How did Rock-It Pocket transform lacrosse stick stringing. What makes the Classic Rock-It Pocket design unique. Why has this pocket style remained popular for over 30 years. How does Rock-It Pocket ensure consistent performance.
The Origins and Evolution of Rock-It Pocket
Rock-It Pocket, founded in 1987 by Flip Naumburg in Fort Collins, Colorado, has become a legendary name in the world of lacrosse stick stringing. What started as a “boy and his dreams” has grown into one of the most successful and recognized brands in the sport.
The company’s innovative pocket designs have revolutionized how players customize and optimize their sticks. Rock-It Pocket’s influence can be seen on lacrosse fields around the globe, with their signature channelled, multi-colored traditional pockets adorning sticks at all levels of play.
Key Milestones in Rock-It Pocket’s History
- 1987: Flip Naumburg founds Rock-It Pocket in Fort Collins, Colorado
- Development of the patented Classic Rock-It Pocket design
- Expansion of product line to include various pocket styles and customization options
- Establishment of Rock-It Pocket as a premier brand in lacrosse stick stringing
The Classic Rock-It Pocket: A Game-Changing Design
The Classic Rock-It Pocket is the company’s signature product and has played a significant role in shaping modern lacrosse stick stringing. This patented pocket design combines traditional materials with innovative construction techniques to create a high-performance pocket system.
Key Features of the Classic Rock-It Pocket
- Leather structure combined with synthetic stringing elements
- Centered pocket placement in the middle of the head
- Two center leathers that “hug” and “rock” the ball
- Consistent ball release point
How does the Classic Rock-It Pocket improve ball control? The unique design ensures that the ball is always cradled in the center of the pocket, minimizing unwanted movement and providing a consistent release point. This translates to improved accuracy and consistency for players.
The Four Pillars of Rock-It Pocket Performance
Rock-It Pocket has built its reputation on four key principles that guide their pocket designs. These pillars of performance have helped establish the brand as a leader in lacrosse stick stringing.
- Accuracy
- Consistency
- Durability
- Dependability
How do these principles translate into better on-field performance? By focusing on these four areas, Rock-It Pocket ensures that players can rely on their sticks to perform at a high level in any game situation. The consistency and dependability of their pockets allow players to focus on their skills and strategy rather than worrying about equipment issues.
Customization and Player Empowerment
One of the hallmarks of Rock-It Pocket’s approach is their emphasis on customization and player education. Each Rock-It Pocket custom order comes with detailed instructions on how to make adjustments and tweaks to suit individual playing styles.
Benefits of Rock-It Pocket’s Customization Approach
- Allows players to fine-tune their pocket to match their specific needs
- Empowers players to understand and maintain their equipment
- Promotes ongoing optimization of stick performance
- Fosters a deeper connection between player and equipment
Why is customization so important in lacrosse stick stringing? Every player has unique preferences and playing styles, and the ability to adjust and customize a pocket can significantly impact performance and comfort on the field. Rock-It Pocket’s approach ensures that players can get the most out of their equipment.
Materials and Construction: The Rock-It Pocket Difference
The success of Rock-It Pocket’s designs lies not only in their innovative patterns but also in the carefully selected materials and construction techniques used.
Key Components of Rock-It Pocket Construction
- Planed strips of leather for strength and adaptability
- Extremely durable woven polyester string
- Precision-engineered pocket patterns
- High-quality materials selected for optimal performance
How do these materials contribute to pocket performance? The combination of traditional leather elements with modern synthetic materials creates a pocket that offers the best of both worlds. The leather provides a soft feel and adaptability, while the synthetic strings enhance durability and consistency.
The Impact of Rock-It Pocket on Lacrosse Culture
Over its three decades of existence, Rock-It Pocket has become more than just a product; it’s a cultural touchstone within the lacrosse community. The brand’s influence can be seen in various aspects of the sport.
