works on one girl, it should really work on all of them. Hindsight, as they say, is always 20/20. The other cool thing about Group Teasing is that it subcommunicates massive dominance because you aren’t afraid to tease all of the girls at once. Without using the gIOIs and gIODs, your only other option is target-based game. But aside from verbal value giving, we’re also giving value with our body language and eye contact. Consider this example where I show you

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how to maintain dominance on the alpha female without directly addressing her verbally: Note: In this example we’re adding the Eye Contact (EC) and Body Language(BL) channels.

P(v) “You guys are the CUTEST”

P(v-sub)



higher energy(GV/GIOI)___________

chill(T/GIOD) ___________________________



P(ec) Scan the group---------------- Left eye solid gaze on alpha girl



P(ec-sub) Judging(GV)____________________

… hall monitors in middle school.”

Dominant(GV) ___________________________



P(bl) Lean back--------------------------------------------------------------

P(bl-sub) Un-needy

(GV-1)

_________________________________________________________

Eye contact alone allows you to subcommunicate very attractive qualities. When you scan a group they’ll perceive you as judging them. During that time you can usually get a vibe as to who’s the most troublesome or is the “alpha leader” girl in the group. If you can’t tell, just choose randomly. As you begin to say, “ … hall monitors in middle school,” look directly into the dominant girl’s left eye and maintain eye contact. This automatically conveys rock-solid confidence. In fact, eye contact has been scientifically shown to

32.  Conway, C. A., Jones, B. C., DeBruine, L. M. & Little, A. C. (2008). Evidence for adaptive design in human gaze preference. Proceedings of the Royal Society, 275, 63-69.

enhance attraction32.

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Q&A: Q:

“Why do you

maintain gaze in the left eye?”

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A:

“There’s no

Eye contact by itself conveys dominance, but when you do it while saying some crazy gIOD, it amplifies the original effect. To the alpha girl, the fact that someone can stare her down while busting on her means he must have balls of steel. And the simple act of holding someone’s gaze also directly stimulates emotions. This applies

scientific proof

universally, meaning that extended eye contact

that maintaining

gives value from you to her and vice versa, much

eye contact with

like the value exchange loop of any extended kino.

both of your eyes on her left eye

The left eye stare has since been a habit for me.

is better than her

Meanwhile, you’re continuing to lean back

right eye. That

(takeaway), completing the value exchange and

said, a number of

amplifying the effect of the eye contact.

shamanic, spiritual, and hypnotic gurus maintain that a left-eye stare induces a trancelike state because, ‘The left eye is the window to the

Some of our more perceptive readers have probably picked up on something. Anytime you have multiple, meaningful subcommunications on different channels all at once, it creates an exponential effect, giving even more emotional value. This is even more pronounced when using opposing elements such as GV/ IOIs on one channel and Takeaways/IODs on another.

unconscious and the

Let’s revisit the “cutest hall monitors” routine as

soul.’“

an example. Note that in the second half when we do a takeaway on the verbal channel, we give value

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with body language and eye contact on the other two channels and then do another takeaway with body language. This is a great example of mixing GV and IOIs with Takeaways and IODs on several channels at once. The end result is an emotional effect greater than the sum of its parts. We’re going to give you loads of examples, new teases, and more subcommunication pointers when we get to the material in Chapter 3. If you need a refresher on eye contact and body language basics, see Appendix C: Fuji on Body Language.

Group Projections Group projections are fun, usually fantasy imaginings what you would do, are doing now, or have done in the past with the group. They’re discussed extensively in the Get the Girl! Manual. The only difference between the Projections in the GTG! manual and their Group Attraction cousins is that the projections in GA are always about the group. Thus, we use gIOIs and gIODs almost exclusively. Furthermore, in this book we’ll cover not only future projections, but past and present as well.

