I've read a lot of the books and it's been one of my hobbies and one of my interests for a very long time. So that's where I'm coming from. And at the end, I'm going to give you resources that you can go to to learn more about NLP without having to go to seminars. I'll give you some reputable books to go to. And also, I'll tell you some of the good seminar tapes, listen to. So that's a little bit about me. So, my goals for the talk, how many here have heard of NLP? Wow. I'm basically doing this talk because there are a lot of people who have heard of NLP, but there are more people who have heard of NLP but have a really wacky view of exactly what it is. And that's a lot of that is because the only way to learn about NLP is by going to a seminar. And people just don't have the money to go to seminars and when they advertise the seminars, they say all this crazy stuff, you know, the theory of excellence or hypnosis and people just don't know what's going on. People think that NLP is all about mind control, which it really isn't, although you can use it for mind control. So my first goal is to give an introduction to NLP. And this is just an introduction. I'm going to try to squeeze like a week long seminar into an hour, right? So I'm going to skip a lot of stuff. I'm going to go really fast through a lot of stuff. There's a lot of information on these slides. So I would suggest that you go back later, look at the CD, look at online, look at the slides and it will all make sense to you more later on. So that's my first goal. And my second goal is to give you tools for using NLP to influence. I thought that looking at NLP from an influence standpoint would be a good thing to do at a hacker convention because a lot of you are into social engineering, but a lot of you want a minute. Right. So I'm going to start to give you tools. I'm going to give you several specific tools. One of them is gaining rapport. And I'll talk a lot more about that. Motivation strategies. I might do submodalities. I might skip through it because of time restraints to get, because I want to get to the good stuff, which is the Milton model. Trust me. That's the good stuff. That's the hypnosis stuff. You want to learn that. So what is NLP? One of the reasons why you're not going to hear one definition of NLP is because NLP isn't the study of anything. You can't put it in one sentence. So what I basically say, and like if you read the books that I'm going to show you in a little while, they'll say that NLP is the study of, not the study, the science of, excuse me, the science of excellence. And that is really ambiguous. And I think it's ambiguous for a reason to get people interested in it. It kind of makes sense, but that's not really what NLP is. So what I say is that NLP is first and foremost a philosophy about how the mind works. And it's also a set of tools for using that philosophy to do a wide variety of things. Some of those things include hypnosis, therapy, change, all sorts of different things. And so what I'm going to do in the introduction is give you an introduction to the philosophy of NLP. And the philosophy of NLP, and NLP stands for Neuro Linguistic Programming. And you can break that down and that'll tell you the different parts of the philosophy. First there is the neurology. And that includes our five senses, you know, hearing, seeing, touching, tasting, five senses. Linguistic refers to language. And the way we use language to describe our world. One of the major theories in philosophy, psychology, and linguistics is that the way that we interact with the world, the way that we perceive the world is through language. We don't have a word for it. It's very hard for us to perceive. And someone says it's impossible for us to perceive without a word for it. So that's one part. And then programming. Programming refers to the habitual, wait a minute, the habitual and often sequential nature of our thoughts, feelings, and actions. I'm going to go over the presuppositions of NLP and I'll go over this a little more in detail. But basically the idea is that, you know, the brain is a computer and the way that the brain works as a computer is to do the thing that spins the least amount of energy. So what we do is we get into habits. We have certain processes, certain sequences we go through to do things. And we do the same thing every time. We might not realize or recognize what that sequence is, but we always go through it. One way of recognizing what that sequence is, finding out how we use it and finding out how to change it, finding out how to make better sequences, and so on and so forth. So the history of NLP. NLP started in the 70s by two guys, Richard Bandler and John Grinder. They basically, let's see, John Grinder was a linguistic, was studying linguistics and Richard Bandler was studying psychology and they decided to go out and study successful therapists. There you go. So they studied successful therapists. They wanted to find out if these therapists, like the Sinisteria or Fritz Pearls at the time, these therapists are really successful at what they were doing. And they wanted to find out if there was a way of modeling what they were doing, trying to figure out linguistically exactly what they were saying and if there was something common between all of them and by finding that out, they were going to create a model of successful therapy and then be able to teach it to other people. So they went in believing that they were going to be able to do this. So they observed patterns and their behaviors and out of this study came the book, The Structure of Magic. It's actually two books, The Structure of Magic 1 and 2. And that book describes what is known as the metamodel. Now the metamodel is basically the result of all of this, basically they observe the therapist and find out what questions they asked. And the metamodel is a way of asking questions to get to the real nature of what someone is trying to say. A lot of times people will be ambiguous about what they're saying or they'll leave out things in what they're saying or they'll say things like, I am really fascinated by this person. Now if I say I'm really fascinated by someone, it makes sense to me. My idea of what fascination is and the process that fascination is in my mind is unique to me. Other people might have different processes for fascination. So if I tell someone that I'm fascinated with someone else, then I'm not really telling them what's going on in my head. And the metamodel is a way of getting to that core. And it creates a really successful therapeutic context. Now after creating the, after The Structure of Magic 1 and 2, Richard Van Ler and John Grinder were contacted by someone who introduced them to Milton H. Erickson. Now Milton Erickson at the time was known as the most successful hypnotherapist in the world. He was doing stuff that no one could figure out. He could take people who said that it was impossible for them to hypnotize and he could shake their hand and do the handshake induction and have them go under in 10 minutes. And no one understood what was going on. I mean, even Erickson said that he didn't quite know exactly what he was doing. He