# Beavis and Butt-Head Do The Universe
Estes dois nunca perdem a graça. Desde a série na TV a piada recorrente de dois adolescente virjões fazendo piada um do outro e dos clipes da MTV. O ponto alto desta aventura, que se passa em um mundo pós-apocalíptico onde criaturas bizarras frequentam a sala de aula da faculdade e mulheres se candidatam a cargos políticos, é observar como o humor nonsense de quinta série funciona independente do tempo-espaço que se situe. Digo mais: talvez Beavis e Butt-Head sejam mais engraçados ainda nos ambientes contemporâneos ditos seguros, pois ninguém espera ser caçoado por dizer palavras como "alavanca" ou ser julgado como homossexual "apenas" por ser gay. É o efeito da distorção temporal. São os Mamonas Assassinas nos avisando, direto da década de 90: "abra sua mente: gay também é gente".
# Bolo de Cenoura Aromática
Coloque no liquidificador 3 ovos, 290g de açúcar, 210g de óleo, 6g (ou 1 colher de chá) de canela e raspas da casca de meio limão e 250g de cenouras descascadas e cortadas em rodelas; bata até triturar.
Jogue essa mistura em um recipiente e adicione 260g de farinha delicadamente, seguido de 14g de fermento químico.
Distribua em forma untada e leve em forno pré-aquecido a 180 graus por 30 a 40 minutos.
# Bolo de Milho
Reserve 1 lata de milho em conserva escorrida ou 200g em espiga, 250g de açúcar, 160g de flocão de milho para cuscuz, 150ml de óleo, 300ml de leite, 3 ovos, 1 colher de fermento químico e (opcional) 50 g de queijo ralado curado, 50g de coco ralado ou 1 colher de sopa de erva doce.
Então você pega um liquidificador e bate o milho, o óleo e os ovos e tritura o milho. Coloque o açúcar e bata até se desfazer. Acrescente o leite e o flocão por mais 1 minutos. Coloque o fermento e bata por mais 30 segundos.
Coloque para assar em forma untada e temperatura de 180 graus até o topo ficar douradinho. Esse bolo é úmido, não sai super sequinho do forno.
Rende 2 formas de furo de 14cm ou 1 forma de furo de 20cm de diâmetro.
# Native Floripa 2022
Fui para a terceira edição esse ano com minha palestra de AWK, que foi aceita duas semanas antes do dia, embora já estivesse programando ir de qualquer maneira, dessa vez de carro. Saindo de São Paulo, a parada em Morretes confirmou que o sorvete de banana continua top. Já o evento merece uma reciclada.
Inicialmente moldado em duas trilhas paralelas sábado e domingo, ele continuou dessa forma em sua primeira edição após a pandemia. Com uma divulgação de última hora, o público ficou bem reduzido em ambas as trilhas, mesmo a principal, que foi a única que acompanhei. Nela haviam nos melhores momentos cerca de 15 pessoas, mas nos piores cerca de 4 (contando apenas o pessoal técnico).
A primeira palestra era sobre carregadores de bateria de veículos elétricos e foi muito empolgante. Já fez valer a visita mesmo sem ser minha área de atuação em TI, mas é justamente isso que torna esses eventos tão excitantes. É sobre a possibilidade de aprender coisas novas com outros devs.
Finalizado o evento começam as melhores horas do dia e da noite: o happy-hour. Boa conversa, comida e bebida tops são convidativos para nunca voltar para casa. Nesse caso os motivos se invertem, e não é o que se aprende que importa, mas estar junto de pessoas que respiram o mesmo ar dessa área fascinante que é a tecnologia.
Na segunda-feira ainda participei de uma terceira trilha, a da Costa da Lagoa, que sequer é listada no Google Maps, mas descobrimos graças à sempre ótima consultoria dos amigos moradores da cidade. Essa trilha vai pelo meio da mata que circunda a Lagoa da Conceição. Com cerca de 5km de extensão e altos e baixos, há várias saídas para residências locais e o próprio mar. Ao final uma vila de pescadores extremamente charmosa e surreal. A saída da vila ou é a trilha ou o barco-ônibus que passa entre diversos pontos (de ônibus) onde os passageiros aguardam. Foi por lá que voltamos. Um passeio inesquecível.
Floripa agora nos promete mais que o evento icônico de tecnologia. E por isso prometemos voltar para a próxima edição.
# Cidade Baixa
Deve ter dado um baita trabalho filmar as cenas de Salvador. Imaginei a equipe tentando isolar os mendigos, vendedores e a horda de pedintes das ruas fedidas do centro soteropolitano.
Aquele inferno turístico é um desafio à altura do diretor e roteirista Sérgio Machado, que junto de três talentos natos da cinematografia nacional cria um dos poucos trisais que soa realista enquanto inconclusivo.
A história só existe porque esses três são criaturas inferiores de sua espécie, exceto pela amizade dos dois homens. Eles fazem qualquer serviço em seu barco, mas como em todo filme brasileiro os negócios andam mal e eles são forçados e atuar no crime e ilegalidade em vez de ir pescar.
No caminho para Salvador pegam uma puta de carona, e quem diria: a sobrinha da Sônia Braga. Alice está jovenzinha e delicinha. Ela exala luxúria de uma maneira suja, o que combina com a cidade.
Wagner Moura e seu bigodinho maroto que mantém desde a série Narcos faz o personagem branco e barrigudo. Um pouco imoral que equilibra com lealdade, seu personagem é o terceiro pé dessa mesa.
O segundo pé é Lázaro Ramos, com mais presença e energia. Ele é o personagem cotista. Negro e vítima de racismo, ele só não se dá mal graças à lealdade do seu amigo. Há um vínculo sagrado entre esses dois, o que torna a paixão mútua pela rapariga insuportável.
É nesse equilíbrio delicado que Cidade Baixa se desenvolve, ou melhor dizendo, não se desenvolve. Seus personagens estão estagnados. Sua situação sócio-econômica é idêntica à da maioria dos chineses no mundo, mas por estarem em um filme brasileiro algo parece vitimizá-los apenas por existirem.
Filmado entre sombras como que para mostrar que são figuras do submundo em uma metrópole do submundo, o filme exibe um certo controle sobre nossas atenções até ficar longo demais. Quando fica claro que a questão do filme é mais simples do que parece o terceiro ato se desenrola com a catarse óbvia.
Essa última animação Disney lembra em ambição tudo que veio depois de Frozen: nada. No entanto, Encanto possui seu próprio arsenal de charme cultural ao nos inserir em um conto que se passa em uma comunidade isolada por montanhas onde ocorre um milagre repassado às gerações que ali nasceram. A estética da direção de arte como sempre é impecável e digna de lágrimas por todos os detalhes de texturas e cores. A história, nem tanto. Contendo em seu núcleo um drama exagerado em torno de uma família, o filme se torna uma desculpa para tentar algo novo, com leves diferenças entre os clássicos valores da produtora e algo que pode lembrar novos tempos com você-sabe-qual-cartilha-está-sendo-seguida, mas na prática é uma jornada do herói sem motivo de o ser. Mas é bonito de doer.
# Como converter qualquer projeto antigo do Visual Studio em CMake
Aproveita esse pedaço abaixo de `CMakeLists.txt` como colinha e cria na pasta do seu projeto.
cmake_minimum_required(VERSION 3.16) project (meu_projeto) add_executable(meu_projeto
Lista os arquivos de extensão `.cpp` e joga a listagem no final do `CMakeLists.txt`. Por fim adiciona o fecha-parênteses que está faltando.
dir /b *.cpp >> CMakeLists.txt echo ) >> CMakeLists.txt
Pronto. Se seu projeto não tem dependências externas é só compilar.
mkdir build && cd build cmake .. cmake --build .
Os erros mais comuns a partir daí são erros de inclusão e linkedição. Para os erros de inclusão use comandos no `CMakeLists.txt` como `target_include_directories`. Para os erros de linkedição use os comandos `target_link_libraries` para incluir as libs e `target_link_directories` para dizer que em pasta estão. Você deve encontrar essas informações no projeto original do Visual Studio.
Em geral é melhor seguir esse passo-a-passo de como gerar um projeto limpo em vez de tentar converter. Se houver algum truque na solução Visual Studio ela deverá ser portada de maneira mais documentada e pronta para portabilidade. Com o CMake você não terá mais que se preocupar com qual versão do Visual Studio irá trabalhar, e quando migrar basta instalar ou apontar a versão correta (direto no comando cmake).
A tempo: trate os arquivos da solução do Visual Studio gerados pelo cmake como temporários. Não use controle de fonte em cima deles. Isso o ajudará a manter a base do seu projeto apenas nos arquivos `CMakeLists.txt`.
# Merlot tem gosto de remédio?
Eu não acho que todo merlot tem. Fato é que não tenho certeza se concordo com essa afirmação de minha esposa. Outro fato é que ela gostou dessa garrafa que foi aberta em uma visita a um casal de amigos em Floripa. Eles são uma das conexões mais inesperadas. Nos encontramos agora apenas duas vezes e parecem amigos de longa data. Sabe quando parece que conhece essas pessoas há mais tempo e todas as conversas se encaixam? Essas estranhezas boas da vida... como o eventual merlot de uma noite agradabilíssima.
# The Pickup Artist
Se você conseguir aguentar o formato televisivo de um programa mutilado em torno de infinitos comerciais, The Pickup Artist ensina uma ou duas coisas importantes quando o assunto é pegar mulher. Talvez até três coisas.
Seu astro e mentor é um homem que se chama Mistery. Uma mistura entre jovialidade e cerimonioso, essa figura é considerada a melhor na arte da pegação, e seus pupilos brilham os olhos só de estar com ele. Eles anotam em seus cadernos cada detalhe dos ensinamentos que lhe são passados.