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Let’s get into how they work. It’s actually really difficult to pinpoint exactly why projections work. We know from field experience that the more fantastic and crazy they are, the better they work. My current theory on how future projections give value is based on the fact that projecting fantasies is very emotionally stimulating. And because we’re getting her to imagine a fantasy scenario, she’s going M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

to subconsciously feel those emotions as if she was there. It’s a well known fact that women feel emotions stronger than men do. So when we project these scenarios, we actually give value by projecting the emotions that go along with them. We’re also mixing Takeaways with the value-giving element of the fantasy. And as we’ve mentioned before, when you mix GV (gIOIs or other types of value) with T/IODs, you get exponentially more value. It’s the same concept as inherent value and scarcity. When you create or find something with value in the marketplace, and then you add scarcity to it, its value skyrockets. It’s why diamonds, gold, and certain video game consoles around Christmas all experienced massive value spikes when there was a scarcity in supply.

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And on top of that, we throw in attractive quality subcommunications such as living in your own reality, creativity, being unaffected, and understanding women. Projections are also an excellent opportunity to mix up the delivery subcommunications as discussed in the previous “Subcommunication and Two Channel DNA Code” section. If we map a routine out, you’ll see all the elements we just described. Let’s take a look at a new group projection called the “Hollywood Entourage” using 2-channel notation:

P(v) “If we were partying in Hollywood together,”

P(v-sub) Higher Energy(GV/gIOI) ________________



“I could not keep you girls out of the tabloids … ” Chill(T/gIOD) ________________________________

P(v) “If we make a mess in the mansion again…the maid”

P(v-sub) Disciplinary(T/gIOD) ___________________________



Chill(GV/gIOD) _______________________

P(v) “And you two … ” “have got to stop stalking the midget from Austin Powers … ”

P(v-sub) Mischief(GV) ____



“will quit…that’s the 10th one this year.”

Chill(T/gIOD) ___________________________________________

… it’ll be an even bigger mess than last time.”

P(v) “if we make the British tabloids again”

P(v-sub) Mischief(GV) ______________________



Higher Energy(T/gIOD) _____________________________________

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Note the heavy mix of fantasy-based GV along with T/gIODs, the varied subcommunication and delivery, and gIOI/gIOD combinations. These elements are what make projections effective. The attractive qualities being conveyed through projections are always subcommunicated. That is, they are not overtly stated but are communicated obliquely, often through your vibe and delivery. The “Hollywood Entourage” routine, for example, doesn’t M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

explicitly refer to traits such as creativity or being unaffected. But with proper delivery, the set always seems to pick up on this subtext. An uncreative or unattractive individual, after all, likely wouldn’t be saying these things. There’s nothing inherently specific about the wording of these routines, but they train you to convey the correct subcommunication and attractive traits. Many of these traits also stack on top of each other. The subcommunication that you have a deep understanding of women, for example, works at an even deeper level. When you give emotional value, women perceive that you “get them” and hence find you more attractive. They also therefore assume that you are preselected, triggering another attraction switch. And even further, people who give value are also perceived as being socially savvy.

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Some subcommunications are very dependent on specific delivery (e.g. higher energy, chillness, judging, dominant, un-needy, mischievous). We list these on the P(sub) bars in DNA Code. I call them tactical subcommunications. The subcommunications which the audience derives from the overall performance are called net-effect subcommunications. To get good net-effect subcommunications, you don’t actually have to do anything! Just deliver the verbals and the tactical subcoms correctly and the net-effect happens all by itself! Net-effect subcommunications include creativity, being unaffected, understanding women, and others. Many of us have been aware of this concept but without a way to explain it, it was near impossible to teach. DNA Code allows me to precisely identify the tactical subcoms and teach how they convert to net-effect subcommunication. The net-effect plays a part in Group Teasing, Group Projections, and PureKino, and in each of those sections later in the book, I’ll point out to you which subcoms are “net-effect” and which are tactical. I include the Net-effect concept in

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this section because it’s closely linked to the elements which make Group Projections effective. The eye contact during projections should be spread around evenly to all the women in the group, but keep in mind to focus more on any potentially troublesome or “alpha female” girls. A few seconds on each girl is optimal. Transitioning the eye contact during the pauses gives it more impact.