had just developed throughout the years the system that was working. And so somebody said, oh well, okay, so these guys are really good at modeling therapists. What's going to happen if they model Milton Erickson? And what came out of that is the Milton model. And I'm going to teach you a little bit of the Milton model. Basically what the Milton model is is a way of indirect hypnosis. It's a way of indirectly communicating with the subconscious mind by manipulating the substructure of linguistics. So when I say basically it's to reverse the metamodel. Where the metamodel is you're trying to find something more specific, the Milton model seeks to leave things out and to be ambiguous so that the mind has to fill that stuff in. By doing that, people go inside themselves and they're able to find resources within themselves and they're able to more communicate with their subconscious and by doing that become more subject, become more suggestible. You don't have to know that. That's basically what indirect hypnosis is. And I'll go over the Milton model a little bit later. So not only did they get the Milton model out of that, and this really brought NLP just light years ahead of what it was. This is what, the Milton model is what took NLP to what it is today. It also proved that powerful skills can be duplicated because what they did was they took Milton Erickson's way of hypnosis, they modeled it, they used it themselves and then they were able to successfully teach it to other people. Also from the Milton model and from Milton Erickson they got what are known as the presuppositions of NLP. Presuppositions are basically assumptions and I'll actually go over that later. The first one is the major tagline of NLP is the map is not the territory. Basically what that means is that, okay, imagine you're looking at a roadmap. You lay a roadmap out of Las Vegas. Now that roadmap is really useful. You can use it to find your way, you can use it if you get lost, you can even use it to describe the landscape in pretty specific terms. But that map is not Las Vegas. There is an infinite amount of complexity in the actual thing but the map only describes what is useful. The map is not the territory and NLP means that your mind does the same thing with reality. The idea is that reality is really bombarding you with an infinite amount of information but you're filtering that information through a map that you create basically of your world through language and through the language described to your subjective experience. So every experience has a structure. That's basically the same thing. I'm going to go a little quick for these. There's a lot of them.  But every experience in the structure is basically the same thing as what I'm talking about with like fascination. Every thing that you experience has a sequence and it's usually, it's usually in sequential order and it's usually, you're able to figure it out, you're able to influence it. So every experience has a structure. The mind and body are parts of the same system. Anything you do to the body will affect the mind. Anything you do to the mind will affect the body. The idea is that there's not the separate mind and body but that they interact with each other. Any person, one person can do something, anyone else can learn it. The idea is that we are all human beings. We all have basically the same hardware. So to think that one person can be really good at, you know, social engineering or can be really good at programming and you can't is pretty absurd because we all have the same, the same thing. We all, however, think differently but it does not mean that we have different brains. So if we're able to think like another person, we're able to do the things that the other people are able to do. People already have all the resources they need. Just the idea that you, it's basically like resources. Like talk about resources, they're talking about memories, emotions. You know, you think about some people are really, like some people are really confident in one situation. Like some people are, you know, in the military and they're, they can go out and, you know, jump out of a plane and feel okay with it. But when they're up in front of people, they get nervous and feel like they're going to throw up, right? So why is that? It's because they're, they're using their resource for confidence in one place and not in the other place. The idea is that they have that resource to be confident but it's somewhere else and NLP can help someone to use resources more widely. And yeah, that's one of the applications of NLP and therapy. You could not, not communicate. Basically, the idea is even if you're not speaking, as long as you're within eye shot of someone or, you know, you are communicating with them. There is no way to not communicate with someone except not see them, not be anywhere near them. There is a, there is one, one statistic, I don't really like statistics all that much, but there's one statistic that says that 70% of our communication is non-verbal.  A lot of, you know, that's, that's where, that's where LJ drama comes in. Anyone? No? Okay. My friends are going through LJ drama right now, so I keep reminding them about that. The meaning of your communication is the response you get. You may have an intention when you communicate with someone, but if you say someone to someone and they get angry because you said it, you have, your communication has, has triggered something in them to make them angry. So it's not about what you intended to do, it's about the response that you're getting. So you have to, you have to change your communication to match the response that you want to get and the other person. Underlying every behavior is a positive intention. This is one of the ideas also in the therapy of NLP where a lot of people, when, when they're like, when they're depressed, right, and they're, they're not, they're not feeling good, it's, it's not necessarily because their brains are working poorly, it's because their brains are working really well, but they're not using them in the correct way. One of the, one of the easy ways of describing this is just to say that a lot of people ask themselves questions, you know, and when you ask your subconscious a question, it will answer it, no matter what question you ask them. So a lot of people, when they're feeling bad, they ask themselves, you know, why do I feel so shitty? And the subconscious says, well, here you go, there is this list of things, this is, here's why you feel shitty, you know? So NLP teaches people to ask better questions, to ask questions such as, how can I get out of this? How can I feel better? People don't think to ask these questions because they don't think that they have the resources to answer them. But the truth is that you have the resources to answer these questions. And talking about answering questions, if you guys have any questions, I have stuff to give away. So I'll just give these away for good questions. And you know, there's no such thing as a bad question. So yes, to get over the fear of it, getting rid of fear and one of the big things of NLP is the phobia cure. It takes 20 minutes, one session. It all deals with the way that you look at things in your mind. People think that change is a long, painful process. Change can be very quick. It only takes the ability to believe that you're first able to change. If you don't believe that you're able to change, then change will take a really long time until you believe that you're able to change. There are, I don't know specifically, but it's not subliminal. Actually, I'm going to go over the books later. But this book, NLP, New Achievement of Technology, is a very good book for that. It goes over a lot of the NLP techniques and will actually take you through them. They're basically thought exercises. They're not really subliminal. Oh, yes. Newbies practicing hypnotism. Well, I'll just tell you right now. Basically, hypnosis is not anything all that special.  