Os pupilos são um grupo de virjões que por diferentes motivos nunca tiveram muitas oportunidades de estar com mulheres. Através de desafios semanais Mistery irá ensinar um a um que as oportunidades não acontecem: elas se criam. E a tarefa do Artista da Pegação é criar essas oportunidades não como um objetivo final ou inicial, mas como um estilo de vida. E se divertir no processo.
# Vinho romeno
Ok, ele é romeno. Fora isso, lembra vinho de mercado, daqueles de trintão. Mas quem pagou caro por ele talvez traga mais características ocultas pelo sabor azedo e tânico conhecido de quem curte aquele vinhozinho sem frescura.
# A Fera do Mar
Lembra daquela piada de que no futuro os contos de fadas iriam ouvir a versão do monstro ou da bruxa e todos descobrem que o vilão era bonzinho afinal de contas? Era engraçado. Porém, quando a piada vira realidade perde totalmente a graça, pois dá muito medo que as pessoas hoje em dia pensem realmente assim. A Fera do Mar é uma animação dessas, que emite medo não através dos que estão frente às câmeras, mas pelos que manipulam nossos sentidos por detrás.
Ambientado em uma versão colonizadora genérica que na verdade todos sabemos que é o Império Britânico e com um pano de fundo que envolve uma criança que foge do orfanato e que se encontra com o herói dos livros que tanto gosta, esta animação possui o esmero de produções de segundo escalão. Você sabe: aquela equipe que não é tão boa nem tem tanto dinheiro quanto a Disney. Dessa forma é esperado que mesmo que os efeitos sejam vistosos, muito por causa dos enquadramentos e da música genérica de aventura, sob o escrutínio estético notamos que ele deixa a desejar, faltando aquele polimento final. O rosto dos personagens está uma década atrás do que foi possível fazer em computação e os monstros são versões risíveis de paletas monocromáticas e movimentos que emulam o terror usando bichinhos de pelúcia (sem pelo) aumentados e com aquele urro potente. Em um dado momento você irá se lembrar de Como Treinar seu Dragão (versão marítima).
Os heróis não são piratas, apesar de serem. Essas reformas semânticas às vezes confundem. Ainda está na moda deficiente visual ou voltamos a usar a palavra cego? Aqui os marinheiros são chamados de caçadores pelo reino ao qual servem por gerações. Um capitão sem um olho (voz de Jared Harris) e uma primeiro em comando sem uma perna (Marianne Jean-Baptiste) são incentivados a ter uma vida gloriosa nos sete mares para matar monstros marinhos mesmo que lhes custe a vida. A justificativa é uma frase de efeito: tenha uma vida ótima, e uma grande morte. A jovem que os acompanha, Maisie (Zaris-Angel Hator), é descendente de caçadores, mas como você já sabe, seus pais tiveram uma grande morte. O que deixa grandes órfãos!
Há uma pitada de diversidade preenchendo cotas, com dois gêneros e cores populando o navio caçador, o que faz lembrar um pouco da época de filmes como Piratas do Caribe, que contava com uma mulher a bordo memorável, engraçada, espirituosa. E não estou falando de Jack Sparrow. A personagem de Keira Knightley era tão boa no que fazia porque possuía a feminilidade a seu serviço. Ela é mais lembrada inclusive que o esquecível papel de Orlando Bloom. Ela era uma personagem do sexo feminino de fato, e isso era o motivo de estar a bordo e não soar estranho aquela silhueta em meio a marmanjos sanguinários.
Obras como A Fera do Mar, apesar de uma animação, tornam óbvio o problema da diversidade planejada após o roteiro. Com pouca criatividade, roteiristas não se importam em criar personagens diversos desde sua origem de vida, preferindo mantê-los como coringas onde o gênero e a cor podem ser definidos quase na pós-produção, já que suas personalidades são igualmente esquecíveis. Não é lá uma mensagem muito boa para os defensores desta causa. E com certeza não torna o filme melhor.
A paisagem predominante desta aventura é o mar e as águas turbulentas que vemos estão visualmente aceitáveis. Há um balanço bacana, um uso de escala competente. Nós entendemos até certo ponto a dinâmica da caça aos monstros, sua velocidade, sua esperteza e seu tamanho. A trilha sonora genérica de aventura ajuda menos que os enquadramentos escolhidos por alguém que não está totalmente no automático (Chris Williams, já envolvido em obras como Moana e Frozen). Essa é uma boa notícia. Há movimento. Crianças de alguns anos podem até assistir boa parte deste filme sem ficarem entediadas.
Porém, o tédio é o objetivo final de A Fera do Mar, pois há mais no roteiro a respeito dos defensores da causa, e no terceiro ato a história vira uma pitada grande de revisionismo histórico sob os olhos de uma criança. Se até uma mente infantil entende desses assuntos de adulto quer dizer que é muito fácil de enganar os plebeus do reino, o que de certa forma valida a realidade caricatural da animação. Quem diria que súditos fossem tão tolos de se proteger de monstros marinhos enquanto tentam fazer comércio internacional? Pelo jeito ainda não tiveram contato com aquela velha piada de que no futuro nós teremos que ser tolerantes com monstros marinhos, apesar de serem monstros. Sabe como é: sempre é preciso enxergar o outro lado.
Ou não. De repente esta animação é uma paródia bem disfarçada, e tudo o que os idealizadores quiseram foi fazer o espectador pensar que de vez em quando precisamos meter fogo nesses monstros ou deixá-los definhando seja lá de onde eles vierem. Torçamos para que seja isso.
# Attack on Titan
Este anime começa bem sério, impondo o tema da sobrevivência humana em um núcleo bem basal, quase visceral. Ele explora os princípios pelos quais se deve viver, e não meramente sobreviver. Seu herói é o jovem Eren, que considera o modo de vida de sua sociedade temporário. Protegidos por muralhas que foram erguidas para proteger os últimos representantes da espécie humana, do outro lado seguem como zumbis gigantes humanóides. Conhecidos como titãs, não há nada de nobre em seu feitio. São caracterizados como animais com duas vantagens sobre a humanidade: seu tamanho descomunal e o comportamento bestial.
Essa é a introdução de uma série épica, que levanta questões sérias sobre heroísmo, honra e atitude. Vai na contramão dos valores derrotistas de uma geração apaziguada sobre a promessa de paz e amor travestido de discursos utópicos de diversidade e tolerância, mesmo que o diverso seja o degenerado, e mesmo que seja para tolerar os intolerantes.
Sua estética é de luzes foscas, amareladas, com diferentes artes competindo pela expressividade. Seus traços harmonizam o inconcebível como realismo de um drama sem meias palavras. Esta é uma guerra e estamos perdendo. E a mensagem é clara: é preciso fazer algo a respeito.
# Como eu Festejei o Fim do Mundo
Você já sabe a história: ditador em final de carreira, todos aguardando seu fim enquanto o país segue paralisado na expectativa de sair da década. A geração mais jovem faz planos com um ar demodê, quase francês. Vira filme de arte, que observa um período da história e não ousa incutir novos sentimentos. É uma cartilha escolar sobre esse período marcante da Romênia. Uma cartilha enfadonha e sonolenta.
Este novo Persuasão, do último livro publicado de Jane Austen no começo do século 19, é uma adaptação fiel? Não exatamente. No entanto, possui em seu início um pouco daquela esperteza contagiante de A Favorita e empresta bastante (até demais) do estilo da série inovadora Fleabag, em especial por conta da narrativa indireta da obra literária. Mas não é difícil se entreter com diálogos austenianos, mesmo fora de contexto, pois seu espírito de análise da natureza humana e de seus relacionamentos nunca envelhece. Pelo contrário: amadurece.
Porém, focado em ser moderno e inclusivo, Persuasão é carregado pelas virtudes do universo de Austen enquanto é ancorado pelas diferenças das historietas imaginadas pela autora clássica. Se fôssemos traçar um paralelo com nossa literatura, é como se o protagonista de Dom Casmurro fosse reencarnado como um digital influencer, e houvesse todas essas questões sociais (que são um tédio) para abordar. Além disso saber se Capitu o traiu... quer dizer, isso nem é mais é da conta dele, certo?
O mais discutível, porém, não é a reinterpretação de Austen, que já foi vítima de adaptações mais bizarras no cinema (estou olhando para você, "Orgulho, Preconceito e Zumbis"). O polêmico é o quão sutil as pequenas diferenças narrativas e étnicas tomam conta deste romance épico. Os retoques passam despercebidos pelo público médio que iria assistir de qualquer forma, então não é o caso de tornar uma história de época mais palatável ao público jovem. Por outro lado, para quem se interessa, acompanha e de certa forma até torce por adaptações da escritora, o filme apenas revela o quanto ela de fato era virtuosa com as palavras, não graças a esta adaptação cinematográfica, mas apesar dela. Sua falta de sintonia com a obra original serve para enaltecer os diálogos e os personagens do livro, enquanto pausteuriza um filme produzido às custas de direitos autorais adquiridos. Desnecessários, diga-se de passagem. Os fãs ganhariam mais relendo o livro e espectadores de streaming ganhariam mais com (mais) uma dramédia pop.
Por outro lado, isso nos dá uma chance de observar alguns aspectos contemporâneos curiosos. Por exemplo, o plágio de Fleabag, a curta e instigante série de comédia criada e escrita por Phoebe Waller-Bridge que investiga os prós e contras de uma protagonista olhando o tempo todo para o espectador analisando seu próprio universo através dessa ruptura da quarta parede. Fleabag obviamente não é original em tudo, mas é o sinal mais forte da década em aspectos de giro narrativo na ficção audiovisual. Se trata de uma série engraçada e dramática ao mesmo tempo que navega com propriedade nas possibilidades da linguagem, em especial o discurso indireto.
