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| What is Body Rocking? https://pick-up-artist-forum.com/viewtopic.php?f=19&t=36126 |
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| Author: | jose di maria [ Sat Jan 03, 2009 6:36 pm ] |
| Post subject: | What is Body Rocking? |
i just don't know, and was wondering if any of you guys have a visual example |
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| Author: | soup [ Sat Jan 03, 2009 9:13 pm ] |
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i dont have a visual aid, but you could probably find one on youtube easily enough.. its usually used during an opener to show that your ready to leave at any minute, its a movement on your back foot as if your about to turn and walk away, it indicates that you not needy. |
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| Author: | Caliber* [ Wed Jan 14, 2009 9:33 pm ] |
| Post subject: | |
Body Rocking is a signal that your body makes that indicates your desire to leave. It's important you keep your shoulders pointed in the direction you "want" to go. By directly facing a set and tranfering your body weight from one foot to another makes you look like you have to go take a sh*t. Keep your shoulder's turned, feet pointing towards where you want to go. By turning your head over your shoulders, your indicating the conversation is not what you came for. You can distribute your body weight from one foot to another a couple of times. This is called body rocking. Sometimes I lift my hand up and placing it behind a person's back (without touching him/her), indicating that I'm ready to pass by the person. Remember not to over do it, women do have higher social dymanics than the average joe, so they become suspicious very easily. Good Luck |
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| Author: | Vinci [ Fri Jan 16, 2009 6:00 am ] |
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Yeah usually, you open them back up right after you bodyrock. So it goes like this... You open the set, time constraint, bodyrock while your finishing up, do your next routine like the best friend test. or say something like "Oh, and before I go, blah blah blah." Yo important: Don't fidget and shit. You don't wanna look like you have terret and spasm issues. Most men get too nervous and they concentrate on bodyrocking so much they portray an image of "I want to get the fuck out of here." |
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| Author: | Fu$$ [ Mon Jan 26, 2009 12:05 am ] |
| Post subject: | Body Rocking on "Revelation" |
Well, I think this section of Lovedrop's "Revelation" book will help you: BODY ROCKING First, it is important to understand that people have more powerful emotional reactions to more subtle indicators, because those indicators are perceived as genuine, whereas harsh indicators are not as effective, because they come across as deliberate—as staged or rehearsed—and so are not taken seriously. For example, if you say something stupid, and then you see a subtle expression of disgust briefly flash across my face, then you will feel embarrassed, because it seems that I genuinely felt disgust. I really felt the emotion inside. The key is that my pong, my look of disgust, is not something I am faking, but rather that it must have come from a pang that I really did feel inside. It must have been a real emotion. It’s not my fault. No one can blame me just because I felt something. I’m not trying to make you look bad with my disgust, or to make you feel bad. The emotion hit me out of the blue, like a bolt of lightning. It’s not something I did—it’s just something that happened. This is no different than if you poked me with a cattle prod and then a look of pain flashed across my face. Now imagine you say something halfway reasonable, but I make a big deal about it as if it’s the most stupid and disgusting thing I have ever heard. I exclaim loudly, “Oh JEEZ that was so STUPID, what are you some kind of RETARD??!! You have GOT to be joking . . .” I roll my eyes and throw up my hands in an exaggerated fashion. In this example, my manners seem insincere, as if I am trying to make you feel bad—deliberately. It doesn’t seem like I actually feel the emotion, and thus other people will not feel it either. The more genuine your indicators seem, the more power you have to influence other people’s emotions. This is the difference between a good actor and a bad actor: good actors make you feel it. Now . . . Stand with your feet at shoulder width. Begin to sway your upper body, slowly and gently, in a figure-8 pattern. Don’t move your feet; just put a lazy, swaying motion into your upper body. Do this for a moment and get a feel for it. Meditate on it. Next, as you sway to the left, slowly turn your head to look in that direction also. Then, when your body sways to the right, turn your head to the right as well. Next add your shoulders. As you sway to the left, lazily turn your head and shoulders more to the left. Continue around your figure-8 and as you begin to sway to the right, turn your head and shoulders more to the right also. Notice how this movement allows you to shift your attention softly without sending harsh vibes of interest or disinterest. For example, imagine if you were to turn your entire body towards a woman in one single motion, so that your feet are pointed towards her, your hips and shoulders are turned towards her, and you face her and even stare at her with your eyes, so that every part of you is giving attention to her and seeking rapport with her. Do you see how this movement is a harsh IOI? It indicates far too much interest. It causes your value to drop. It also conveys that you want something, which makes her feel defensive and activates her shielding behaviors. Similarly, imagine now that you turn completely around 180 degrees, so that in a single motion, your feet are pointed away from her, and your body and head are also facing away from her. Do you see how this backturn is a harsh IOD? It indicates far too much disinterest, and thus will come across as though you did it on purpose, instead of as if it were genuinely emotionally motivated. It’s too obvious. Subtle movements are interpreted as more genuine, as though they came out of some real emotion, and thus they cause more powerful emotional reactions in other people, whereas harsh movements are interpreted as deliberate, as if you are trying to make a point, and thus do not affect people. Now go back to your sway. Imagine that you sway to the right and start a conversation with some girls over your right shoulder. In this example, you simply say, “Hi.” (By the way, “hi” is Mystery’s favorite opener.) Of course this does indicate some interest, because you have started a conversation. But it is not such a harsh indicator of interest. After all, your body is not facing the group. Only your face has turned towards them, and even that will turn away again as you begin to sway to the left. The sway to the left is a soft IOD. It is not a harsh backturn. And because it is subtle, it will come across as genuine. It creates the impression that you are in your own reality and that you have your own things going on. You often get distracted by your own friends and thoughts. You might wander off at any time. All of this disinterest is very disarming to people whom you have just met, causing them to lower their guard. Disinterest also conveys higher value, enticing the group to vibe with you even more. This is body rocking. As you rock out, the people in the group feel more drawn towards you, and their body language turns ever so slightly more in your direction, as if pulled by an invisible string. You can feel that they are hooking to you, then you rock back in—giving them a bit of interest to reward them for hooking—and then you say the next thing. Mystery might say, “Black nails, first impressions?” Then he rocks back out again. If the group doesn’t respond, that’s ok. He has already rocked out anyway and isn’t losing value in the meantime. He can always rock back in to reward them if they hook. Notice that in advanced game, we are replacing the concept of canned openers with a combination of body-rocking, sound bites, and microcalibration—subjects that are more heavily explored in this book than the previous book (The Mystery Method.) As you practice swaying, begin to allow your feet to move as well. Nothing too drastic—just the same lazy movement but now with a greater range of motion. Some points to remember when you practice body rocking: 1 The rocking motion should appear inadvertent, as if your emotions are managing it at an unconscious level. You aren’t aware of it or thinking about it. 2 By keeping the movements soft and subtle, you are never indicating too much interest or disinterest. There are no harsh indicators. Nothing sticks out. 3 By continually balancing your IOIs with IOD calibrators, and your IODs with IOI calibrators, your interest is always disarming, and your disinterest is never try-hard. 4 People always feel like you are leaving, even after talking to you for five or ten minutes. 5 At moments when you rock out, you can feel the pull that it exerts on other people. You can feel it as though you had tied a rope around their waist and had physically pulled them towards you. |
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