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Pure KinoTM PureKino is the bread-and-butter of Group Attraction. Frequently you can open a set, tease, throw a false time constraint, use a transitionary compliment, and then do a single PureKino routine and you’re done with attraction. Sometimes attraction takes less than 2 minutes when done correctly. While the fundamentals of Pure Kino were explained in the GTG Manual, this book includes 20 different PureKino routines, most of them completely new and unique. We’re also going to expand upon the delivery and timing of PureKino and I’m going to show you a system for creating your own. When I wrote the Get the Girl! Nightlife Edition Manual, the DNA Code didn’t exist yet so I didn’t have the tools to show you exactly how to deliver the

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material. Now that I have all the tools, prepare yourself for some amazing game growth. We’re going to get into the material and delivery of PureKino in Volume 2, Chapter 4: Three Minute Group Attraction. For now, let’s analyze how PureKino works. Let’s look at the first few lines of the now common “Group 3-7” PureKino using the DNA Code so we can dig deep into how this works.



P(v) “How long have you guys known each other? …”

S(v)



“A while!”

P(v) “Did you know that you could be psychic together? …For shits and giggles we’re going to”

P(v-sub) mystery(GV) ______________________________

P(ec)

higher energy(GV)

scan the group ------------------------

P(ec-sub) Judging(GV) ___________________________________



dominant(GV+D)_

left eye solid gaze on alpha girl___ Dominant(GV)___________________________

P(bl) Lean back ---------------------------------------------------------------------

P(bl-sub) Un-needy(GV+T)________________________________________________________________________

S(v):

“no … ”

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P(v) “find out if you guys are psychic together … give

me your hands … ”

P(v-sub) mystery(GV) _____________________________ dominant(GV+D)_ ____

P(ec) ßscan the group------------------------

ec girl who’s hand you want to grab first ----

P(ec-sub) Judging(GV)______________________________________Dominant

(GV+T)

__________________________

P(bl) Lean back --------------------------------------------------------------------------

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P(bl-sub) Un-needy(GV+T)____________________________________________________________________

P(k):

P(k-sub)

grab the two nearest girls hands

…

Dominant(GV+D)______________________________

Why does this work? Why do you get attraction and why does the kino work every time? If you’ve been paying attention, you already know the answer. Prior to starting the kino microloop to hold their hands, we plowed massive multi-channel value. There are at least 10 GV labels in the subcom notation alone. On top of that, we are simultaneously giving verbal value with dominance when we make the compliance request of the hand hold. Dominance is absolutely key to PureKino because the combination of the command and a

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solid, unwavering, baritone tonality both gives value and issues a Directive. Because dominance is closely linked to confidence and other attractive traits, dominance itself makes the directive much more likely to work. And it works on every channel. You can even be dominant kinesthetically by making each kino request unwavering, unflinching, and smooth. Here’s what it looks like under DNA Notation:



P(v) Plow emotional value----------------(value peak)



P(ec) Plow emotional value----------------(value peak)



P(bl) Plow emotional value----------------(value peak)



P(k) Kino!______________

The secret to Pure Kino is this: Give emotional value on as many channels as possible. Then at the peak, simultaneously start kino. The value you give creates Buying Temperature and Attraction. The same value also allows the kino to happen. The kino, in turn, generates more emotional value by itself. The combined emotional value on all the channels creates a

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crazy, synergistic, emotional state in the women which explains the amazingly quick results. It’s not uncommon to be moving into isolation with the woman you choose after only running one routine. This value combination is so common that we’re going to model most PK routines in just 2 channels: P(v) and P(k). Here’s what the revised version of the “Group 3-7” PK looks like:



P(v)



P(v) “Did you know that you could be psychic together? … For shits and giggles we’re going to”

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“How long have you guys known each other?