Persuasão usa demais essa ferramenta de comunicação ao espectador, a ponto de ser confundido com um simples plágio conveniente. Isso acontece porque o filme em si não precisa desse artifício e nem lucra ao utilizar. Por mais que Dakota Johnson tenha lindos olhos o longa não ganha profundidade só porque a vemos olhando para nós o tempo todo, nem existe qualquer brincadeira metalinguística além do recurso sendo usado com preguiça e sem pertencimento. Vira uma distração. Até leitores que reconhecerão o discurso indireto trazido sob o formato audiovisual devem perceber se tratar de um engodo.
Outro aspecto curioso e contemporâneo é a moda dos relacionamentos não convencionais. O terceiro ato foi criado para se tornar uma farsa cheia de coincidências e desencontros planejados na montagem final dos casais. A mensagem não poderia ser mais política e mais sem graça. Se houvesse qualquer desejo do espectador em assistir desconstruções moderninhas ancoradas em discurso politizado não seria em um Jane Austen que ele deveria procurar. Já ouviu falar em uma novela chamada Sense8?
# The Pickup Artist: The New and Improved Art of Seduction (Mystery)
Uma série de duas temporadas apresenta um rapaz magro, bem alto e cheio de adereços. Ele junta um grupo de jovens desajustados sem nenhuma experiência em ficar com mulheres. Seu objetivo: torná-los mestres na arte de pegação.
Alguns anos depois surge este livro, uma versão atualizada em que Mistery, o rapaz magro, irá narrar alguns momentos junto de seus "dudes" e como consequência dar aquelas dicas matadoras na arte do sexo e amor.
> I honestly feel like I am a master at this. Not because I can get any woman—that, of course, is impossible—but because my pickups are so controlled and smooth; not sleazy, but rather natural. I love women. I especially love the adventure and the companionship. I love being in a strange girl’s apartment. She takes care of me and I feel like a king. And when I leave, I go to another girl’s place and get the same great treatment all over again.
> You might feel lonely and decide to go out, and within two hours your life changes. You meet a girl and she is attracted to you. And she’s hot. And you are at her house listening to new music and eating new foods and exploring a new life. They have issues you can listen to and learn from. It’s a great big soap opera and you are the star.
> Say it with me: Find, meet, attract, close. Find, meet, attract, close. The details and subtleties, however, are the heart of the system.
> “We just want everyone to have as much fun as we do, because so many guys in the bar don’t know what they are doing.”
> MYSTERY’S TOP 10 TIPS 1) Get into the habit of starting conversations just for the practice. Release your outcome and be relaxed in the process. 2) Between approaches, always remember to smile while mingling. 3) Lean back and relax when you initiate conversations. Don’t lean in. Speak slowly and expressively. This alone will improve your game by 300 percent. 4) Be chatty—really—and convey a strong sense of fascination. Talk about relationships and the mysterious, and use lots of humor as well as emotional and sensory descriptions. Enthusiasm is contagious. 5) Don’t say anything to impress her, such as bragging about your job, girls, or friends. Instead, indirectly convey value via demonstration and incidental story details. If she can tell that you are trying to impress her, she will perceive you as lower value. 6) Don’t act as if anything is a big deal. Be fun and playful. Vibe with her, but don’t react to her. Act the same way you would act with your eight-year-old niece. 7) As you hang out with her, and she has an opportunity to win you over, then show her your increasing interest. She must recognize that she has genuinely won you over with her personality. 8) Balance indicators of interest with indicators of disinterest. Do this both in your conversation with her and also as you escalate with her physically. This has a great effect. 9) Wear one accessory that gives other people an excuse to initiate a conversation with you, such as a hat, or a certain ring or necklace. Have a good story prepared for when this happens. 10) Have a life. Go to the gym and stay in shape, and continually improve your wardrobe. Cultivate your circle of female friends. Throw parties. Put effort into your social circle. A girl should imagine herself being a part of your cool life.
> Lesson One: Women give off signals when they are attracted to you.
> Lesson Two: Touching should be a normal and constant part of the way you interact with other people, from the very beginning. There should never be some big moment, but instead a series of tiny little moments, and they’re always no big deal.
> Lesson Three: Force yourself to start using innocuous social touches as a normal part of your conversation with a woman, such as touching her shoulder as you say something to her. Just force yourself to use more touching during your social interactions.
> Lesson Four: Touch her absentmindedly, as though you yourself are not even aware that you are touching her.
> Lesson Five: Whenever you do something that signals that you are interested in her, such as touching her shoulder, then soften the impact of that interest by also doing something to signal disinterest, such as looking away while you touch her. Of course, that is only an example—be sure to play around with various combinations.
> Lesson Six: Your touches should appear as though they are a natural part of your words, even though they may be completely unrelated, logically, to whatever you are actually saying.
> Lesson Seven: Touch and release, touch and release. You are the one who makes the move, and you are also the one who pushes it away. She will never be in a position to “reject” you because you already pushed her away first.
> Lesson Eight: Always use baby steps to get what you want. Never try to get too much at once.
> Lesson Nine: It’s not about avoiding rejection; it’s about responding to it attractively.
> Even when a woman doesn’t go along with your move, don’t react in the slightest! Act completely normal. You’re just the kind of guy who likes to have fun and who doesn’t take anything too seriously. Act as if you didn’t really even notice what happened. In fact, feel free to keep making moves on her as long as she remains in your proximity.
> Lesson Ten: Disinterest creates feelings of comfort. If she is being resistant to your touch, then use more disinterest. For example, toss her hand away, turn your body away from her, or talk to someone else in the group. Do not do this as though you are trying to punish her, but rather as though it’s no big deal.
> Lesson Eleven: Whenever a woman is compliant to one of your moves, reward her with your growing attention and appreciation. In other words, give her your green lights, but only when she feels like she has earned it. Get her to work for it.
> But emotions don’t understand logical ideas like that. Emotions are preprogrammed behavioral modifiers hardwired into your brain through one hundred and twenty thousand years of natural selection in human evolution. It is in fact these built-in motivators (called emotions) that assisted millions of people before you to live long enough and motivated these ancestors to mate. In other words, look at emotions as indicators telling you what your body believes is most important to you.”
> I said, “Look at it this way. Have you ever been having sex with a girl and you think to yourself, ‘Why is she letting me do this? Me! Why!?’ Well, they do. So stop asking yourself that. Just enjoy it. The same is true when you are conversing with a girl. Don’t bother thinking, Why is she letting me talk to her?! It’s insecure of you and that doesn’t look good. People can feel it. Just relax. It’s a Zen thing.”
| YIN / THE GHOST | YANG / THE FLAME |
| --------------------- | --------------------- |
| Comfortable | Happy, smiling |
| Relaxed, chill | Having fun, laughing |
| Disinterested | Expressive |
| Not needy | Always adding value |
| Unaffected | Playful |
| Unreactive | Positive |
| Cool, calm | Talkative |
| Carefree | Curious |
| No agenda | Makes things happen |
| Not trying to impress | Warm, friendly |
| Not trying at all | Competent, a winner |
| No big deal | Enthusiastic |
| Nonjudgmental | Appreciative |
| Dependable, solid | Exciting, crazy |
> Lovedrop continued: “The list that you see on the mirror represents the ideal vibe for interacting socially, and for being attractive to women. The Ghost and the Flame. We like to call this ‘the Zen of Cool.’ I believe that once you get this right, you don’t need any other game. Go ahead and write the list down in your notes.
> “Remember, people react more to those of higher value, and by reacting, they lose value in comparison. Do the opposite. React less, and you will come across as higher value. Be ‘cool.’ People can sense this vibe and they will find you attractive. When you react less to them, it causes other people to react more to you. This is why it’s so important to speak slowly, with pauses, and to move slowly, avoiding fidgeting, and to lean back instead of leaning in, and to open over your shoulder, and so on.
> “So, suggestion: Walk up to strangers and behave in your mind as if you know them. Just start talking to strangers about what’s on your mind. I do this and it really helps.
> “The Ghost is about being unaffected by things. In part, it’s about not getting caught up in a wave of negative emotion, even and especially when someone is out of line.
> “You were attempting to educate them here. That is not your job. Don’t bother educating people when they are stupid. Just leave. Once you go into damage control, just leave. Move on. It’s more mature and more efficient. Be an artist, not a guy.”
> “Acting normal around beautiful women is a way of conveying preselection. That is, conveying that there are other beautiful women in our lives. Women are women everywhere. Behaviors are preprogrammed by a woman’s genes. Her genes are selfish and wish to replicate with the help of the best males. Show you are the best by acting like you get lots of girls. Not by saying this—you could be lying—but by behaving as if you get them. Act normal around beautiful girls and this will indicate that you’re used to being around them.”
> “Girls generally dislike a shy guy. They want a man who is outgoing. Once you have agreed with this statement, it becomes your job to play outgoing. You can be shy, but you hide that fact. It is a must to be outgoing. I don’t think acting shy helps you out. Now, if the girl is shy, be outgoing still, just not so outgoing that you blow her out.
> “Let us kindly differentiate between a nice guy and a gentleman. Like Satan himself, a womanizer or pickup artist is a gentleman, but not a nice guy. A gentleman will open the door for a lady, but won’t for a bitch. But he will smile as the door closes on her—see Rhett Butler. A nice guy will open doors for all the bitches in the world and get no thank-yous and will still do it.
> “This difficulty you have, Nice Guy, to tell someone to fuck off when you need to, tells me you have a problem with self-esteem. You need to set your rules and live by them. And when people break the rules, they pay the price. That is the type of man a ten wants. The man with the plan. Take charge. When you don’t know the answer, get in there anyway. Attitude beats knowledge. Don’t worry about what others think. Girls want a man in charge.