Rock-It Pocket’s Cultural Significance
- Widely recognized and respected brand among players and coaches
- Frequently discussed and praised in online lacrosse communities
- Inspired a generation of stick doctors and pocket innovators
- Contributed to the growth of custom stick stringing as an art form
Why has Rock-It Pocket maintained its popularity for so long? The combination of innovative design, consistent performance, and a deep understanding of player needs has allowed Rock-It Pocket to remain relevant and sought-after even as the sport has evolved.
Rock-It Pocket’s Commitment to Innovation and Quality
While the Classic Rock-It Pocket remains a staple of the brand, the company continues to innovate and expand its offerings to meet the changing needs of lacrosse players.
Ongoing Development and Product Expansion
- Research and development of new pocket designs
- Adaptation to new head shapes and styles
- Incorporation of player feedback into product improvements
- Commitment to maintaining high quality standards
How does Rock-It Pocket stay ahead of the curve in lacrosse stick technology? By maintaining close relationships with players and coaches, constantly testing new ideas, and being willing to adapt to changes in the sport, Rock-It Pocket ensures that its products remain at the forefront of lacrosse stick performance.
The Future of Rock-It Pocket and Lacrosse Stick Stringing
As lacrosse continues to grow and evolve, Rock-It Pocket is poised to play a significant role in shaping the future of stick technology and customization.
Potential Areas for Future Innovation
- Integration of advanced materials and manufacturing techniques
- Development of pocket designs optimized for specific positions or playing styles
- Expansion into emerging lacrosse markets and variations of the sport
- Collaboration with stick manufacturers to create integrated pocket systems
What challenges and opportunities lie ahead for Rock-It Pocket? As the sport of lacrosse continues to grow globally and new technologies emerge, Rock-It Pocket will need to balance its traditional craftsmanship with modern innovations to maintain its position as a leader in lacrosse stick stringing.
Rock-It Pocket’s journey from a small Colorado startup to a cornerstone of lacrosse culture is a testament to the power of innovation, quality, and a deep understanding of player needs. As the sport continues to evolve, the company’s commitment to these principles ensures that Rock-It Pocket will remain a vital part of the lacrosse landscape for years to come.
The impact of Rock-It Pocket extends beyond just the product itself. The company has inspired a generation of players to take an active interest in the art and science of stick stringing. This has led to a vibrant community of stick doctors and pocket innovators who continue to push the boundaries of what’s possible in lacrosse stick customization.
One of the key factors in Rock-It Pocket’s enduring success is its ability to adapt to changing trends in lacrosse head design. As manufacturers have introduced new head shapes and stringing rules have evolved, Rock-It Pocket has consistently found ways to apply its core principles to these new challenges.
Adapting to Modern Lacrosse Head Designs
- Modification of pocket patterns to suit wider, flared head designs
- Development of stringing techniques compliant with updated rules and regulations
- Creation of pocket options optimized for specific head models
- Collaboration with head manufacturers to ensure compatibility
How has Rock-It Pocket maintained its effectiveness across different head styles? The company’s deep understanding of pocket dynamics and ball control allows them to adapt their core design principles to work with a wide range of head shapes and sizes. This versatility has been crucial in maintaining Rock-It Pocket’s relevance in a rapidly evolving equipment landscape.
Another aspect of Rock-It Pocket’s success is its commitment to education and community engagement. The company doesn’t just sell products; it actively works to help players understand the nuances of stick stringing and pocket maintenance.
Rock-It Pocket’s Educational Initiatives
- Detailed instruction manuals included with each pocket
- Online resources and tutorials for pocket adjustment and maintenance
- Engagement with lacrosse forums and social media communities
- Workshops and demonstrations at lacrosse events
Why is education so important in the world of lacrosse stick stringing? By empowering players with knowledge about their equipment, Rock-It Pocket not only improves customer satisfaction but also contributes to the overall growth and sophistication of the sport. This educational approach has helped create a more informed and discerning player base.
The influence of Rock-It Pocket can also be seen in the way other manufacturers and custom stringers approach pocket design. Many of the principles pioneered by Rock-It Pocket have become standard practices in the industry.