It's not a state that makes someone do anything you tell them to. Basically, hypnosis makes people more open to suggestions, but people won't do things that go completely against their core beliefs. So, newbies practicing hypnosis, it can be dangerous, but not extremely dangerous because there's always a block in people's minds. And people don't usually hypnotize themselves because they don't want to be hypnotized. They usually hypnotize themselves because they want to be hypnotized. And people hypnotize themselves all the time and not realize it, basically. So it's not something that's, you're not going to have someone walking around like a zombie doing everything you ask. You might see that on stage hypnosis, but basically what that is is people's natural exhibitionist tendencies. In stage hypnosis, they usually bring up a huge group of people, and then they take the people out that aren't exhibitionists to begin with, basically. So to answer your question, it's dangerous, but it's not dangerous to the point of needing to be illegal or something like that. Yes, by the way, if you guys want some books, just come up here. Yes? Could you come up to the mic? Yeah, let's actually, let me, no, what I meant was, yeah, what I meant was for the people who answered the question, sorry about that, you guys. Yeah, I know, I totally, yeah, it's good over my communication, I was really ambiguous, sorry, you guys.  Geez, all right. If you want this as a temporary or a permanent solution, or if you go through hypnosis and you gain this new attitude, if you recall a past event, will it trigger it? It can trigger it, it's really about, you can do it in one session, and it can come back. However, the exercises are so easy that you can just do them again. Okay, actually, let me, let me do this, let me just say, we're gonna, yeah, we're gonna hold, hold questions until afterwards. People are just, yeah. Yeah, I just, you know, I have lots of information. Actually, afterwards and also I'll be, I'll be around, I'm not going anywhere, so after the talk, please, you know, ask me questions. All right, and the last one, let's see, people are always making the best, oh, people are always making the best choices available to them. That idea is just basically, people are always making the best choices that they believe they have. If you give someone better choices, they'll make better choices. And the last one, if what you're doing isn't working, do something else, do anything else. A lot of times, if something isn't working, people just do more of what isn't working. The idea is you just do something else, anything else, you know, if you're inside and you feel depressed, go outside. It's really that simple. And maybe it's not the solution, but it's a step. You gotta just do something else. Okay, now let's get to the good stuff.  Let's get to the application. All right, so building physical rapport. And the way that you, basically when I say rapport, what I mean is that you're in, I mean the best way to describe it is rapport, but you're basically on the same level as someone. And the secret to liking is that people like people who are like them. A lot of people say opposite to track that's not necessarily true. People like people who are like them. So the way to build physical rapport is mirroring and matching. Now just to, just as like sort of a disclaimer and I'll go over it a little bit later also, when I say mirroring and matching, I don't mean mimicking. There's a difference.   People do that. But be congruent if you're gonna do it. Okay, so body position, posture, movement, rhythm. Body position is really simple. You know, people stand different ways. Some people, let's see if I can get this. So some people stand with their arms crossed. Some people stand with one foot out, you know? Just, you just kind of match the way they're standing. Again, don't mimic the way they're standing.   Their legs will be crossed in the same way. Their head will be turned in the same way. Their arms will be in the same way. So you can go pretty far with this. Posture.  Same deal. Movement. This is something where you want to be careful with, with mimicking.  You know, or if somebody, you can match leg movements with arm movements. If somebody moves their leg, you can move their arm and you can move your arm in vice versa. It's basically just, just having a, a reciprocal movement to go along. Body rhythm is good. A lot of people move really, a lot of people will move really quickly. They'll move really, they'll move slowly. They'll move in jolts. They'll move in like smooth curves.  Now breathing is, is more important than you think. There is a, well, breathing is more important than you think. I could tell there's some NLP people in here that are, that are recognizing the commands I'm giving people, right? Okay, don't forget to breathe. Whatever you do, I'm not suggesting that you forget to breathe, but when you do.  If you want to relax, the best way is to breathe deeply for, you know, 20 minutes. You know, so if, if you begin to match someone's breathing, you can gain rapport very quickly and you'll find yourself automatically gaining rapport a lot of the time just by matching breathing. And Milton Erickson does this with hypnosis by matching someone's breathing. But he also paces, and we'll get into that later. Voice. Voice is also a big thing. Voice tone. So if somebody, some people have really, really high voices, really, really annoying voices, you know, you can, you can match that if you're trying to get any rapport, although it's a really annoying high pitch, I suggest that anyone with a high pitch voice get over yourself and lower your voice because people will take you much more seriously if you, if you have a lower voice tone. Speed, some people talk really fast, some people talk really slowly. Be sure to match that because if, if someone is talking really slowly at you in a really low tone and you talk at them like this and you do na na na na na, you know, they're not gonna listen to you.  So, don't mimic. Again, don't mimic. Don't map, don't try to mimic their accents. You know, unless you find yourself naturally, some people find themselves naturally doing that, matching accents. Sometimes I find myself doing it, it's just something that we do. It's part of human nature.  