> “What if things go wrong?” asked Adam. “Find a new girl instead of fixing things,” I replied. “Thing is, I noticed it’s easier to just find a new girl than to work on damage control issues.”
> “I suggest hunting with the sex in mind first,” I replied, “and then, the relationship is an option afterward. To hunt for a relationship first keeps you from having sex, keeps you from learning, scares many girls away, and prolongs the relationship from becoming deep. Get things sexual first, then choose how far you want the relationship to go from there. It’s more logical, more efficient, more reliable to getting long-term relationships, and, well, more fun. Why chase only for relationships when you can do that and see many girls until the right relationship girl comes along?”
> “When I don’t feel like going out,” I replied, “I have my friends force me. When I don’t feel like getting dressed I have my friends say, ‘Dude, get dressed.’ When I am in the car not wanting to go in because I’m tired, I say to myself, ‘Just take a look inside.’ When I get in and I don’t want to enter a set I think, If I don’t, I’ll stale the room and blow my cover. If I have a bad set, I say, ‘Recover soldier,’ and press on. If it’s five minutes from closing and my night was shit, I think, Maybe my dream girl is to be found in the last five minutes. My night may change to a great night! I’ve had that happen before.
> “When we go out tonight, get numbers! Go for four of them tonight. That’s about one per hour. How hard is that? You have an hour to meet three women and do it up. One out of three should like you if you act like Rhett. That’s only twelve girls to chat with. Not rocket science. The first is hard; the rest get easy for the day. Tell me how many girls you chatted with. If you say, ‘Only two,’ and didn’t get any numbers, then we know where your problem lies already. If there weren’t girls worthy of getting, you went to the wrong place. So much for the use of your intellect. If you didn’t go for sevens and eights, you messed up. They were practice for you. They could have friends that you do like. They could be friends and join you in your future days of hunting!
> A true artist doesn’t use pickup lines. He uses intro scripting. His intros are polished and nonsexist. His routines are natural, humorous, and fun. His attitude toward the subject is that of a professional. He systematically finds the best places and works the rooms. He treats everyone with respect and dignity. Even the other guys. All is fair in love and war, but this war is merely a game. So let’s not kill or hurt anyone on this game of love.
> “RULE: Plan your strategy for finding women. Know exactly where you intend to go. Know your city. Know the day. Minimize waste of time by getting there a bit early so you can settle in.
> “RULE: Never buy a girl a drink. This makes you seem like every other guy. She may, however, buy you a drink.
> “RULE: Avoid drinking too much alcohol when playing the game. Alcohol is an excuse to alter your feeling of ‘fear.’ You decrease your statistical chances of success. Sober people have more reaction time with which to process information.
> “RULE: Never give your number to a girl unless there is an exchange. If you get around to asking for her number and she says, ‘I’ll call you,’ just say, ‘No, I’ll call you.’ If she doesn’t give her number, she wouldn’t call you anyway, so just say, ‘Nice meeting you,’ and leave. After a girl does give her number to you, you may then write yours for her as you say, ‘We’ll trade … fair?’ She will smile and say, ‘Fair.’
> “Going for fives is just a self-esteem thing, not a skills thing. If you decide to chase nines and tens and only them, then that will be the skill set you get good at. They aren’t harder to get, only different.
> “Society has its mating rituals. When a woman wants to find a mate, she will get emotions driving her to seek social situations. She doesn’t bother getting dressed and looking good just to dance. Dancing is even a way of showing the health of the body for a suitor—you! She is seeking a mate. And yes, she will go to a place where there are possible mates. Granted, she will only pick the best. But girls don’t put body and looks high on the priority list. The top three traits are a good smile, a sense of humor, and confidence. The fourth is connection, by the way. So there you go.”
> “The problem is,” I replied, “people don’t go to public gatherings without music. When there is no music, many people are too scared to chat with strangers so they feel uncomfortable and don’t go to that place. Thing is, most people aren’t players. A club is actually very logical. You are thinking about only your intentions. See, for a girl, the main reason to be there is to meet a guy. But, they have to do something to look busy while in there. Some need an alternative excuse, like coming to drink with friends, which is utterly absurd. Who the hell really wants to pay five dollars just to get into a noisy place to talk with friends? Then you’ve got the old-style mating ritual: dancing. This shows off your health, vitality, and physique. Everyone has a different way of meeting others. Thing is, players should know the most efficient way. This doesn’t mean the rest of the world does, too. So it looks like noisy clubs are the way. They attract lots of people. What other thing does that without actually taking the people’s attention totally, as a play or concert does? The entire club industry is designed to make money off people wanting to meet a mate.
> The benefit of being in a club is quantity. There simply are more opportunities to see women of beauty. With that benefit comes a series of shitty things. Noise, crowds, dark, alcohol, male competition, raised bitch shields are just some, never mind cover charges. But the benefit outweighs all the shit. The solution is to minimize the shit. Here is how: “Noise: Don’t approach girls in the loud areas. There are always a couple of areas of a club that are the least noisy. That is the field. Around the dance floor? That is the trap. You can’t initiate a chat there so why be there? I know, to look at the girls you can’t approach. Fuck that. Stay out of the trap. It’s a trap. Dance floors are not a pickup field. “Crowds: Go early. Approach the bartenders and hostesses early. Get in early. Ten P.M. Get there at nine-thirty P.M. if you have to. This usually saves you money on the cover, too. Solve crowd issues by working crowds. Don’t approach a single girl. Approach a group of people. This allows you the ability to display social proof. At midnight, bail out to another club—it keeps the crowd fresh for you and offers the opportunity to instant-date girls as they join you to the next club. “Dark: Stay in the lit areas. Usually they are the most quiet and least crowded. See, pickup is like fishing. Having a fish on the line is the exception to the general rule. Wait and wait and wait is the general rule. Then a woman comes in from the dance floor and, bam, you yank the line. Hook them. Three-Second Rule it and address the target’s entire group. So in a way, the fishing pole is changed into a net. “Alcohol: It’s hard enough when they’re drunk. A pickup artist’s game is always better when he’s not drunk. Don’t drink, and keep the sharpness—trust me, pal, you’re gonna need it when a girl is in front of you.1 “Male competition: Yes, there are more guys. But they don’t smile. They don’t surround themselves with people and talk talk talk and laugh. They don’t walk around holding the smile on their face. They hold a beer on their chest and lean in and ‘look cool.’ A pickup artist realizes that the only obstacle with regards to other males is that the more faces exist in there, the more busy the vibe will be. Like MTV rather than C-SPAN. Solution: Be MTV yourself! That is why gimmicks are useful. “Bitch shields: Yes, they are higher. But the solution is not to punch through it, but to trick her to lower the shield. How? Group theory and negs. Approach the group while ignoring the target and using negs on her. Disarm the friends with stories and humor, and when they all love you, you can finally turn to the target. By this time the negs sank in and lowered her self-esteem. Her shield down, she wants attention from you, the life of the party—the guy who sort of pushed her out of the spotlight of her own circle of friends. And there you have it. Add more groups so that the next group will have noticed you in a previous group (social proof) and the closes come caving in like a nuclear reaction.
> THE STRIPPER RULES RULE: She doesn’t like the word stripper. Use dancer, or exotic dancer. RULE: Don’t assume that just because a woman makes money by peeling off her clothes, she is stupid. On the contrary, they are brighter than most of the men in there. Remember, if she can trick guys into thinking that she likes them, she makes more money. RULE: The minute they dance for you for money, you are a customer and they don’t sleep with customers. So don’t let her dance for you—unless it’s for free. They suffer from low self-esteem but hide it very well. They are dealing with a lot of issues emotionally in their head while they dance for you and because they generally think you don’t respect them after a dance, you can’t get in. Plus now she sees you as a customer. RULE: Don’t stay there long—thirty minutes, max, and only if you are into a chat with one. I initiate chat faster standing than sitting, so I go into a two-set of sitting girls and become more exciting with my conversation than any guy during the entire day. RULE: Enthusiasm is contagious. Act enthused about something that happened to you and so will they. RULE: Convey that your day has been incredible and then proceed to explain why. As if meeting her is completely secondary. Nothing can wreck this day! When a girl comes to sit, I talk my ass off, conveying my personality. I take over. RULE: Don’t buy her a drink, or anything, for that matter. And don’t expect to actually land a stripper you’ve tipped. Sure, tip a girl onstage but that won’t help get her. In fact it will hurt. Keep the money in your pocket—you are there for getting girls, not for the entertainment of only looking at them. You are not a customer, you are a pickup artist. RULE: Have a performer image—appeal to the performer in them. This is where the stereotype comes from that strippers date losers in a rock band, because they are attracted to fellow performers. Use photos because they are so bored in there; a little look at some pics on your cellphone is a welcome escape. Let the photos convey you to be fucking cool. Talk about the excitement onstage. Get them to think outside the club. When leading their imagination, lead them into daylight, not night. Most guys think night only, and convey only this. The fellow performer approach together with the ‘I am the Stripper Boyfriend Type’ has worked for me. RULE: Be the Stripper Boyfriend Type. Stripper boyfriends are different. Once a stripper knows you had a stripper for a girlfriend, she knows your caliber. It was easier to get another stripper once I had already had one. And peacock—wear what you want to attract. Your image needs to back up your game. Trust me, getting a stripper is not harder, only different. Some are very nice girls. It’s just a job, remember. There is a way to get them. I’ve gone out with several dancers, one for two years, so I know the scene. I lived with her. I was one of those stripper boyfriends. Experiment with this line and use it in the clubs with an air of cockiness, yet in a humorous way: ‘Do you know my ex-girlfriend Vanessa? She used to work here. I forget her stage names ‘cause she changed them as often as she did her underwear—once every two weeks. And now you know why she is my ex.’ Use the name Vanessa, too. RULE: Explain that you are well aware that all this is bullshit (the whole concept of stripping). It’s just an entertainment form—good money. No big deal. Then drop the subject and don’t talk about her world again. Bring her to your daylight world. Once she is out to the café or food place after, then you go vampire world on her. Strippers generally love the vampire romance stuff. RULE: Use humor and don’t hit on her, or compliment her. RULE: Treat all strippers as 10s and use negs, because they are in a mental state of control while in their own territory. They hate sniveling losers. Negs work well. RULE: Be slick on the close. Don’t ask for the number. Make them ask you! Better yet, tell her you don’t want to pick her up in the club even though you aren’t a customer. Tell her to meet you outside but also tell her, “Don’t expect much from me—I’m just hungry, okay?” RULE: Most strippers are open-minded—they believe in stupid shit like ESP. Use that. Ghosts, too. Very interesting conversational threads stem from these supernatural beliefs. Many are in fact Wiccan and wear a pentacle—most strippers like rock music and long hair but some like dance music and short hair. Know which type you want, of the two types. Some good conversational topics are God, the soul, UFOs, ESP, telekinesis, mind over matter, ghosts, poltergeist, crop circles, Atlantis, acupuncture, psychoanalysis, parapsychology, Sasquatch, the Loch Ness Monster, heaven, hell, Buddha, aromatherapy, psi powers, psychics, spells, Jesus as anything more than a magician, out-of-body experiences, levitation, twins having a psychic bond, witchcraft, demons, hauntings, exorcisms, Reiki, monogamy as a natural human behavior, and prayer. I’m just throwing it out there. RULE: Be big. Be the center of attention. Don’t think that the quiet seduction will work in the strip club. No sexual shit in the club. Once you have intrigued her enough to join you, she already decided she likes you. RULE: Get to know the DJ—become his buddy. Hang out with him. Go for beers afterward. Seduce him in a way. He will lead you to all the women. RULE: Make her think that you think she wants you. Be a challenge. RULE: Connect using “I live my life one day at a time” frames. RULE: Connect using “So many people are so judgmental about things. You seem really open and fun …” Good luck.