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…”



P(v):



P(k):



“find out if you guys are psychic together ….Give me your hands…” Grab the two nearest girls hands …



P(v) “for this to work … you guys have to hold hands as well….”



P(k) make your hand hold firmer here



S(k)



P(v) “now we have formed a psychic circle … I can totally read your minds…”



P(k) make your hand hold more firm and start moving their hands around------------------



relax

hand hold a bit

Girls start holding each other’s hands….

P(v)

“You missy … are thinking TOTALLY dirty thoughts.”

P(k) let go of their hands



P(v) “Get your mind out of the GUTTER! … ok … we’re going to do this again …”



P(v) “This time YOU are going to keep it clean! … Again!”



P(k)

grab their hands again …



P(v) “Now … think of a number between 1 TWO … 4 … the first number that pop’s into



P(k)

make your hand hold more firm and start moving their hands around ---------

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P(v) “your mind … don’t SAY it … just think it … ok girl on left … what number we’re you …”



P(k)



P(v) “thinking … ok girl on right … and what number were you [left] thinking … “



S(v)

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let go of their hands

“3”

“2”

P(v) “it’s those dirty thoughts of hers that messed you guys up!”

HO M EWO R K e x e r c i s e Before reading any further, take

attention to how value was given

the routine above and write it out

and how the value was used to

on paper or computer using the 8-

get kino. Note all the different

channel notation from earlier in

GVs, Ts, and Ds, and all the

the section. Check your answer

subcommunicated value, and think

against the complete version of

about both the tactical and net-

this routine in Appendix A. Pay

effect subcommunications.

Now that you have your homework in front of you, observe all of the ways in which PureKino contributes to Group Attraction: 1.  Verbal emotional value giving—We are constantly giving verbal value both

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by saying interesting things and subcommunicating attractive qualities. 2.  Kinesthetic emotional value giving– We are constantly touching the girls. Whenever you exchange touch, you are giving value to each other, and that value exchange in turn amplifies the value exchanges on all the other channels. The kinesthetic channel is also a great place to subcommunicate attractive qualities. 3.  Kinesthetic emotional value giving from the girls to each other—Most people miss this but it’s very cool. Note that there are places in the routine when the women are touching each other under your direction. Those exchanges are described using the setkino (S(k)) channel. When the girls touch each other, it’s also a value exchange which spikes their emotional state. Now they’re increasing BT&A by touching themselves (pun intended). 4. Eye contact and body language value giving-- After you scan the set with eye contact your left-eye gaze should drift from girl to girl for a few seconds at a time. It makes the most sense to maintain eye contact

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with the person you’re addressing. Although the material we use is for the entire group, we’ll shift our gaze and project our voice a few seconds at a time toward each girl while we’re talking. Your vocal projection should generally follow your eye contact. This eye contact scan is not depicted in the DNA Code above but it’s still important to do. Your body language also gives value by smiling constantly and leaning back (GV + T). Both eye contact and body language are also excellent attractive quality subcommunication channels. 5.  Backwards Rationalization—This is one of the most powerful attraction mechanisms available to us. If you’ll recall, microlooping and giving value allows us to escalate or issue directives and nearly always get compliance. Oftentimes that compliance is rooted in buying temperature and emotional spiking. In other words, she’s not necessarily fully attracted to you, she’s simply in a heightened emotional state as a result of PureKino or other routines you’ve run. But an interesting phenomenon occurs when she complies. Her brain is

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always actively attempting to avoid cognitive dissonance, which is when her actions aren’t in agreement with her values. So to avoid this emotion, she “convinces” herself that she’s attracted to you, and that’s why she allowed you to escalate. After all, for her to see you as unattractive would mean she’d have to admit to herself that she’s “easy.” It’s much easier to backwards rationalize you as attractive. This process also creates a psychological “yes ladder” which gains positive momentum. In other words, the more often she’s complied (said “yes” to you), the more likely she will be to continue doing that in order to stay internally consistent. And lastly, compliance means that she’s investing or working for you. And as human beings, we only invest in and work for things that have value. Thus, the logical conclusion is that you must have value. And the counter intuitive part is that the more she works, the more she has invested in you and the more she’ll chase you to get you to invest in her. So what we’re seeing here is backwards rationalization working on multiple levels to generate attraction.