All right. Now, building physical rapport is something you've probably all heard about at least a little bit. Matching verbal rapport is something that you'll hear about more on the tapes and more in the books. And this is something that's also very important, something that most people don't think about. Basically, like, okay, so you've heard of the representational systems. Probably, you've probably all heard of representational systems, you know, visual, auditory, kinesthetic.   There's no one here that is a kinesthetic. People use different representational systems in different contexts, and some people lead with different representational systems, but does not mean that everything you do is kinesthetic.  So people usually, there's the representational systems and people usually prefer or lead with one or two. So with that in mind, how do we use that to match someone verbally? What people might not realize is that we will give off our representational systems by the way that we talk. And the way to determine this is through something called predicates. And basically what predicates are is everything after it, including the verb of the sentence. So if I say, let's say I went to the park yesterday, the predicate is went to the park yesterday, everything after the verb. Now, sometimes predicates can give away the representational systems. And I'll show you how. Here's an example. Somebody says I can see what you're saying clearly. Now, somebody who says I can see what you're saying clearly as opposed to I can hear you loudly or I can get a grasp on what you're saying, that person is using a visual representational system. Now, in NLP, it's taught that communicating with someone using the same representational system they're using can help to gain rapport. So if somebody says to you, I can see what you're saying clearly, say we're seeing eye to eye or something like that.  Some visual phrases, I see what you mean, we see eye to eye, the future looks bright. Some auditory phrases, loud and clear, unheard of, word for word, kinesthetic phrases, I can grasp that idea. I got the hang of it, I will get in touch with you. And you won't see olfactory or gustatory phrases all that much, but there are people out there who experience their world through food. I've met some of them. So be aware that people will really appreciate you using these sort of phrases. And these are mixed together because taste and smell are mixed together. So that's basically building rapport. So let's see, I have 30, okay, so I'm gonna skip some modalities and I'm gonna go, but I would do this motivational strategies. So once you've gained rapport, it's a lot easier to influence someone. Just gaining rapport can, I mean, when somebody says, I just trust this person, I don't know why, but I really do just trust them, then what they're saying is you're gonna be poor with them, basically. So once you have that down, then you can go into influencing things. You can do influencing stuff before rapport, but it's not gonna work as well. Or it might not even work at all sometimes. So what are metaprograms? Metaprograms are perceptional filters. Like when I talked about before, the map is not the territory. Metaprograms are basically that map. And there are a lot of them in NLP. The one I'm gonna go over is motivation strategies. And there are basically two motivation strategies that people use. One is toward, where people are motivated towards their goals and go for what they want. The other one is away from, motivated to avoid what you don't want. Now, it's probably better, excuse me, it's probably better to have a toward motivation strategy. However, most people have an away from motivation strategy. So to give you an idea of how this works in real life, people who are toward motivated will get out of bed and think about, we'll get out of bed because they're thinking about what they're gonna do today and how much money they're gonna make or how many new people they're gonna meet or how close they are to that goal. It's really positive. And away from people are, get out of bed because they don't want to be late. They don't want, they're seeing images of their boss is yelling at them.  I don't want that to happen. So I'm gonna have to get out of bed. And that's basically how it works. I'm not gonna do a submodality demonstration, but I'll basically talk about what submodalities are and how to use them in using with motivation strategies. If you get some of the books or go online and do some more research, you can get a lot more into this. Actually, let me just explain exactly what submodalities are. Modalities are visual, auditory, kinesthetic.  So this comes with the idea that the way we think or perceive about something is directly linked to the way we feel about it. So if we, when we think about a situation in our minds, it's big and bright in front of us, then that means something to us. You have to look at it as meaning different things to different people, but for the majority of people, when an image is bigger and brighter in the mind, it's a lot more positive, it's a lot more motivated to do whatever it is. So for visual representation, so this is the bigger and brighter an image is in your mind, the more real, close or attractive it feels. So how do you use this to influence someone? Pretty simply, use submodality and phrases to make the picture they want in their head as big and bright as possible, and you can combine them with motivation strategies. So, have a couple examples, they're a little bit extreme and kind of cheesy actually, but it gets a point across.  I don't know if you can see things that are underlined here.  You can't think about something without having an image associated with it or sound associated with it or something subjective associated with it, so this taps into that. So, you want to avoid a potentially big situation before it gets any bigger, so that's for away from. For toward, I know you want to make the boss happy and if you do this, I know have a big, bright smile on his face and the future you want in the company will be closer than ever. So, have your underlined big, bright and that's a submodality word and then closer than ever, so brighter, closer, more attractive. Great. All right. It's now the fun stuff, the Milton model. Now, the Milton model is something that was developed by Milton, well, something that was developed from the study with Milton H. Erickson and it's used to pace and lead a person's reality to distract and utilize the conscious mind, to access unconscious resources and it's used for hypnotic induction, therapy and influence. I'm not gonna go over all the details with it, I'll refer you to a book that goes over it in extreme detail, but I'm gonna give you a few little tools for it. But first, let me talk about what pacing and leading means. Now, I've already taught you basically what pacing is. Basically, pacing is rapport. So, once you've gained rapport with someone, you're starting where they're starting. Pacing like how fast, yeah, not pacing, yeah, not pacing by walking back and forth, no, yeah.  Pay a really good pacing and leading experiment and I'll tell you that after I talk about leading, but pacing is basically you start where the other person is. So that's rapport. Also describing an ongoing experience can also do it.  