> Our goal when opening is merely to start the microcalibration process, and you only need a bit of mundane material to do that effectively, as long as your delivery is good.
> Most guys, they approach asking questions, they approach trying to impress, trying to get something. They are all about taking value. But if you’re a pickup artist, you are there to add value, not to take it away.
> 1) You can eject anytime with “That’s my thought for the day,” then turn away. If they were entertained by your pacing, energy, enthusiasm, smile, or sense of humor, they may give you an IOI.
> 2) You turn your back to test them and if they say “So …” and try to reinitiate the conversation, it’s a positive IOI and you may continue with your next routine or just say “Pleasure meeting you” and bail out.
> 3) Once you have consistently gotten your targets laughing with the Elvis Script, you will have learned timing and pacing and such. You will have already begun to see the repeating patterns in all the approaches. Voilà! Now you are free from any need of “killer material”—your delivery is what will hook the set. After that all you need is what we call “the absurd,” which I will teach you soon.
> Rather, what you want to do is just toss out a little piece of value. It’s actually better that it’s only a little piece of value, rather than some mind-blowing routine. It’s easier for the set to hook to.
> So if you are thinking about it properly, opening isn’t about reciting some magic spell. It’s just about tossing that first piece, and the next piece, and so on.
> “You see, the cycle of Bait-Hook-Reel-Release starts in the very beginning, at the opener. And it just continues to cycle outward from there, escalating as she complies first to your approach, and then she complies to vibing with you, and then as you continue to flip her attraction switches, she will comply to jump through your conversational hoops. Eventually she will comply with your physical escalation more and more, as you qualify her and flip her connection switches. Game is really about building compliance, and microcalibration is the process for doing that. Bait-Hook-Reel-Release. And it all starts with the opener.
> Notice that what really hooks the set is not the line itself, but the ‘energy, enthusiasm, smile, and sense of humor.’ And, when you are able to get consistent laughs, ‘you will have learned timing and pacing.’
> By giving her a back-turn as an indicator of disinterest, I am provoking her to reinitiate the conversation—and preserving her comfort levels in the meantime.
> Microcalibration is about tossing out value bit by bit, and then calibrating her responses by giving her IODs when she gives you IODs, and by giving her compliance tests when she gives you IOIs.
> Over the years, as she rejects so many men, the repetition causes her to develop autopilot responses for filtering them out more quickly. The typical lines men use have become a trigger in her mind. But I don’t trigger any of her rejection circuits, because I speak to her as one friend to another.
> (B) I IMMEDIATELY LEAD HER INTO AN EXPERIENCE. I say things like “I was flying all around here in Google Earth …” and “Look at this seashell. I was walking with some friends …” and “When I was a kid, I went…” Notice how my words focus on stimulating the listener and creating an experience, rather than trying to win approval or get something.
> But I do the opposite of this—I show disinterest toward the target, disarming her, but I show great interest in what I am saying. My excitement about my words causes her to also feel excited about my words. She begins to find me intriguing.
> (F) I DON’T IMPOSE UPON THE GROUP, I ENTICE THEM. They don’t feel pressured to commit to some long discussion or pushy sales pitch. There is no implied demand for a certain level of participation. They don’t have to defend themselves from some needy agenda. They feel safe to respond freely, without fear of provoking anger or encouraging neediness.
> When I open a set, I don’t need to impress them, or win their approval, or prove myself to anyone. I just offer the tiniest bit of conversational value—just being friendly—and all I need is for someone to bite just enough so that I can toss them the next bit, and the next bit.
> The best way is to open sets that are already in your proximity, so that you don’t have to approach them in the first place.
> If you must approach a set in order to get close enough to open them, draw near to them at a 45-degree angle. Walk very slowly and comfortably, as though you are in your own world. Don’t walk straight toward them or come from directly behind them. Do all these things for the same reason that you would avoid spooking an animal.
> As you walk along that curve and get closer to the group, you then “notice” them out of the corner of your eye, and then you “spontaneously” think to open them. That is when you turn your head naturally, and open them over your shoulder.
> To disarm any suspicions, use false time constraints and body rocking. It is very disarming when you come across as carefree and unaffected.
> Do not turn your body to face toward the group until they are turning toward you in the same way. If you appear eager, you could get blown out. Be aware of how the value differential is affected by your physical positioning.
> Remember, if you do not add value, then you are just another guy who’s only here to get something.
> The energy level of your personality should be calibrated to be high enough to stimulate the set, but without spooking them. The reason I say to calibrate energy levels is that it will spook the set if you come in too energetically. Anyone who has approached a thousand sets will already know this intuitively, so get a feel for it.
> Don’t milk the opener— just take control of the conversation and practice stacking forward to your next piece of material. Better yet, vibe with them and practice getting into a fun, humorous mood, which is more important than using canned routines. Routines are only training wheels to get you started.
> “Stack the openers and yes, if an opener doesn’t work, don’t finish it. Just cut yourself off and open with another one (stacking) just like a comedian does if a joke starts to stall the audience. He just drops it and moves on to another bit from scratch. You’ve got to be super ready for this. And, if you finally open the set, you can—but only if you want—go back and finish up open threads during the pickup.”
> “There is no such thing as a second first impression,” I replied. “It’s a ‘one time at bat’ sort of thing. A girl will decide, based on the first five minutes of knowing you, whether or not she is interested.
> Passion is not something that builds over weeks but instead ignites instantly. The best relationships come from beginning passionately.
> “That is the plan. Train as if every girl is merely practice for the next one and you won’t get nervous to mess up, because nothing important is on the line. Once you start playing, it’s more fun. The first three approaches are always the hardest of the night.
> “Sometimes it’s hard to view practicing pickup as fun!” exclaimed Adam. “Personally,” I said, “I think it’s a blast. If, after all the stress and fear, you aren’t having fun practicing pickup, you need to get yourself another hobby.
> Go out alone. All the best Venusian artists do it. It’s fun to explore by yourself. Approach everyone. Become a social guy. Fake your smile. It will biofeedback and make you feel better. Crash and burn. Experiment! Open hotties with “So … who the hell are you?” Talk to strangers. Don’t try to make them like you. Instead, make them think you are from the future.
> “Think of this as surfing,” I said. “It’s like you’re surfing people and every potential approach is the next wave. And you have to take them all on. Or think of it as a video game.”
> “Well,” I said, “first of all, consider removing redundant sentences from your intro. How are you? Excuse me. How’s it going? How are you tonight? How are you today? Can I ask you a
> “Starting the conversation by asking for directions is bad, because it will cause an uncomfortable transition when you change the thread to something more conversational.
> Also, it’s not asking directions. Girls know that is a possible line. They are cautious and you haven’t disarmed them. The Elvis Script disarms the ‘he’s hitting on me’ emotion.”
> Just look around sometime and notice that most guys hold their drinks up high—higher than heart level even. Those are the scared ones. I wonder if you can remember where you had your drink all this time. If it’s high up, it’s time to change, ‘cause you are conveying fear. Leave the drink at the bar!”
> Smile 100 percent of the time. Smile at everyone! Eye contact to all in the group. Don’t wait for a smile back. Say hi. Pause and then use your opener. Don’t be a smart-ass. Don’t annoy. Be genuine.
> “I can’t believe that so many people hit up against the bitch shield and they actually think she is really like that. They leave thinking, ‘Oh man, I’m glad I didn’t get her; she’s such a bitch.’ Well, by giving you the attitude, she got rid of you, yes? This is a typical tactic of particularly beautiful women. They learned this through years of men hitting on them to the point of annoyance. So you have to be different and not hit on them. That is what negs are all about.
> “‘Excuse me’ sucks. It just doesn’t work. I wish it would but we all know it doesn’t. She doesn’t care. ‘Excuse me what? Fuck off. I’ve got better things to do than get hit on by some guy in a doorway, buddy.’ Never use ‘excuse me’ as an opener. Ever.
