The other day in a moment of distraction I went onto YouTube and watched an old video of Mystery and me. I scrolled down to the comments, which I'm sure the authors never expect the subjects of the video to read.
There are, of course, tons of haters bashing all of us. In one clip we're hanging out with Miss Toronto, and they call her a five and say they wouldn't even talk to her. But that's okay. I understand that being chronically single brings a certain level of frustration that can both lead to trying to learn pickup and also to venting on the internet.
There is also a lot of speculation about Project Hollywood, or more accurately, The Game. How much of it was real? How much of it was exaggerated? Since no one who actually lived there has come out and publicly talked about it, I'll quickly run through the common speculations.
First, EVERY event in the book actually took place. Neil didn't make anything up. A few of the things happened in different orders and were swapped around, but this is minor. As far as I can tell, these sorts of swaps were made to make the story flow better, not to change what happened. In other words, causes and effects weren't swapped around.
Most of the characters were dead on. I thought Neil did a great job with everyone with the one exception of Tyler. And even with Tyler, I don't think he actually ascribed any actions to him that he didn't do.
Tyler and Neil were NEVER on great terms. Whatever caused it was there before I knew either of them, so I can't say much about that. At the end of Project Hollywood, from what I understand, there was a lot of bad blood between them. I don't think that Neil intentionally painted Tyler as an evil dude,I think that's just how he felt at the time and it colored his perceptions. The motives and behind the scenes plotting that he assumed Tyler was engaged in just weren't true.
On the other hand, Neil and I were on great terms when I left. As a result, my character is surprisingly positive. TONS was left out of the book. Believe me, if Neil wanted to make me into a bad guy he would have had more than enough ammo to do so. And that probably goes for just about anyone in the book. Interpretations of actions could have varied wildly.
The other thing about the book is that, by necessity, it's a highlight reel. It covers the most tense parts of the year. There were tensions and drama, but there were also a lot of times that the whole house got together to go out to dinner or to the clubs or whatever. Most people got along reasonably well for most of the time.
There's also the issue of the quality of girls that were brought around the house. Was it ALL bikini models? Nope, not at all. Certain people at certain times were more focused on quantity than quality, whether that was just to practice or because they just weren't that picky. At the same time, there WERE a ton of incredibly attractive women there. I'd say that at one point or another every resident of the house was involved with a girl you'd objectively rate as a 9 or 10.
If anyone has any specific questions about the Game or Project Hollywood, ask in the comments and I'll try to answer them all.
I remember a friend of mine reading The Game while we were in Kandahar, Afghanistan. Even though the topic hardly interested me, I was interested. Funny how I found your blog a few weeks ago through a Google search about full-time RV living. All of your posts are incredibly addictive.
Thanks for doing what you do. It is MUCH appreciated.
Alexander (from Alberta, Canada)
Is this discussion still active? I noticed the last post was in Dec of last year.
If so, my question has always been; how good are these techniques for a guy that's already pretty good with women (but not pulling a girl EVERY weekend, and she's not always a 9 or 10 either). What material would you recommend reading?
Do you have a favorite pickup during your time at Pro-Ho? Like that moment with the perfect girl when every aspect of your game just game together, similar to what Neil experienced with the 10 & 11 in Miami?
And have you surpassed it since then?
Personally, I was never a fan of Neil in person or otherwise. I never felt he was genuine; like everything was calculated in some way. That really puts me off about anybody. Then again, that may just be Hollywood. It wouldn't be anything new. I guess that's the reason I moved back to the ATX from there. Where ever you go, there you are, yet still, some places you just prefer.
Btw, I meant to say, thank you for the referral (and you don't even realize it). Maybe one day we can swap Pamplona/travel stories if our paths ever cross. -N
Definitely. Let me know well-enough in advance and we can do a satellite radio show together instead of the podcast. It'll be fun for you to go to SiriusXM and talk to 18.5 million people with us. ;)
hey ty, nice post. i have to say i wish Neil didnt go as hard on tyler and his camp as he did in the book, because the book put me off RSD, until one day i started doing some reading, and now i love RSD, i even went to go to a free seminar done by Tim. RSD all the way wooooo
ps was mystery really as psychotic, as he is decribed in the book, where he cries like a baby, and starts demolishing the house? he doesnt seem like that on TV at all..
This is a continuation of the story, How I Became a Famous Pickup Artist Part 1. If you haven't read that already, you should do so before reading this article.
Papa was notorious for being in contact with everyone in the pickup scene. I couldn't blame him, either - he was the business side of "Real Social Dynamics", a company that taught seminars and workshops to aspiring players. Not surprisingly, he was the only person at the seminar that I knew.
In order to extract every last precious second out of my experience, I had gotten on the earliest flight to Chicago that I could book. I called Papa when I arrived at the hotel at 10am. I could hardly make out his voice. He'd been out in the clubs until very late and was still sleeping.
[Note: I wrote this as a senior in university.]
The story of The Godfather begins in the hands of an unlikely writer by the name of Mario Puzo. At forty-five years old, Puzo had written two novels which had earned him a measly $6,500. The year was 1965 and he owed over $20,000 to finance companies, bookmakers and relatives. In an effort to ameliorate his financial position, Puzo set out to write a book that would financially secure him for the rest of his life. Puzo decided to forego an attempt to produce a great work of literature in favor of making a killing. Although he had never met a single gangster, he chose to write about a crime family in his hometown of New York. Through childhood stories and extensive research, Puzo began work on a three-year effort to create a romanticized, gripping, emotional look at a fictional character named Vito Corleone and his rise in the criminal underworld. He called the book Mafia.
After receiving a modest advance from his publisher G.P. Putnam’s Sons, Puzo secured interest from Paramount Pictures for his unfinished book—a full two years before it hit the bookstore shelves. In the spring of 1967 Mario Puzo, still an unknown writer at the time, walked into the offices of Robert Evans who was the head of production at Paramount Pictures. Initially as a favor for a friend, Evans had consented to take this meeting with the then unknown writer from New York. Puzo carried under his arm the first draft ofMafia; 50 or 60 typescript pages which he desperately needed to use as collateral. Puzo was a serious gambler and had found himself in with the bookies for ten grand. A deal on his evolving book was his last hope of not having his legs broken by the very same people he portrayed on those pages. In a decision more out of pity than excitement, Evans agreed to an option of $12,500 against $75,000 if it became a book. A few months later Puzo called Evans to ask if he could change the name of the book to The Godfather. “I had forgotten he was even writing one,” Evans almost laughed out loud (Seal, 1).
By the early 1960s, the prestige and glamour surrounding the old studio of Paramount had begun to decline. Paramount recorded modest profits, with a handful of successes but even larger flops. With a financial position that was prone to uncertainty, Paramount Pictures became increasingly vulnerable to a takeover. In 1966 a diverse holding company called Gulf+Western purchased Paramount Pictures outright, led by its founder and CEO Charles G. Bluhdorn. During the 1960s blockbuster hits were few and far between at Paramount and apart from films such as Barefoot in the Park (1967),The Odd Couple (1968) and Rosemary’s Baby (1968) — the studio contributed very little to the corporation’s profits. In 1970 Gulf+Western made five times more money selling cigars than movies. This prompted discussions of disbanding Paramount and Bluhdorn considered selling the studio on Melrose Avenue and disposing its assets.