Okay, so leading, once you've started where they're starting, you can then begin to make suggestions very slowly.  Well, I think it's actually pace, pace, pace, lead, pace, pace, lead, pace, lead, lead, lead kind of thing. Indirect deep structure of sentence, sorry. There we go, okay, so techniques for the Milton model. So basically like I said before, the Milton model is the reverse of the metamodel. So its whole purpose is to make communication vague but in a way that is leading the mind that you wanna influence in a certain way. So one of the major techniques is ambiguity. And an example of ambiguity would be certain things might come to mind. You might say when you think about being relaxed, certain things might come to mind. What does that mean?  You know, maybe you don't play golf. You're telling them certain things might come to mind and it's a lot more effective. Another one, people can. People can begin to feel more comfortable when listening to a good speaker. So who are these people, right? Are you talking about the audience? Are you talking about a speaker? Are you talking about people in a foreign country? You're just saying people. But in order to really understand that sentence, people will make certain assumptions about it. And so some people will assume that it's them and that's the goal of that one. So another one is presuppositions, which are assumptions that have to be made in order to make sense of a sentence. These are really powerful because your mind has to process things that are given to it. You can't talk to someone and have them not process, which what you've told them. So your brain has to make sense of these things somehow. So one of the ways of doing this, by saying something like, will you be more relaxed if you stand up or sit down? Seems like a pretty innocuous sentence, but what's the presupposition here? That you'll be relaxed no matter what. And Milton uses this and you can use this in your own way. I'm not here to tell you how to use this stuff, I'm just showing you how it's done. All right, so after you've told me what I need to know, you can go back to what you were doing. So this of course has a presupposition that you're going to tell me what I need to know. Those are two examples of presuppositions. Another one is embedded commands. And there's a lot of myths about embedded commands.  That's not an embedded command, although that's subliminal and there's been some research in that that it actually works. But embedded commands are ways of structuring sentences with commands in them in a way that the sentence itself seems very innocuous. So for example, I don't know if you can listen carefully to what I have to say. Now, this is just, it doesn't mean anything. I don't know, I'm saying something about myself, I don't know if, right? But the command here is listen carefully to what I have to say. Now, one thing about commands that I should point out is the way to do it most effectively is to actually change the tone of your voice. We actually have different voice tones associated with different types of sentences. So if I say something and my voice goes up, it's sort of a question, right? If I say something and my voice doesn't do anything, I'm just dictating it. But if I say something and my voice goes down, it's a command. So what you want to do is you want to say it like, I don't know if you can listen carefully to what I have to say. It's hard to really pick up, but it's, you just gotta think about, you have to separate it in your mind. You think about, I don't know if you can listen carefully to what I have to say. And unless somebody knows NLP, they're not gonna pick up on it. And if somebody does know NLP, they'll realize that you always have a choice to follow a command or not. It's not like, if I say this command, it's gonna happen. It's just, you always have a choice, but some people are more open to things in different contexts. When I talk, people are able to listen carefully to what I have to say. This combines two different things. This combines ambiguity and embedded commands. Who are the people? And then you can see the command there. And the last one is a combination of a whole different things. It goes, you don't have to listen carefully to what I have to say, but as you do, you'll begin to realize how you can use NLP in your own life. And I hope you take that one to heart. All right, so sources and resources. It's really hard to find good resources on NLP because there's a lot of people who think NLP is mind control, or there's a lot of people who are making a whole shitload of money off NLP. I mean, 2,000 bucks for a weekend seminar. So I have some books that I'll show you. One of them is Introducing NLP, this one. It's a really great resource for NLP. It goes through just the Milton model, modeling, metamodel. It goes through everything in one book. And you can pick this up, Amazon, wherever. The other one, it's one I was talking about before, NLP, the New Technology of Achievement. This book is really good because it's interactive. It actually, it teaches you NLP and all the different techniques, but it also takes you through all of the exercises. And the idea in therapy and NLP is you go first. If you want to use NLP, use it on yourself first, or have someone else use it on you first. But this is a really good book, even if you're not all the interested in NLP, but you're interested in self-help and things like that. This is a great book. And if you're really, really interested in, or even just sort of interested in Milton Erickson, or indirect hypnosis, I would definitely suggest this book. This is the patterns of the hypnotic techniques of Milton Erickson, volume one. There's two volumes, git volume one. If you really like volume one, git volume two, because it's a lot more complicated. But this has a couple sections. One section goes over different articles written by Milton Erickson. Another section analyzes those articles by Richard Van Ler and John Grinder. And then another section just gives you all the techniques. So that is my talk. And I have like three minutes for questions. And if you have, I can take like one or two questions. I can take like one or two questions, right? Yep. Come up to the mic, yeah. I was just wondering, would you use this technique like over a period of time to talk to your boss and they're giving you a raise or a promotion or something along those lines? You could if you really wanted to. I would not suggest that you go out and do that now. But if you were to do it, he's not here. Oh, okay. Oh yeah, well if you want, these are the, well those, no, these are just the books, these are just my display books here. If you want a free book, I can give you Writing Great Code. Sorry, Write Great Code. Who wants to write great code? I have stuff to give.