> Please don’t introduce yourself and give an excuse as to why you approached, as this shows a low self-esteem. Don’t give reasons. Just talk. The only reason you should have is ‘I’m entertaining myself.’ Go in really fun. I mean point to things and say ‘Bam! Killed it!’ Don’t try to pick her up. Instead merely convey an amazing personality and let her close you.
> Are your friends approaching groups? If they aren’t doing group theory, they’re cutting themselves off at the knees. There are women in the bar who went out by themselves, but they are few and far between. Most hotties are found in groups, plain and simple. And if you don’t go indirect, you’ll creep out the friends and possibly alienate them. It is a group, after all.
> “You have a choice from here. Bail out with a ‘Pleasure meeting you’ or wing it for the rest of the set, ‘cause by now you are in. As long as you don’t hit on them in this first minute or two of talk and you convey confidence, charisma, a good sense of humor, smile, are well-dressed and groomed, and humorously neg the beauty of the group, you are money! Be the man they want. Be fun. Be funny. Let them hit on you. Be a cool friend, not a slimy pickup artist. If by the end of this minute-to-two-minute opening act, if a girl is interested she will respond; if not, move on. You are out to get good at this, so practice.
> “Now is the time to stop just watching. Get into a fun mood—which I know is hard for the very first girl, but you can fake it—and walk up to many girls, attractive or not, and say hi. Remember to smile when you approach. Then, and here is the best part, say any nonstereotypical opening line you would like, and then after whatever banter you began with, say, ‘Pleasure meeting you,’ and walk off with a smile and a skip to your walk.
> This is your mission. Talk to twenty women in one day. Go alone. Do not intimidate girls by having friends with you. Not one or two girls, either. Twenty. That is a realistic number. If you feel it isn’t, then I’m telling you now you are completely wrong and your emotions are fighting you. You will control these emotions head-on.
> “You may get the formality of the introduction over with only after you have broken the ice. Let’s say they are laughing and asking you questions—a minute or two into it. That is when you can do the introduction. Unless they find you interesting, they don’t need to know your name.”
> “You will begin to self-sabotage your situation by waiting. Enter now! You have to do so many approaches you will literally become numb. You will merely ignore the feelings. You will put yourself in the aware state so much per week that it just doesn’t matter anymore. It removes its own potency. I’ve crossed the barrier—honest! It works this way. I wouldn’t shit you.”
> “At the moment of eye contact,” I said, “give her a big grin. I mean really smile. This will make her smile instantly. Bam. You can now walk straight over there and she will get all nervous and you will open with something interesting, but not hit on her. That is the power of eye contact. Walk up to her and enter with the Elvis Script. She wants to talk with you, and once you make her feel at ease that you aren’t a guy who is going to hit all over her, then you will be in. It’s a money situation to get a stare like that from a woman, but you have to take advantage of it and play it right.”
> “Always be in a conversation with someone. And if you aren’t in set, open the first set you like within the first three seconds of seeing them. That’s the Three-Second Rule. That way you’ll always be in set, and therefore you’ll always have maximum social proof. I believe strongly in getting into a club and getting into the action and approaching immediately. Waiting and scoping around is lame.”
> “Consider increasing your statistical chances of success with women by increasing your chances at every phase. Get better at getting out more. Get better at approaching more and more quickly. Get better at the approach itself. Increase your chances with the attraction by dressing better more consistently. Increase your chances of succeeding past the next-day phone call by incorporating your phone rules into your close. Increase this also by kiss closing instead of just number closing. And, increase your chance of success by approaching women when the variables are not all there.
> THE THIRTEEN STEPS OF THE APPROACH 1) Smile when you walk into the room. See the group with the target and enter, Three-Second Rule. Say ‘Hi.’ Smile. 2) Recite a memorized opener, if not two or three in a row. 3) The opener should open the group. When talking, ignore the target for the most part. This is active disinterest. 4) Neg the target with one of the slew of negs we’ve come up with. 5) Convey personality to the entire group (using stories, humor, anecdotes, games, vibing), paying particular attention to the obstacles. During this time, the target sees you are the center of attention. You may do various memorized routines, such as the photo routine, to an obstacle and say to the target, for example when she wants to look at the pictures, “Wait your turn. Wow, is she always like this?” 6) Neg the target again if appropriate. 7) Ask “So how does everyone know each other?” If the target is with one of the guys, find out how long they’ve been together. If a long time, eject with “Pleasure meeting you.” 8) If she is not with one of the guys, say to the group, “I’ve sorta been alienating your friend target. Is it all right if I speak to her for a couple of minutes?” They always say, “Uh, sure, if it’s okay with her.” 9) Isolate her from the group by taking her one-on-one to sit with you. As you do, do a hand kino test. (Does she squeeze back when you hold her hand, directing her through the crowd?) Start looking for IOIs. 10) Sit with her and do a connection routine. That’s your reason for isolating. Or an ESP test where you hold her hands (again looking for IOIs). Then do the digital camera routine. 11) Tell her beauty is common but great energy and outlook is rare. “What do you have inside that would make me want to know you more than a mere face in the crowd?” If she begins to give qualities, this is a positive IOI. 12) Stop talking. Does she reinitiate the chat with “So …”? If so, you’ve seen three IOIs and can … 13) Kiss close. Right out of the blue. “Would you like to kiss me?” If this is impossible to perform due to the situation, then time-constraint yourself and say, “I have to go but we should continue this.” Number close, give phone rules, and leave.
> “I’m alone. What do I do? Open a set. I’m with a two-set I can’t split. What do I do? Open another set. How can I trust the set will open? Because the universe is kind to those who have been kind to it.
> “Remember, you are not merely attempting to bond with a single target, but to incorporate yourself into the group of people—a social circle that may include family members (specifically parents and siblings), the best friend, the gay friend, the gaggle of girlfriends surrounding your target.
> I don’t actually hit on a girl in the first ten minutes. I merely convey my personality (humor, wit, confidence, charm, etc.). When she realizes that I’m a great guy and therefore begins showing me indicators of interest, then I know she wants me, and I go for the kill. The opener must really be natural though. The moment you find her, meet her beginning with a ‘Hi.’ Then use a memorized opener and go immediately into the next piece. It’s one long, seamless set of events. Don’t close unless the signs are there. If the signs are not there, then just leave pleasantly and there is no rejection. Get good in clubs and the rest of the world will be yours.
> SEVEN HABITS OF HIGHLY EFFECTIVE PICKUP ARTISTS Be humorous! Be enthusiastic! Knock on more doors. Daily. Focus on the pickup arts rather than getting the girl. Do group sets. Let previous sets aid in the next ones. Be playful in your approach. Love women.
> STEP-BY-STEP GAME OVERVIEW 1) Engage entire group, paying attention to all, but least to target and most to guys. 2) Throw a neg at target within five to ten seconds to disarm the obstacles from thinking you are after her. 3) Demonstrate higher value to group while ignoring target (save for negs thrown at her). Lock her into her own set with a prop placed in her hand. 4) Three minutes in, begin to qualify her (in front of her group). 5) Move the entire group so you are leaning against a wall or bar or sitting on a stool. 6) Continue qualifying and find out how they all know each other (who’s the brother, who’s the boyfriend). 7) Begin kino tests. (See chapter 2, on physical escalation.)
> “Let me ask you this,” said Adam. “How would you sum up the entire game to me in a few short sentences?” “Be entirely comfortable and at ease—remember the Ghost,” said Lovedrop. “Smile and have fun—remember the Flame. Remember the absurd. Speak slowly, with pauses, and with enthusiasm. Sprinkle in DHVs and negs. Sprinkle in IOIs and IODs. And touch everyone. Always be escalating—use Bait-Hook-Reel-Release as your model.”
> “Befriend the guys,” I said. “Neg the target. Then find out how everyone knows each other. Be the storyteller to entertain the guys and have them shaking your hand. She will witness the respect. You are the man of the group. Then another neg or two to make the boys laugh, and finally pay some attention to her, going physical with all the obstacles disarmed. This is advanced group tactics. I succeed in these situations. Why? Because I go for the hardest situations just to see if there is a solution—and I consistently find the solution.
> “Your gimmick must be your mouth. You have to talk so you can get a group of people around you and be the center of attention. Your target will then see that, and when you begin talking to her, she will have the desire to find out why all these people are around you.”
> “Let’s talk about creating attraction,” I said as I grabbed a Red Bull from the fridge. “The most important concepts for attraction, in my opinion, are demonstrations of higher value (DHVs), being talkative, using the absurd, and negs.”
> “A woman will not know she is attracted to you until she feels a sense of loss. Jealousy is one such feeling of potential loss. Her brain attributes survival and replication value when specific characteristics have been demonstrated, even if she doesn’t logically notice. You see, Mother Nature uses emotions to enforce certain biological imperatives, and those emotions are triggered by DHVs.”