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6.  Positive & Negative Reinforcement: The punishment and reward dynamic implemented by takeaways and giving value, respectively, create positive compliance momentum by rewarding her for working for you and punishing her for defiance. In other words, she feels good when she complies and bad when she does not. This is one reason why PureKino is so powerful—because the kinesthetic DNA channel is most effective for programming punishment and reward. 7.  Automated sequential value giving and takeaways—This is your automatic intermittent reward system that you do constantly on all channels of communication. The seemingly random mix of validation and de-validation (e.g. giving value and Takeaways) make you appear unpredictable and cause her to chase the validation when you do an automatic takeaway. This same human behavior is what makes gambling so addictive and is the major reason why PureKino is the single most powerful attraction technique on earth. Finally net-effect subcommunications are occurring via all of the above means.

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The bottom line on PureKino is that it hits its audience with maximum value and compliance on every available channel. The other techniques we employ are largely used to get enough compliance to start PureKino.

Group Dynamics If you’ve been paying attention, you’ve probably noticed that we haven’t covered two of the methods which make Group Attraction work. Namely: 1.  Frame control 2.  Jealousy and AMOGing Let’s start by defining Frame Control. The functional definition of Frame Control is when you control and lead an interaction. The very nature of leading makes you attractive because it subcommunicates the “leader of men (and women)” attractive quality. Note that in all three of the Group Attraction techniques, you’re constantly giving value to the entire group and the group is constantly responding to that value. When you do this successfully, the group lives in your world. You become the leader who defines reality and everyone

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else simply exists within it. You are the source of all the value so everyone naturally looks to you as the leader.

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At any given time, whoever is providing most emotional value to the women in a group is the leader of the entire group and the group will constantly respond to that value. 33.  Group Theory (n): Paradigm invented by Mystery which involves managing and being able to control groups of people when in social situations since most attractive women are rarely in a social setting by themselves.

This is the cornerstone of group dynamics and group theory33. People—women especially—are hardwired to respond to value. When you are the source of value, the women in the group will very quickly ignore the men and pay attention to you. This often occurs even in spite of boyfriends, husbands, or other relationships. And 95% of the time the men follow the women’s lead and stand around like sheep while you continue to plow value. (Chapter 6 will cover the 5% of the time they don’t). This has another effect on the group. When you become the source of value and therefore the leader, the men in the group become beta to you. That is, you become the ‘alpha’ man in the group. In pickup jargon, we refer to this as “AMOGing,” referring to the masculine power competition where the men attempt to become the “Alpha Male Of the Group.”

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Displaying social prowess and verbally defeating the men around you is the modern day equivalent of the male struggle for power and dominance. It is akin to the “alpha” caveman who clubs the “beta” cavemen over the head and steals their women. This triggers primordial instincts in the female emotional circuitry which is designed to mate with—and be attracted to—the alpha male. This is the biggest reason I love running game in mixed sets34, despite the logistical problems that other

34.  Groups with both men and women in them.

men can later present—it sure makes attraction easier. Another effect Group Dynamics creates is that of jealousy. Jealousy is probably the most powerful attraction-creating emotion. All of the women end up competing for you creating more intense feelings of scarcity, which causes them to work harder, and the cycle continues. The reason GA leverages jealousy, frame control, and AMOGing more than any other paradigm is that you’re attracting all the women at once and since the women control the set, that puts you in control of the set. And more value to more women means more jealousy, better frame control, and better AMOGing.

