When I’m in set here are the heirarchy of things I’m thinking about:
1- Vocal projection and resonation and pacing (the single most important part of the pickup). I focus on getting the most amount of projection and depth out of my system, without having to speed up my speaking speed. The reason is that its easier to project the faster that you talk, because the vocal movements help surpress the air, so it goes further. You don’t want to have to speak quickly though, so this is difficult and therefore takes concentration. If you talk slower, you can’t project as much unless you focus harder. You have to warm up your chords and have them resonating. You MUST even out your tonality so that they become almost hypnotized by it, and totally suggestable. You must also use rapport inducing vocal inflections in certain situations, rapport breaking inflections, disinterest inflections, interest inflections, and even screaming in certain situations. These all elicit autopilot responses that you need.
I run my shit with NO “umms, uhhh, sort of like, stuff like that”. I keep PERFECT eye contact, and resonate my voice in different ways based on their reactions, to amplify them. The girls are mesmerized within seconds, and even if their friends try to pull them away they usually don’t even realize it until their friends freak out and yell “What are you doing to her?!?! Jenny, LET’S GO NOW!!” and drag her. Anyone is capable of this. It’s purely a combo of vocal stuff and very very steady material. It’s not hard to learn.
2- Mentally pummelling the girls. That means coming in HARD man. It’s like if I’m going to knock over a cow. I’m not going to walk over slow and try to push it over, because its too big. I’m going to get ready, tense up, and RUN THE FUCKING THING DOWN… 🙂 Get it? I roll in there, and I talk over the girls, and disacknowledge a lot of what they say by cutting off their bullshit screening threads and promoting the ones that help me. I have material tee-ed up, and I sequence it and re-sequence it so that their brains register a few things: I’m fucking SMART, I’m alpha, I’m a source of wisdom, I’m cooler than them, and I’m funny as hell. I never let them have the frame. If they ask me a question that would take the frame from me by allowing them to control the interaction in a way that doesn’t help me, I make them re-phrase it more clearly so they’re qualifying themselves. My comedic timing is 100% perfect. I extend the material like an accordian to wait for their anticipation to build up, before delivering punch line material (be it funny, intriguing, cocky, or whatever). I don’t just go through the motions. I own the frame based on keen observation and calibration.
**I’M NOT USING C&F AS ENTERTAINMENT, BUT RATHER AS REINFORCEMENT OF THE META-MEANING OF THE INTERACTION.
3- Bodylanguage awareness (mine and hers). Pulling back when they’re hooked, and cutting in to get in close promiximity by looking at the group and closing in the space ASAP without them throwing up shields. Read “Active disinterest is not a-sexual”, for how to close the distance in the set. Read “How to play hard to get, actually for real” for how to pull back. Oftentimes I walk into a set and see that they’re hooked before I open my mouth, so I smile and pull back a bit and they start screaming and pull me into their set. Just like I’m Justin Timberlake or something. It’s all bodylanguage sequencing. This is why you read the workshop testimonials like “This guy was amazing.. You have to see it, its insane”. It’s because I get these kinds of reactions, by highly calibrated use of bodylanguage. The same goes for phase shifting. I’m always thinking “Get in there TD.. Gear it down TD.. Gear it down……. Slow… Slow… She’s turning.. Force her face back.. Keep her brain occupied with some bullshit that I learned from the discovery channel about emotional circuitry and physical reactions while I subcommunicate with her on the other channels and her brain switches gears”.. Eventually she’ll go for tonguedown, because you’re forcing her to gear down. A great thing that Mystery does if they won’t gear down is say “Look right here.. Look right here” with his finger up in between their two faces.. Then he says “Slow your switching speed.. Slow your switching speed.. Slooooow…” until they slow down (this sentence makes no sense). He is all the while communicating via the sexual and physical channel with his vocal resonations and speed and eye contact and slowness of his movements. The same goes for extractions and moving them within the club. I’m hyper keyed into their buying temperature and the little movements and reactions to my kino, so I always know when to extract. Guys are always shocked at how quickly I can venue change, and that’s because I almost always know when its time and they’ll say yes. The second I see they’ll go for it, I start moving them around to prepare to get them in full isolation down the line.
4 and 5 are in the next post.