> “Personally, I have a few favorite DHVs,” I said. Preselection. Two women on your arms, or a story of a hot ex-girlfriend actress. Just examples. Leader of men. She observes you holding court in her group. Other men comply with your requests. Protector of loved ones. She detects that your emotional programming is healthy. Disinterest. Using negs, roll-offs, and other IODs. Show willingness to walk.
| HIGHER VALUE (DHV) | LOWER VALUE (DLV) |
| ------------------------ | ----------------------------- |
| Preselection | Isn’t seen with girls |
| Social proof | Rolls alone or with guys |
| Popularity and status | Seeks approval |
| Holding court in a set | Wallflower, hoverer |
| Social alignments | No friends or connections |
| Disinterest (negs, etc.) | Needy, try-hard |
| Social intelligence | Doesn’t “get it” |
| Storytelling (Flame) | Boring, doesn’t add value |
| Creative expression | Talentless or a show-off |
| Unreactive (Ghost) | Fidgets, leans in, talks fast |
| Has weird emotional | Healthy emotions responses |
| Humorous and fun (Flame) | Kills the vibe |
| Dominance and strength | Weak, no ambition, lazy |
| Protector of loved ones | Not protective (miswired) |
| Competence and lifestyle | Incompetent, low-rent |
| Health and fitness | Soft, out of shape |
| Fashion and grooming | Dirty, unkempt, bad fashion |
| Wealth and resources | Broke, loser |
| Height and looks | Short, ugly |
| Embedded value | Brags instead of vibing |
> “It’s rather easy, and you’d be surprised how often a guy will screw up on these basic things. A good seventy-five percent of guys in clubs don’t smile when approaching. Then you’ve got the guys whose shoes are ugly. And they don’t shave the back of their neck. Then they reveal their shyness by not going up to the girl with a smile right away. Then they are all serious, saying things like, ‘Wow, you are so beautiful,’ instead of ‘I like Pearl Jam. I’m not ashamed.’”
> “DHVs cannot be bragging,” I said, “because they are demonstration-based and not language-based. When I am telling a story it is being told to the target’s friends. It is the fact that her friends are interested in my story that is my demonstration of higher value. Then my target responds to the social proof I have created.”
> “One must convey social proof. To do this, you must pawn women. In other words, you must be willing to lose a woman in order to win the target. Imagine that an eight is into you, but you want the 9.5. You must reject the eight in front of the 9.5 in order to get the 9.5. That is pawning.
> “Go after one girl, get nothing. Go after two, get them both. Why? They preselected you to each other. They invested in you. They both witnessed reactive, and therefore committed, behavior in the other. They both needed to work to win you. When did you become the prize? When you set up the jealousy plotline.
> The secret to getting in with a woman is this: Be talkative. That’s it. If you have so much to talk about and you bombard them with lots of fun and interesting material—where you show humor and opinion and passion—then you get to convey your personality. Thing is, a talkative person gets way more play than one who doesn’t. So the secret is to put yourself into a talkative mood.
> “Write this rule down, Adam. Enthusiasm is contagious. It feels good to be excited.”
> EIGHTY PERCENT RUTE She won’t want to invest her time unless you have engaged her emotionally to do so. That means you have to do the talking first. I believe 80 percent of the talking should be the guy. It’s your job to convey enough personality so that she wants to be with you.
> “Everyone talks about school and majors and so on,” I replied. “It’s not original enough. There is no such thing as fluff talk. Everything you say has a purpose. What is the purpose of fluff? To build comfort? Then it’s comfort-building material. But were you in comfort phase or were you actually in attract phase and running DHVs on her? Make sure you aren’t using fluff talk just because you have nothing better to say.”
> MAKE A CHEAT SHEET 20 minutes: question game 5 minutes: music game 2 minutes: Elvis Script 15 minutes: ESP—Is it real? 5 minutes: Titanic connection pattern 5 minutes: the ant farm I bought for my niece and what I learned 10 minutes: My friend Tal likes this girl but is having problems … 10 minutes: My other friend’s girl became a stripper—what do you think about that? These are topics of discussion that together run over an hour. Have you told any stories to a buddy on the phone? Give the story a title and write that on a list to put in your pocket or wallet. This outline of topics can be referred to while she is right there. You go into your wallet and check something, then continue talking. She won’t know you have a cheat sheet.
> “Like a comedian, many bits come from reality but the comedian learns that part of the game is removing parts that aren’t funny and changing things to make it more funny.
> “‘What’s so neat about imagination is, we both have it.’ (Pause.) ‘On the blackboard, I see the number … three.’ “Whether you get it right or not, either way say, ‘All right, let’s try this one more time. This time think of a different number from one to ten. Got it? Picture it in white chalk on the blackboard. You are thinking of the number … seven.’ “If you got the first one wrong and the second right, you look like you finally got it, a one-in-ten chance. If you get both right, which is actually a ninety percent chance, seeing as it is a psychological trick where most North Americans naturally choose three and seven as their first picks, that’s a one-in-forty chance!
> “A neg is a disqualifier. The girl is simply failing to meet your high expectations. It’s not an insult, just a judgment call on your part. The better-looking the girl, the more aggressive you must be with using negs. A ten can get three negs up front, while an eight, only one or two over a longer time. You can go overboard if they think you are better than them. You can drop the self-esteem right out from under them—just as most tens do to guys—and this isn’t good. You have to get as close to the breaking point as you can without crossing the line. Once you have gotten her right there, you can start appreciating things about her, but never compliment her looks. There is a mutual respect now. Something most guys never get from the girl. This is how you remove a bitch shield. Three negs ought to do it within two or three minutes of neutral chat. Once it is down, you can, from a place of mutual respect, seduce her.”
> “Never hit on a ten at first. Be polite, but don’t compliment her or anything stupid like that at first. I neg and otherwise am polite for the rest of the group. When she is testing me, I neg her, then I’m polite again. She quickly realizes that she gets more attention from me by being nice to me—and this gives her the opportunity to get her self-esteem back after the little negs. You get a ten through her ego issues.
> “When shaking hands with a beautiful woman, smile big, look into her eyes, and say, ‘Nice to meet you.’ However, before you finish, turn your head to someone else and immediately say, ‘Hey did you know …’ and go off into something else. This is a great neg because most guys try to impress her. She is accustomed to people paying more attention to her. But it seems you didn’t even notice her beauty. As if maybe you don’t like her. You were polite, but you didn’t try to chat it up with her. As you speak enthusiastically about something to another person there, she will see that you are fun, are not in a sex mood, and so on. You are conveying your personality to her indirectly. I believe quite strongly in this indirect personality-conveying tactic.
> “Most important, when you neg, ‘throw and go.’ Throw the neg and then keep talking, without apparently watching for her reaction. Try it the same way that you practice multiple threading: Routine. Pause routine. Neg. Continue routine.
> Adam, I want to tell you something powerful: As long as it comes from the right place inside of you, the inner game of humor, you can make up anything you want and it will work. I am not saying that you should lie to people and they will believe it. Rather, I am saying that you can improvise conversationally, even to the point of the obvious nontruth, even if no one even takes it seriously; it will still work. All it takes is that you are actually laughing inside when you say it. Literal truth and factual accuracy are not necessary for vibing and conveying value. When they are vibing, people only care that it feels good.
> “This is the same reason why you can invent bullshit off the top of your head, embed value indicators in it, and even though everyone knows it’s bullshit, they will still feel attracted to you—because the value indicators are processed at an emotional level. How cool is that?”
> “This is also the way that I use absurdity in order to control the frame. For example, if someone says to me, ‘You’re an asshole,’ then I reply, ‘I’m an asshole, and I’m fun.’ Everyone laughs. I accept what is said and then take it in my own direction. This is so important!”
> Reality is literally a waking dream. You can control the dream. You can create moments. Moments filled with pain, loneliness, war. Moments of absolute bliss. Watching your firstborn open her eyes for the first time. If you’re kind to the universe, the universe will be kind to you. It’s your choice. It’s filled with potential. And I know by helping you to see it, my grand work here will be far-reaching when I’m gone.
> I couldn’t help but notice all the math! The universe calculating in real time! I became conscious of the smell of the breeze, of the deep blue in the sky, and the sunlight that shone down on the hills like beams of gold, warming my skin, with the entire city spread out before me in the valley below. This is what really matters. Here I was now, with good friends, feeling nothing but love, and I was within seconds of meeting a beautiful woman in a bikini who would become my next girlfriend. As the universe danced for me, I heard Lovedrop’s words again, “You’re Mystery. Think about it.” And I thought: He’s right! I am Mystery. The universe provides.
> The moment you put down this book, that’s when the excuses will start and the distractions will come. You’ll have all of the BS reasons to forget your goals and aspirations and any commitments you made while reading this book. The path to mastery in this world isn’t reading. If you really want to master this, you need to engage yourself in its application. Reading is one thing and understanding is another. But application is where the real game is played.
# Não Me Diga Adeus
Eu ouvi road movie? Repetitivo, mas mal não há. Ainda mais com a trilha sonora de Não Me Diga Adeus e a música de Jessica Rose Weiss, ambos embalando estilos enquanto pai e filha viajam pelos estados americanos de ponta a ponta e constroem os bons momentos que toda família merece ter em suas memórias.
Há uma alma sendo trabalhada aqui. Ela se forma pela presença de tela do ator John Cho, que não precisa se esforçar para se tornar o pai solteiro rígido pelo passado e pragmático pelas circunstâncias. Já a atriz Mia Isaac, mais jovem, esbanja energia sendo uma criatura que todo pai gostaria de ter, mesmo que ele não perceba porque gerações não se conversam: responsável apesar dos hormônios, curiosa apesar (ou por causa) de ser superprotegida pelo pai.
O roteiro de Vera Herbert (da série This is Us) vai pelo caminho fácil do choque inevitável de gerações que se encaixa perfeitamente enquanto o pai descobre que tem só mais um ano de vida e resolve apresentar a filha para a mãe relapsa... ops, traumatizada; mães não são relapsas neste século. O plano do pai não é dos melhores e envolve um reencontro de formandos desnecessário, mas sem isso o filme não existiria, então há de se perdoar os clichês pelos bons momentos que estes proporcionam ao filme.
A história é fácil de seguir, mas nada se compara à direção de Hannah Marks (ela atua como a irmã de Elijah Wood na série Dirk Gently's), que combina os diálogos com os melhores ângulos de seus heróis. É no por do sol constante ou nas luzes do horizonte que revela uma direção segura de si ao mesmo tempo ciente de estar preparando conteúdo para TV e, ainda assim, cinematográfico em seu charme.