Log entry, the catch-scallot queen, Philip Carney, master. Position, 39 degrees, 40 minutes south, 175 degrees, four minutes east. Wind, fresh and rising, sky fair. Remarks, cleared Wellington, New Zealand after emergency layover. Reason for emergency, Rocky's a third in the dead man's chest. New Zealand, loaded with traded cotton goods, paper, machinery for the coal mines. Was an easy run, an endless expanse of sun-dappled water smiling from starboard, and the western coast of North Island beckoning with white beaches and waving palms on our port. I was standing my trick at the wheel that afternoon, half my mind on the job, the rest of it wandering back to the other palms on other beaches on other afternoons. They were good memories, but Nielsen's hail brought me back to the present. He was heading off toward me from number two hole. Captain Carney, sir. Yeah, Nielsen, what's up? Number two hole, Captain. He was checking the cargo and I heard something thumping inside one of them crates that was marked cotton. You sure, Nielsen? Yeah, sir. Wasn't just shifting from the roll? No, sir. It was thumping over here. Take the wheel. Mr. Gallagher and I'll get down and have a look. Flashlight made a little yellow moon with a big ring around it, playing on the boxes in number two. Nielsen hadn't said which one was thumping, but that wasn't hard to find out. There it is. Hand me the crowbar, Redman. Maybe you better cover me from where you are. Okay. I began to think you were never going to come. Oh, and it was getting quite stuffy in here. Well, get out. How'd you get in there in the first place? The name is Rockingham Wells III. Some of my friends helped me exchange myself for the cotton goods in the box before you left Auckland. Well, I'll be... What was the idea? Sir, I have launched on the great adventure of my life. I hope he won't inconvenience you too much. And so, with Roddy McDowell in the role of Rockingham Wells III, mutual continues The Voyage of the Scarlet Queen, written by Gildowd and Bob Tolman, and starring Elliot Lewis. The Queen protests ship to plow the seas, bound for uncharted adventure. Every week a complete entry in the log, and every week a league further in The Voyage of the Scarlet Queen. Me? We'll be in my cabin. Run, chow, for this one, right? Okay, skipper. And don't think I'm not adding these things up. And captain, sir... Yeah? Well, if you could find something other than kid to call me, my name is Rockingham Wells... Yeah, I know, and it sounds like trouble anyway you say it. How old are you? Fourteen, sir. And I won't be any trouble, sir. That's all right. We'll figure it out. Rockingham Wells. How would Rocky do for a name? Oh, that's first rate. All right, Rocky, come on, we'll go tough, sir. Yes, sir. And captain, it's awfully decent of you to... Go on up this landing. And don't start thinking of me as a big brother yet. You've got a scupper full of questions to answer. Rocky was a gentleman in the original sense of the word, so I couldn't quite bring myself to wring his neck. He peeled off a jacket in my cabin to go in and wash and comb himself. When he came out to turn to on some stew and biscuits red it brought in, I finally tumbled to an obvious clue to our Stowaway's character. He was wearing a t-shirt and painted on the front of it with a menacing head of a buccaneer with a knife in his teeth. I trust the stew is all right, your Lordship? Oh, yes. Quite thank you. Yeah. But I... I'm not titled, you know. He's not titled? That's enough, friend. Well, what is this, treating a Stowaway like a kid? Never mind. But he's right, Skipper. He is? Yes, I should be lashed to the mass for twenty stoves of the cat and stowed below with iron. Yeah, we'll come for that. Oh, I didn't mean that. Give the prisoner another ration of grog, Rhett. Grog? The milk, Mr. Gallagher. Pour him another glass of milk. Oh. Thank you, sir. Yes, now then, Rockingham.  Yes. Here, sir. Would you mind reading this letter, please? All right. Probably penned in the blood of... Oh. Your dad? Yes, sir. My father. That's too bad, sir. What is it, Skipper? Uh, notes addressed to Martin Wells. He's my uncle. Says, regret to inform you of the death of your brother, Rockingham Wells, the second at sea. Yeah. Here's the date cause of death. Comes from Port Authority's at Wellingham. Yes, sir. But it's the list that's important. Now, sir... What list? All effects left in the hands of his first mate of Joseph Ryan Pagalli. Clothes, logbook, map, sea locker... Yes, sir. But it's the map. What about the map? Well, Joe Pagalli's in Wellington, you see, and he has the map, along with the other things. Yeah, it says that here. But my uncle Martin wouldn't have told me. You see, he'd have taken it all. No, it's rightfully mine, so I just had to steal the letter and run away.  We were talking about a map. Yeah, what map? Well, the one Joe Pagalli is holding in Wellington. Sir, it is a map that shows the place where my father buried a great and secret treasure. Sure, the adventure of your life, so what else but a buried treasure? Look, Rocky, I got maps, too, but not one of them leads to a treasure. Oh, but this one does. I heard them mention it. You see, father and uncle Martin were in the export-import business together in Auckland. And when you handle strange foreign things, you find maps and other things. Sure, you want some more, child, Rocky? No, thank you. Uncle Martin worked in the office, and father was the captain of the ship. They didn't show me this letter when it came, but I heard them talking about it and watched Uncle Martin hide it inside his desk. Did he know you snitched it and stowed away on my ship? Oh, I left him a note. I told him I was going after it. So if you could just put me ashore in Wellington... Look, I've got a cargo consigned to Christchurch, South Island. I've got to discharge that cargo day after tomorrow morning. I'm not stopping at Wellington. Oh, then how in the world am I ever going to find Joe and the map and the treasure?  You can't go running around the ocean chasing rainbows. Stowing away on somebody else's ship is... Against the law? Yeah, that's right. But you just got to hunt treasure by going to sea. Oh, nuts. Go take the wheel, Redwood. We're changing course. Stand under the bay for Wellington. Oh, oh. We'll lay over just long enough to get you started back home. You mean you're going to run into Wellington? Yes, yes. Go ahead, Gallagher. Okay, it's your ship, Skipper. And if we're going to play pirate, I better run up to Jolly Roger. Rocky's great adventure had come to an end, but he didn't miss a thing as we walked onto the street that led toward the railroad station. He was getting dark and he was looking back toward the harbor. I was watching. So neither one of us noticed a strange pair of half-shadows that materialized in front of us. First, I heard a soft, pleasant voice. You will stop, please? I stopped because he was pressing the hard, unpleasant business end of a pistol against my ribs. Yes, now, do not make our cry, please. It was Oriental, short, very neat, and very pleasant. His countryman who stood beside him liked the element of mystery. He was simply the biggest Chinese I'd ever seen. The tongue of my friend is inadequate. He hears, but he speaks only with his strength. Your young companion is rocking him well? What's that to you? Link! Rocky! Get away! Rocky! Run to the queen! I like that! What? You let boy get away.  You'll come. Wait a minute!   