Rock-It Pocket’s Influence on the Stringing Industry
- Popularization of channeled pocket designs
- Emphasis on consistency and repeatability in pocket performance
- Integration of both traditional and modern materials
- Focus on customization and player-specific adjustments
How has Rock-It Pocket’s approach influenced the broader lacrosse equipment industry? The success of Rock-It Pocket has demonstrated the importance of pocket design in overall stick performance, leading to increased attention and innovation in this area across the industry. This has ultimately benefited players at all levels by raising the standard for stick performance and customization options.
Looking to the future, Rock-It Pocket faces both challenges and opportunities. The growing popularity of lacrosse worldwide presents new markets to explore, but also brings increased competition and the need to cater to diverse playing styles and preferences.
Future Challenges and Opportunities for Rock-It Pocket
- Expanding into emerging international lacrosse markets
- Adapting to potential changes in equipment regulations
- Incorporating new materials and manufacturing technologies
- Balancing tradition with innovation in pocket design
How can Rock-It Pocket continue to innovate while maintaining its core identity? The key will likely lie in staying true to the principles that have made the company successful while remaining open to new ideas and technologies. By maintaining close connections with the lacrosse community and continuing to prioritize performance and customization, Rock-It Pocket can ensure its relevance in the ever-evolving world of lacrosse equipment.
The story of Rock-It Pocket is not just about a successful product or company; it’s about the evolution of lacrosse itself. As the sport has grown and changed, Rock-It Pocket has been there every step of the way, helping to shape the way players interact with their most essential piece of equipment.
From its humble beginnings in Fort Collins to its current status as a lacrosse icon, Rock-It Pocket exemplifies the impact that innovation, quality, and a deep understanding of player needs can have on a sport. As lacrosse continues to evolve and expand globally, Rock-It Pocket is well-positioned to remain at the forefront of stick technology and customization, continuing to influence how players approach the game for years to come.
RailCar Vibrators – POCKET ROCK-IT™ Vibrator for RailCars
Light weight & quiet RailCar Vibrators!
No more pounding on railcars with sledge hammers! No more lifting heavy industrial vibrators! No more ear-splitting noise! The patented POCKET ROCK-IT™ Railcar Vibrators utilize lightweight, high-performance vibrators to unload even the most stubborn materials from closed top hopper cars. The railcar vibrators weigh less than 32 lbs., greatly reducing the risk of back injury.
No brackets on your railcars?
No problem!
We have a variety of MARTIN® VAC-MOUNT™ Rail Car Vibrators that will do the job.
30-Day Money-Back Guarantee!
Put the POCKET ROCK-IT™ RailCar Vibrators to the test! Use our product for up to 30 days, risk-free. If for any reason you are not completely satisfied, return the product for a full refund.
Simply contact us online or give us a call at 800-474-4538 to speak to a technician about our 30-Day Money-Back Guarantee.
POCKET ROCK-IT™
U.S. Patent #5,833,205
Weight: 32 lbs.
Air consumption: 15 cfm
Noise 70-85 dBA
Included with unit: NTS 50/04 vibrator, wedge bracket with urethane shoe, 5′ hose whip with 3-way valve, filter, lubricator and regulator.
Features
Quiet
Noise levels are 60 – 75 dBA, well below regulatory limits.
Reduce Risk of Back Injury
The POCKET ROCK-IT™ assembly weighs in at 32 lbs. Operators no longer have to manhandle heavy industrial vibrators into hard-to-reach brackets under railcars.
3-Year Guarantee
Covered by a 3-year guarantee.
Free Trial
POCKET-ROCK-IT™ railcar vibrators are available for testing, at your site, on your cars.
Additional Specifications
- Air pressure range: 30-80 psi
- Operating temperature: 0º-120º F
- Air Preparation: 5-micron filter, pressure regulator, lubricator & 3-way valve.
- Warranty: 3 years when operated within recommendations
- Testing: Both models are available for FREE on-site testing.