Este é um filme com dois protagonistas. Eles surgem juntos logo no começo na piada menos eficiente do longa. Ou pelo menos um protagonista e uma narradora, mas a narrativa não é confusa; apenas diferente. Você verá nos minutos finais (como anunciado pela narradora). Engraçado. Filmes como esse parecem ter nascido de algum site de escritores independentes, muito pelo frescor de ingenuidade e de novas possibilidades em contar velhas histórias com ganchos inesperados. Não chega a ser uma surpresa orgânica, nem desejável, mas somos avisados de antemão que haverá reviravoltas amargas no final.
Eu gostei de assistir a Não Me Diga Adeus. Sua falta de pretensão é sua maior virtude. Faz com que fiquemos mais confortáveis na poltrona, apenas curtindo o momento. E que melhor clima para assistir um road movie que é sobre se sentir bem consigo mesmo. A vida já é bruta demais para conflitos desnecessários e brigas eternas. A vida é muito curta e sem sentido para ficarmos parados pensando no que poderia ser, em vez de simplesmente fazermos ser.
Estou soando um pouco brega? Me desculpe, me contagiei pelo espírito deste belo filme e seu irresistível charme de quem é cinéfilo inveterado.
# Achaval Ferrer Malbec
Este Malbec dessa vinícola boutique de Mendoza estava em minha adega não sei por quê. Faz tempo que não compro vinhos direto do local, apesar de ter visitado essa vinícola (e não gostei dos vinhos por causa de seu estilo francês). De qualquer forma, estava na adega, abri em um churrasco casual na varanda e bebi. Malbec é Malbec. 10 a zero em vinhos europeus. Inebriante demais.
# F (Negro Amaro)
Eu não me lembro muito bem deste vinho. Só sei que foi tomado na ocasião especial da mudança do meu amigo para São José dos Campos. Sabor frutado, pouco aromático e alcoólico (embora quente). A garrafa foi colocada para dormir pela esposa de um outro amigo. Da mesma vinícola das 50 safras.
Esta é uma leitura que fiz para me conscientizar (mais uma vez) sobre consumir comida compulsivamente. Hoje faço isso de maneira crônica, e apesar de geralmente ser comida de verdade (frutas, chocolate com alto teor de cacau) acredito fazer mal para o organismo consumir tanto em tão pouco tempo. E o pior: sem estar de fato sentindo o alimento consumido.
Esse estudo contém vários insights curiosos, mas nenhum link para pesquisa. Posso usar como um guia informal. É quase um blog de fofoca, pois sem referências fica difícil acreditar em tantas afirmações. Bem-vindo ao jornalismo do século 21.
No entanto, como tudo o que nos é empurrado goela abaixo, existe uma forma de saber se é verdade: faça o teste.
> “Cravings start with a trigger. This could be external, such as the scent of chocolate chip cookies. Or it could be internal, such as being angry or bored. Second, you elaborate on these thoughts by using mental imagery, and this is what turns it into a full-fledged craving.” To banish the craving, you need to interrupt this process. One approach is to practise mindfulness, accept the thoughts and move on. Another is to try to suppress the thoughts altogether by distracting yourself.
> “A food impulse, on the other hand, is the urgent need to overeat large portions of a particular food within a few minutes and later, experience guilt and shame. These sudden impulses mostly occur after a stress-induced activity, physical and mental.
> “An impulse can also be the result of restricting sugary or fatty comfort foods over a period of time.”
> Differences Food cravings are physiological responses that arise due to imbalances in hormone levels or alterations in chemicals that link the digestive system and the brain. Food impulses are more psychological which develop due to imbalances in the neurochemicals of the brain that regulate mood, appetite and memory.
> Food cravings are more of a core component of food addiction and food impulse is a component of emotional eating disorder.
> A food impulse is more intensive to manage than a craving.
> “Since a food impulse is more mood /emotion driven, it can become more challenging for a person to continue the day without finding an alternative way. They can be chronic and recurrent affecting a person’s emotional well-being,” said Vinolia.
> Neurochemicals like endorphins, opioids, serotonin and dopamine control our reward-seeking behaviours like overeating. When an imbalance in hormone levels or in these neurochemicals occurs, the brain creates triggers that are similar to hunger.
> Brain’s role in food impulses Living a stressful lifestyle increases the level of cortisol, known as stress hormone. This hormone causes the brain to increase appetite as the body constantly needs energy to combat stress. Increased cortisol levels and the deficiency of these feel-good chemicals trigger a sudden food impulse, an urgent need to eat a particular food which our brain associates with reward and pleasure.
> Biochemically, food cravings happen the same way as substance addiction and alcoholism.
> a) Deficiency of essential amino acids like tyrosine and tryptophan leads to reduced synthesis of the neurochemicals that control the reward centre of our brain.
> b) Excessive intake of refined sugars blunt the brain’s receptors for receiving signals from neurotransmitters that induce happiness.
> c) Lack of sleep and an unhealthy lifestyle alter hormones like ghrelin, leptin and insulin which play a major role in controlling appetite and induce cravings.
> h) Most people interpret thirst as hunger and food craving.
> i) During pregnancy, depression, fear or anxiety, the body is in a physiological reaction of fight and flight response where the brain turns on the mode for all hormones and chemicals to be in an energy demanding and conservation state. These brain signals translate as food cravings and impulses.
> j) Psychologically, food has a higher impact on sensory receptors of the brain. For example, craving for home-cooked food at the time of sickness equals comfort.
Chocolates and cakes equal reminder of celebrations.
> Food craving Triggered by: Hormones and body chemicals What happens: Urge to eat particular foods; usually these foods are highly sugary, fatty, salty or spicy and are usually instant or junk foods. Result: Feeling satisfied within 2 servings.
> Impulse Triggered by: Emotion/mood/stress What happens: Tendency to feel hungry intensely and suddenly. There shall be a lack of patience or desire to self-cook and consume those foods wanted during an impulse. Result: Ordering/portioning large quantities and consuming it all at once.
> True hunger Triggered by: Body’s need for energy. What happens: The feeling of true hunger is gradual and slow. One feels more relaxed and does not feel very choosy with one particular food and might take time to decide his meal. Result: Mindful eating and achieving satiety.
> Manage PMS cravings mindfully: Include serotonin-rich foods and see your cravings fade away. Examples: Eggs, dairy, fish, banana, nuts, dates, chocolates.
> Change the environment: If you are determined, once your craving sets the alarm, just take a 5-minute walk or change your location which will divert your mind.
> Confuse your senses: Taking a whiff of your favourite perfume or chewing gum can trick your senses.
> Record your cravings: A recent study showed that cognitive defusion by accepting cravings and noting this in a diary increased the possibility of curbing the cravings.
> Slow breathing: Another 2017 psychology study showed paced breathing either at 6 or 9 breaths per minute while watching a picture of the favourite food curbed the craving within 2 minutes.
> Drink water or herbal tea: Chilled water can trigger curbing effects on our brain. Chewing gum can also be another way to curb cravings.
> Giving in for cravings all the time can lead to emotion-driven eating disorder.
> It becomes harder for the brain to control appetite and hunger.
> Food cravings gradually lead to food addictions, by blunting the serotonin and dopamine receptors of the brain which induce happiness resulting in low moods and depression.
> Choosing sugary foods add stress on insulin leading to insulin resistance, hormonal imbalance and PCOS.
> Giving in for frequent cravings make weight-loss efforts a failure.
> Frequent exposure to the craving triggers or cues and not addressing the cravings has shown to reduce the future occurrence of cravings.
> Consume water or just ignore the craving will make the brain dissociate popcorn with movies.
> Aversion therapy: When a craving arises in association with an action, choosing foods which we dislike makes the brain decode the associations.
> “Thoughts come and go,” Hormes says. “You don’t have to linger on them. You certainly don’t have to act on them.”
> Cravings are transient — think about a wave that rises up and levels off after some time — which is why different strategies work to ‘ride the wave’ until it’s gone.”
> Unexpectedly, high trait chocolate cravers successfully reduced their elevated chocolate thoughts in the suppression condition. This lends support for the use of thought suppression as a means of regulating unwanted thoughts, cravings and imagery.
> the Food Craving Acceptance and Awareness Questionnaire (FAAQ), the Dutch Eating Behavior Questionnaire (DEBQ), the White Bear Suppression Inventory (WBSI; a measure of thought suppression), and the reduced version of the Food Craving Questionnaire- Trait (FCQ-T-r).
> The elaborated-intrusion theory of desire proposes that craving is a two-stage process whereby initial intrusions about a desired target are subsequently elaborated with mental imagery.
> Guided imagery reduced chocolate-related thoughts, intrusiveness, vividness and craving intensity for chocolate cravers (Experiment 2), but not for the general sample (Experiment 1).
# Lenda (Legend)
Tom Cruise novinho e de vestidinho para combater o filho do Lorde das Trevas, que tem covinhas e olheiras de respeito. Ele é vermelho e é o melhor diabo que a direção de arte dos anos 80 foi capaz de criar. Ele quer roubar o poder dos unicórnios, seres sagrados que são cavalos com um chifre postiço. Além disso, uma princesa que gosta de visitar a periferia e comer biscoito dos pobres quer dar uns beijos no eterno garotão e joga sua aliança na água para ele encontrar. Eu perdi minha aliança nas cachoeiras de Capitólio e sei como é. Vai dar trabalho de achar. No elenco também tem uma criança muito estranha, com um peitoral deformado e rosto expressivo e cheio de energia. O elenco de suporte rouba quase todas as cenas nesta adaptação de fantasia dirigida por Ridley Scott (quem diria). Você se lembra desse filme? Não devia ser grande coisa, pois não me lembro de ter passado na Sessão da Tarde. Mas a Prime comprou e colocou no acervo.