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P racticing G A This section gives you an overview of the learning procedures for Group Attraction. As discussed in the Mehow Training Method, practicing the methods and routines in this book will give you incredible powers in pickup. You’ll know how to keep her fascinated in everything you say, you’ll know how to escalate super smoothly all the time, you’ll be an absolute master of M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

kino, and you’ll know how to use eye contact and body language to get compliance, even when you’re improvising or deep into comfort. And the best part is that you won’t have to think about these things as you do them. They will have become instincts that you merely follow. Incidentally, this is how I learned all of this—I practiced GA in field for months and then reverse engineered the theory that has become DNA Code and Microloop Theory. And trust me, in this case, the practical path is a much more efficient way to learn.

Learning Roadmap Read the book and do the homework exercises. You can also watch the infield footage and listen to the audio book. Once you’ve completed this, you’re ready to start practicing.

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The first step is to pick your favorite stack— select your favorite opener, tease, projection, and PureKino. Then perform the following steps: 1.  Write out the stack using DNA Code and take notes during this process. Be sure you understand exactly why you are doing what you’re doing. If you have questions, post it in the forums (http://www.groupattraction.com/forum) which you now have access to. 2. Then perform the Group Attraction Verbal Drill with your new stack. That drill is detailed below and will train you to learn the verbals for your stack. 3.  Next, perform the Group Attraction Mirror Drill with your new stack. That drill is also detailed below and will teach you correct body language and kino. 4.  Now go out infield and deliver the stack to 15 different sets. Right when you arrive, open 2 warm-up sets. When you’re finished, perform the “Mehow’s Presence” State Altering Exercise and then continue. If you feel yourself lose presence at any point in the night, repeat the exercise. By the 15th set you should be making major progress.

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Most guys in field don’t open 15 sets in a month. And if possible, have an experienced wing watch you. Use the Get the Girl! “Light Consciousness Drill” from the GTG! Manual if you feel that you are not addressing delivery problems in your set. We’ve reprinted and revised that text below.

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5.  After a night of practice, take notes on what you think you did right and what you think you did wrong. Post your questions to the forum and using your notes, analyze the women’s reactions and try to estimate the source of the problems. Get your wing’s feedback as well and get any questions answered in the Get the Girl! forum. After you’ve received answers to all your questions, take the top 3 most important corrections and implement them the next night. 6. Repeat steps 4 and 5 until you are consistently isolating. Read the Get the Girl! Nightlife Edition Manual to figure out what to do after you isolate. Try to stay in every set as long as humanly possible. Even if you don’t know what to say next, push yourself further and make something up. Withstanding the social pressure will also improve your

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inner game. You are already way ahead of who you used to be! After you get one stack down, create 2 more and repeat this process for each. Once you’ve got 3 of our stacks down, see the appendix on stacking and the “How to Create Your Own Routines” section in Volume 2 and create two of your own custom stacks. Now you have your own original game! As you practice, you will periodically run into interrupts and contingencies. After you’ve practiced your first stack live at least once, I permit you to practice the Contingencies and Interrupts Drills as needed to master interrupt handling to absolute perfection. Once you follow and execute this process, you’ll gain what seems like magical powers of improvisational kino. Practicing PK is how I learned this. I can now do it any time, prescripted or improvised. If you’re still having trouble after following these procedures, your problem is a lack of appropriate feedback and you need to get live training or video feedback training. You can find those resources here:

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Video Feedback Training:  www.getthegirlhotesat.com Video Feedback + Continuous Coaching:  www.getthegirlunleashed.com Live Training: www.mehow.tv

Finally, if you need more details on the structure of

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stacking, see Appendix B: Fuji on Natural Stacking.