POCKET ROCK-IT™ Railcar Vibrator Spec Sheet
Download
Gallery
Stringers Spotlight: The Classic Rock-it Pocket
The newest Stringers Spotlight takes a look at the pocket that could very well have started it all, that being custom traditional pockets — a pocket that’s become synonymous with the sport in its three decades of existence. Rock-It Pocket, based in Ft. Collins, Colorado, has been creating its famous channelled, multi-colored trads since 1987, and no matter where you go in the world of lacrosse, you’re going to see someone weilding one of these babies.
A great deal of homage is paid to the Rock-It Pocket over in the Stick Doctors Lounge on The Lacrosse Forums. ILGear.com hooked up with the Rock-It Pocket crew to have them string up a range of pockets, including the Classic Rock-It Pocket, shown here in this factory Carolina blue Maverik Juice head.
The stick went through the assembling process, coming back as a gorgeous black and white Classic Rock-It Pocket, complementing the color of the Juice.
The Classic combines the strength and adaptability found in planed strips of leather with extremely durable woven polyester string. Together, these features form a customized mid-head pocket system that embodies the Rock-it Pocket four-part pocket performance mantra: accuracy, consistency, durability and dependability. To help customers maximize the potential of the pocket, each Rock-It Pocket custom comes with detailed instructions on how to make adjustments and tweaks to suit your style of play.
More from the Rock-It Pocket site on the Classic: “The Classic is a patented pocket design that puts a leather structure and synthetic stringing elements together to form a pocket always in the center as well as the middle of the head. The ball is hugged and ‘rocked’ by the two center leathers so that the ball never moves around and always releases from the same spot.
“
Rock-It Pocket started as a “boy and his dreams,” and founder Flip Naumburg (who also started the Vail Lacrosse Shootout) has grown it into one of the most successful and recognized brands in the sport. You can read more about the company’s history on the Rock-It Pocket site. You can also place orders for Rock-It Pocket custom-strung pockets, like this Classic, directly through the site. We thank Mike Naumburg, who handles customer service at Rock-It Pocket, for helping make this happen. Check out the images of the Classic Rock-It Pocket below.
See other sticks we’ve featured in the Stringers Spotlight series here.
Tie Up Tuesday: Mike Naumburg of Rock-it Pocket
Editor’s Note: Welcome back to Tuesday Tie Up from Epoch Lacrosse! Each week, we feature a guest lacrosse personality to help you see how the big guns string their heads.
You’re sure to learn a thing or two, so pay attention! We’ll let Epoch take it from here…
While at #LaxCon 2015, we ran into Mike Naumburg of Rock-it Pocket and convinced him to guest star on today’s Tie Up Tuesday episode.
Mike is a close friend of Epoch and he’s the son of legendary Flip Naumberg, where they work together running Rock-it Pocket.
Taking time and focus away from his busy booth at #LaxCon, Mike sat down with us to tie up The Hawk with Otter Mesh for today’s episode! Mike was influential in the the development of The Hawk, so he understands what the laid back profile does and that The Hawk is designed for a High Pocket.
Once we sat down and laid out the materials, Mike he knew exactly how he wanted to tie up The Hawk.
He takes a very simple approach to this pocket. His process starts by creating a great ten diamond top string before going right into the sidewall.
As you can see, Mike doubles up with the diamonds at the top of the head a couple times.
This instantly creates a high pocket leaving Mike to put in three straight shooters. Because of the way Mike ties up a high pocket, the ball rests in place directly under the last shooter.
To learn more on the development of The Hawk check out Flip the movie and be sure to check out their website to find out if the Rock-it Pocket is right for you!
Live. Play. Be.