Had more attractive dates. Now, inside, please. Downtown Wellington for five or six minutes, and we pulled up in one of the darker streets in front of what looked like an office building. So I let him save himself. The white man who waited inside lounged in a chair and looked at us out of watery eyes as we came in. He stayed in the chair. What is the boy? Because of Pigali, he disappeared. We could not bring him in.  Then for you, Pigali, it will be unfortunate. Put him in the chair. Wait a minute, you're off course, if you think I'm Joe Pigali. I'm silent, Link! He's from the locker of rocking him well. The third? The second? Come, this is a waste of my time. And my energy, I don't have your map. The good captain's personal effects were left in your custody, the map among them. You got the wrong man. Chong? This is the man who was with the boy. Then to get cooperation, Chong? Yes! There's a certain teakwood box on the show from the next room. Yes! Bring it to me, please. We shall see. Yes, honestly, it is done. When the lid of the box Chong brought back was open, I saw a velvet interior that matched the color of the big jade ring my host wore on his delicate right hand. It cushioned in the velvet, was a strange assortment of bamboo sticks, ivory-handled files, and slim-bladed knives that look like scalpels. Interesting, aren't they, sir? I suppose so, in a way. They're words very persuasive. What are you getting at? The map. I mean to have that map, sir. I don't know anything about your map. I take ten of these bamboo shoots, these slender ones, carefully chosen. Ten of them want to be forced under each fingernail. You can't make me tell you something I don't know. Oh, come now. You were first made to my brother's ship. I didn't even know your brother. I didn't know you were the boy's uncle until right now. Why do you make this feeble attempt? Look, you know I was found with your nephew. That's all. We discovered him aboard my ship when we put out from Auckland. Yes, of course. But where is the map? I never saw the map. And I never saw the mate who was supposed to have it. And I don't see why a grown man wants to get so excited about a map that a kid's imagination has magnified into a search-for-bearing treasure. Well, you hold his shoulders, please. Get away from him. But truthfully, Ling is invincible. Struggle is fruitless. Now, just be more calm. If you'd make sense, maybe I would. You know about the Ming birds? Admit it. Never heard of them. A very good reason to believe that you were present at the beginning. My brother sailed Oriental waters for 20 years. By dint of a deep and justifiable gratitude he received from a warlord in China 11 years ago, the missing Ming birds of paradise. Good for him. He did not sell them. I'd watched the markets carefully. I knew he had them. Therefore, I know he hid them somewhere. The map I want from you will show me where. If I had a map, maybe, but I don't have one. Ling is left half. What are you... Listen, I'm no hero. If I knew where your precious vases were hidden, I'd tell you. Oh, my good man, they're not vases. Oh, whatever they are. They are four matched screens of jade, carved by the greatest of all the Ming dynasty artists. Each is the lifetime work of a man who slept with the priceless jade next to his own flesh to give it warmth and depth of color. And during the light of each day of his life on earth he worked with infinite loving care coaxing out the design of birds of paradise. You'll get worked up over these things, don't you? And you will too. The first bamboo stick. Hold out his left hand, Ling. He will understand my interest when I tell you that I know each of these screens to be worth the king's ransom, Zingli, and a set of four together. I'm beginning to think I'd like to have him myself.  I am not your brother's first mate, well. You know, from the letter his name is Joe Pagali. I'm Phil Corning, and I don't know where Pagali is. You're making this difficult. Hold his hand, Ling. Let go of me. Now, Pigali, would you like another? No. I got enough. When I just wanted somebody to hit me hard enough to put me out, I couldn't get my arms free from Ling, but I lifted my legs and smashed both feet of the martin-wilts and bring a specific frame. He crumbled and went down. Zing! He exploded in my head, and there's a pair. I don't know, you were just staggering down the dock. Where did they take you, Skipper? Were they pirates? When I brought Mr. Gallagher back, you were gone. Sure was. I guess we'd better get going. Well, Skipper, what's it all about? Rock, do you still got that letter in your pocket? Yes, sir. Here. Port Authority 223 Waterfront Avenue. I guess that's our first stop. Am I to come too, Skipper? Yeah, you're only in this up to your neck. I am. Oh, it's splendid. Coming. This morning in the Port Authority's office had been open about an hour. We walked in and asked the clerk what he had on Joe Pigali. He's at the King George Hotel, room 222. Is Pigali in trouble? Maybe why. Yours is the second inquiry for Joe Pigali. Second? I say, who was the first? A well-dressed chap. About 50, not too tall. That's enough. I'll lay odds, Rocky. That's your uncle, Martin Wells. Really? I must have done something along the line to convince him I wasn't Pigali. Uncle Martin is after the map. And he's got a fair start. Come on. King George Hotel. The door number 222 was locked. Oh, what do we do, Skipper? Anything but waste more time. Give me your shoulder. Right. They got here first. This throat reminds me of a big Chinese I met. Big lame. But from map, red, any map. This must be the sea locker. Logbook? Logbook? Take that along. Hey, look. In his hand, a torn piece of paper. No, but there's enough to lead us to the killer of Joe Pigali. Position on this map looks like Cloudy Bay. That's just across Cook Strait, 20 miles from here. I know that's what my father promised me we'd look for some day. Your uncle's pretty sure it's Jade Birds of Paradise. Is that why he killed Joe Pigali? Oh, I had him killed. But how could Uncle Martin get here to Cloudy Bay? He doesn't have a boat. I saw one of the charter boats from Wellington. Oh, of course. It's like that one over there. What one? Two points off to the starboard bound, Skipper. Oh, shiver, my timbers made it your right. Hey, Red! Yeah, Skipper? Rouse out the crew. I'm coming above. We'll drop anchor to port of that charter boat. And get the small boat over the side. Small boat. We beached ours near it. Footprints leading into the brush. That's good enough. Come on. Looks like we're late. 30 feet ahead in a tiny clearing stood Martin Wells. Little Mr. Chong on one side, the giant big ling on the other. In front of them in a whole lake, Doug was an iron bound wooden chest with the top open toward us. From what we could hear are some very hot words. Wells thought he'd been double crossed. Then Chong reached forward and slammed down the top of the chest. Wells made a dive for the little man, but Chong had different ideas. Come on, Red! I'm with you. We moved into the big ling. His hand made an arc. Side down with the liner behind Martin Wells' ear. Uncle went down hard, and Chong spun his automatic toward us. We parted to get them from two directions, but Mr. Chong didn't pull the trigger. Captain Carney, please to forget the unfortunate past. We have no further wish to fight. We are leaving. You think so? It has discovered that the contents of the buried box no longer merit our concern. The jade isn't in it, huh? No, and so we depart.  