GA Verbal Drill Before trying this drill you should have the verbals of your stack written down in at least two-channel DNA notation using P(v) and P(v-sub). The first thing to do is memorize your stack. Read it and repeat it out loud as many times as it takes to get it down so cold that you can repeat it at will, even with distractions. You can record it by reading the DNA Code out loud (which should capture your delivery) and then playing it back in your car or mp3 player. When listening, you can get in the moment and hit pause, and then repeat what you just heard. On the DVDs accompanying this set (if you purchased them) you can queue up any of the PK routines from chapter 4 and practice as described here. Use the special “Rehearsal Cuts”

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which pause after and prompt you with a tone so you can stay in the moment and repeat after me. Once you think you have this down, record yourself delivering the stack and then play it back and review or post it in the forums. If you have delivery problems, try the “Light Consciousness Exercise” to briefly focus on how you are trying to improve and then get in the moment and do it. The goal of this exercise is to be able to recite material at will without having to think about it. Trust me, there’s plenty of stuff to pay attention to infield. The more automatic your delivery is, the more present you can be. This will vastly “naturalize” your game. You are done with this exercise when your delivery approximates mine (check the audio book), or if an experienced wing listens to it and can detect nothing weird or creepy in the delivery. The verbals should be engaging and interesting.

GA Mirror Drill Now that you have your verbals down, stand in front of a full-length mirror and deliver them as if you were in set.

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Practice your body language and eye contact until you feel really comfortable with it. You can even videotape yourself and critique that, or have a wing watch you. You are done with this exercise when your delivery approximates mine (check the DVD set) or if a wing listens to it and can detect nothing weird or creepy in the delivery. The entire performance M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

should be engaging and interesting.

Mehow’s Presence Exercise If you haven’t read Eckhart Tolle’s excellent book, “The Power of Now,” you should go to your nearest bookstore and purchase a copy. The following is a brief meditation exercise that I use to “get in the moment” in a club. It’s based on Eckhart’s work. Stand someplace where there is no traffic in the venue so you don’t’ get interrupted for 30 seconds and then perform the following meditation with your eyes closed: “I want you to listen to all sounds in the environment ... pay particular attention to

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the music, the sounds of laughter, the sounds of everyone talking, the sounds of people’s footsteps … really NOTICE all of the sounds in the environment … if any thoughts or feelings pop into your mind, I want you to simply let them go…. Keep paying attention to the sounds in the environment … Note that you are not your thoughts or emotions. Note that your consciousness … THE TRUE YOU … is the observer of the sounds, your own thoughts and emotions. Keep paying attention to the sounds in the environment…. if any thoughts or feelings pop into your mind I want you to simply let them go … now as you pay attention to the sounds you will notice a very warm feeling of positive energy well up within you. It will come from inside. This is you feeling the joy of your own being accessed through your presence. Now keep paying attention to the sounds in the environment and the joy of your own being and when you have fully accessed the joy of your own being … slowly open your eyes … remain present and open the nearest set.” You can also record yourself doing this and play it back on an mp3 player or listen to me doing it in the audio book.

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I go through this exercise at least once a night and it alters my state to a more positive one every time.

Light Consciousness Exercise How do I “focus” on a technique or an attractive quality while also keeping my mind blank and being in the moment?

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Before you go out, meditate a bit on the techniques and attractive qualities you want to work on. Practice in front of a wing or mirror if you want. After you’re done meditating and/ or practicing, clear your mind completely on your way to the venue. A few minutes before entering the venue, meditate on what you want to work on and then totally clear your mind. (I found it helpful to say to myself “I don’t give a shit!”) Now immediately open being fully present and in the moment. Your mind will automatically come up with the techniques and qualities you’ve meditated on after a little practice. You may notice you’ll do things incorrectly the first few sets. This is a natural part of the game. You will get ”blown 35.  Blow Out (n): Dismissal or a heavy amount of IODs when cold approaching.

out35!“ But keep in mind that a ”blow out” is nothing more than a woman telling you that you made a mistake and to try again later. She’s

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not rejecting you, she doesn’t know you. She’s rejecting your subcommunications or your approach. Anytime anything goes wrong, briefly meditate on what you think you can improve on and do it again. Outcomes don’t matter—only how fast you’re learning the skill set. If you learn the skill set you will get results. I promise you that.