Oh, perhaps you do not understand. The Ming jade screens were given in gratitude to a friend by one who unhappily had no right to give them. We were sent eleven years ago to bring them back. Sometime later, Mr. Wells made inquiries in various markets. This we learned and therefore believed he had some knowledge of the screens. Does he mean they've been spying on Wells all the time? We came to gain his friendship, to watch and wait. But now, there is no jade. Mr. Wells was wrong. We were wrong? Big Ling has the murder of Joe Pagalli to answer for.  Yes, I was wrong! Martin Wells was conscious, firing from the ground. His first slug caught Big Ling in the shoulder and set off a sudden bedlock. The second shot caught Ling turning as Red Nye moved forward. I got hold of Chong's gun. Wells was crawling away, but he made his shot count until Galli goes shoulder sent Ling crawling out of the line of fire. The fourth one was meant for me, but Chong's body jerked and relaxed in my arms. I dropped him and turned to put Martin Wells out of action, but Big Ling had beaten me to it. The giant Chinese was kneeling on Wells' back, a massive hand cupped on the Wells' chin. With the last ounce of his strength, he was crossing their head back. Then they both collapsed. You all right, Skipper? Yeah, OK, Red, but those three aren't. They'll never give anybody any more trouble. Come on, Red, take a look at that chest. Roger, Skipper. I see, Skipper! Mr. Gallider! Are you there? Over here, Rocky! Oh, my word. I thought I'd lost you. What have you found? Is it a treasure? How'd you get ashore? I swam. What is it? Uncle Martin. Yeah, Rocky, Uncle Martin. Look at him and forget him. You don't deserve him. Maybe I should have put it the other way around. Come on. And, uh, did you find anything, sir? Treasure? We tried to tell you, Rocky. You let your imagination get mixed up with the facts about finding treasure. Things like that are only accidental. Skipper! You see, you've got to learn to take things as they come. Captain Kitten, Long John Silver, out of your head, Rocky. Learn to steer by the stars, but don't try to reach him. Aye, sir. The chest is here, but... Yeah, but Skipper! The chest! It's filled with these. Fuck. Yeah. Oh, I thought it was much more difficult than this. Red, you're crazy. You can't be. Well, look at him. Feel him. Oh, blast the chest full. My word is full, isn't it? Look at the chest. Uh, please, uh, would one of you mind moving over so I could feel him, too? Oh, yeah, Rocky. Here. Here. Isn't it exciting? But I thought treasure hunting would be much more difficult than this. Never mind, Red. Don't say it. Now we can cover them up again and make a map of our own. Cover it up. Cover it up. Nothing. We'll take it and then cash it. What makes you talk like that, Rocky? What's the matter with you? Well, I thought we could come back for it later. And in the meantime, well, we could sail away in your ship and find some more. Oh, it's great fun, isn't it? Look, Rocky, this just happened to work out this way. It doesn't usually. But I'm sure there's more of it. Pirates buried loads of treasure. But it's just legend, Rocky. It doesn't mean that... But you didn't believe me this time, did you? No, Rocky. I didn't. But it wasn't a dream. You didn't believe it, but I was sure of it every minute that we'd find the treasure. Maybe that's the difference, Rocky. We've forgotten how to believe as strongly as you do. Maybe if we hadn't, we three could find all the treasure in the world. You know, I do wish there was a way to make you both 14 again. Or we'd have a jolly time sailing around in your ship.  I wish you could work it out, Rocky. I wish you could. Out of port the next afternoon, we turned over the iron-bound wooden buccaneers' chest full of pieces of eight-and-dub balloons to authorities in Wellington. After the customary report to the Crown, Rocky stood to keep a start of it all for himself, taxes deductible. We put him on the train for Auckland, wired his aunt, and turned Martin Wells and the Oriental pair over to the local morgue. Maybe they should have used more of Rocky's brand of belief and less of their own brand of violence. The footers and the men swung rhythmically to their stations when Red fall them into action. That's the full-tone breeze. The jib's cracked out. The music of wind and rigging. And danced through the lace-tipped crest as if all the world was watching. How will she take Skipper? Yeah, ride into it like a feather, Red. Some kind of a different feeling about her today. Oh, that's not hard to figure out. Good kid, Skipper. Road dreamer, but plenty of guts in the finches. Now, rocking him wells the third. I can't figure out. What's that, Red? Just how did he know that chest was gonna be full of doubloons? How did he know the chest was even there? I don't know, Red. Near his age, imagination gets mixed up with reality. You can't always tell which is which. I don't know, with faith in your dreams, maybe there's no difference. I wonder how come the queen let him aboard in the first place? Maybe he talked to her. This little lady knows what she's doing. Here's Skipper to the queen of the Scarlet Queen and happy treasure hunting. After you, mate. After you. 30 p.m. Winds fresh, cresting with high crosswell. Ship secure for night. Find Phillip Pond. I want to thank Roddy McDowell for being with us tonight. Glad to have you aboard the queen, Roddy. My pleasure, Elliot. Phil Carney is a favorite radio hero in our household.  What's your latest picture? Well, our latest, Elliot, is the story of a dog. And by way of coincidence, the title of the film is Rocky. Well, I hope tonight will prove itself a good omen. You did yourself proud as Rocky III. Thanks, Skipper. Good night, Roddy. Mute will invite you to sail into further adventure on the voyage of the Scarlet Queen next week at the same time. Port O'Call, Sydney, Australia. Queen stars Elliot Lewis as Phil Carney with Ed Max as Gallagher. And tonight featured Roddy McDowell as Rocky. William Conrad was Martin Wells and Ben Wright played Chong. Music scored and conducted by Richard O'Rogh. The Scarlet Queen produced by James Burton is written by Gil Dowd and Bob Tolman.


It's not quite clear what's happening with the colors. When you switch Wavelet Denoise off, understand when it's on, it's fairly clear what it does. Now the original is also before the trending and the blue one is D-trended and Wavelet Denoise. That's why you see offset, DC offset. Yeah, so this can be a bit misleading in a sense that you can only see the Denoising working well when making the window size smaller and you can actually see the difference. And it's not working well during seizure. Yeah, so this is what it actually does, just kind of smoothing the signal in different ways. This is where the seizure is happening. It's hard to see what's going on with the Denoising. Yeah, it's not too bad.