C oncl u sion Now you know the big picture on the first 3 minutes. You understand the true multi-channel nature of human interaction through the DNA Code. You know how to sequence giving value, takeaways, and directives on communications channels in order to give women the most astonishing emotional experiences. You know how Group Projections, Teasing, and PureKino work together to form the core of Group Attraction and create amazing experiences for women.

We’ve explored the very essence of human interactions and have explained

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a lot of technical details with you in the process. But there’s one very important point that I want you to be aware of. This is not manipulation. Everything that we’re doing is to give women optimal emotional experiences which function as a giant sign post that says: THIS GUY IS THE MAN OF YOUR DREAMS M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

We’re giving you a way to buy yourself enough time so that she finds out what an awesome person you are. But you’ll have to live up to that later in the pickup and then constantly in the relationship. To do this you can’t just have the first 3 minutes down—you have to have your life, your game, and your inner self down. Otherwise the first 3 minutes will only buy you a taste of what you truly deserve. There’s no mind control here— women will like you when you do Group Attraction because of a perception in their mind about who you are. If that perception goes away, so do they. You have to make sure that you are the real deal. There’s a lot to getting that done but this is a great start. Don’t abandon the other things that make you attractive. Make sure you have a job, and

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more importantly, a passion in your life. Have a clean, working car if you’re in a driving city. Move out of your mom’s basement. Go to the gym and stay in shape. Have hobbies other than girls. Ultimately, you want to work on all aspects of yourself. Group Attraction should be a reflection of the person that you are, not an illusion covering up the person cowering beneath. We’ll help you get there … but in this book let’s get the first 3 minutes down to an art!

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Opening

3

I hate long openers. I want to start running attraction as soon as possible. The openers in the Get the Girl! Nightlife edition are brutally brief, yet effective. The opening style I like to use consists of four parts: 1. Opener 2. Tease the Loudest Girl 3. False Time Constraint 4. Continue to Attraction

This structure from the GTG Manual was designed to get you used to Opening with a style that is compatible with Group Attraction. So if you’ve

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been practicing, you’ll be well prepared for Opening with Group Attraction. In GA Opening there are 5 Phases: 1. Opening Material 2. Group Teasing (NEW) 3. False Time Constraint 4. Group Transitionary Compliment (NEW) M e h o w , I n c . C o n f i d e n t i a l . P at e n t P e n d i n g . C o p y r i g h t 2 0 0 8 . A l l R i g h t s R e s e r v e d .

5. Continue to Attraction

Notice that phases 2 and 4 are new and unique to Group Attraction. The other phases are similar to those described in the GTG Nightlife Edition Manual, but the DNA Code allows us to give you much more in-depth and precise insight in each phase of the new model. In this chapter we’ll describe usage with a non-mixed 3-set without undesirable interrupts. We cover interrupts and other contingencies in Chapter 6. Before we dig into the 5 phases of opening, let’s examine how to avoid being a clown in attraction, how to master subcommunication, and how to perfect your delivery on all communication channels.

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The first key to doing all this correctly is the “Evil Clown Frame.”

Ev il C lo w n Frame Based on the examples from Chapter 1, you may have noticed that the value exchange is usually uneven. We generally give much more value than the set and their value to us is usually in the form of kino. This is illustrated in the following DNA Code example:



P(v): “Did you know that you could be psychic together? … For shits and giggles we’re going to”

P(v-sub):



scan the group---

P(ec):

P(ec-sub):







P(bl):

P(bl-sub):

mystery(GV) _____________

judging(GV)_______________

dominant(GV+D)__

left eye solid gaze on alpha girl dominant(GV)_________________________

lean back ---------------------------------------------------------------un-needy(GV+T)_______________________________________________________________________

S(v):

S(v-sub):

higher energy(GV)____

“What?” inquisitive/friendly(GV)

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