Team Epoch
Cochise – POCKET ROCKET Lyrics
[Chorus]
Pocket watchin’
Heard that boy, he pocket watchin’ (Yo, Cochise, a weh dem a—)
I pull up with the pocket rocket
Heard that boy talkin’ ’bout robbin’, stop it
I be gettin’ mil’ like rocket, rocket
Fold that boy like a wallet, a wallet
I’m gettin’ this money, I’m poppin’, I’m poppin’ (Yeah)
Baby, I’m hotter than Takis, Takis
I run up again and they pocket watchin’
Heard that boy, he pocket watchin’
I pull up with the pocket rocket
Heard that boy talkin’ ’bout robbin’, stop it
I be gettin’ mil’ like rocket, rocket
Fold that boy like a wallet, a wallet
I’m getting this money, I’m poppin’, I’m poppin’ (Yah)
Baby, I’m hotter than Takis, Takis (Yeah)
[Verse]
I don’t pop no Perc’ (Prc’)
JoJo on my shirt (Shirt)
We gon’ make it work (Work)
Diamonds on me twerk (Twerk)
Bet I got that work (Work)
Slippin’ like I’m Kurt (Kurt)
Come and get your girl (Girl)
She be tryna flirt (Flirt)
So I told her wait (Wait), woah (Woah)
Wait (Wait), woah (Woah)
Wait (Wait), woah (Woah)
And she like, “It don’t matter” (Matter)
Ever since a nigga gettin’ money, gettin’ fatter (Okay)
Call me Fat Joe, lean back with the pattern
I’m like hey, uh, I know it’s okay (‘Kay)
Sweet like Baby Ray’s (Ray’s)
Pull it to your face
Finna pull up to your place (Place)
Fallin’ for the race
Leavin’ it open, like a case
Benz in the back and it look like ayy
I’ma come run on that beat like yeah
I got pacific, it’s all on my neck
Drip, yeah, it’s on me, I’m comin’ through wet
Racks on my body, it came with my pack
I’m gettin’ money, I ran up a check
God on my side, I ain’t doin’ no hacks
Shawty been on it, she touchin’ the packs
I tear this shit up and get me a sack
I tear this shit up and get me these racks (Yeah)
Uh, yeah, uh, hey, hey, bitch, bitch
Baby, this a two-door, swervin’ like I’m Meek, Meek (Vroom)
She know I love anime, she think I’m a geek, geek
Mama said she proud of me, she see me on TV (Hit it)
Wait (Wait), woah (Woah)
Hey (Hey), no (No)
Hey (Hey), ho (Ho)
Yeah, but you ain’t even matter (Matter)
Ever since a nigga gettin’ money, gettin’ fatter (Fatter)
Call me Fat Joe, lean back with the pattern (Bring it back, bring it back)
When I pull up to the spot, everybody start to scatter (Scatter)
Tear that money automatic (Ayy)
Heard that nigga want the static (Ayy)
No, no, I don’t do no average, uh (I don’t do no average)
(No, no, no, I don’t do average, yeah, I don’t do no average, hit it)
[Chorus]
Pocket watchin’
Heard that boy, he pocket watchin’
I pull up with the pocket rocket
Heard that boy talkin’ ’bout robbin’, stop it
I be gettin’ mil’ like rocket, rocket
Fold that boy like a wallet, a wallet
I’m getting this money, I’m poppin’, I’m poppin’ (Yeah)
Baby, I’m hotter than Takis, Takis
[Outro]
Wait, woah, wait, woah
Wait, woah, wait, woah
Wait, woah, wait, woah
Wait, woah, wait
Kimberly Cole – Pocket Rocket Lyrics
Put it in your pocket
Put it in your pocket
Put it in your pocket
Pocket rocket, pocket rocket
Put it in your pocket
Pocket rocket
Put it in your pocket
Pocket rocket
Put it in your pocket
Pocket rocket, pocket rocket
I take it out
I pop the top
And then I twist it
I look from side to side
I got to have
But it could be risky
Leave home without it
Wouldn’t throw it
Make it bubbly
I pull it out
Give it a touch incase
I want to get risky
I can’t help myself
When I’m in need
Are you good enough to stop me
Pocket rocket
All the girls got
Pocket rocket
Okay don’t really needed
Pocket rocket
Pop it, lock it
Pocket rocket
A pocket rocket
Pocket rocket
All the girls got
Pocket rocket
Okay don’t really needed
Pocket rocket
Hope I didn’t steal it
Pocket rocket
A pocket locket
Put it in your pocket
Pocket rocket
I got a hundred different shades
In my collection
Which one I’ll take with me
Then I don’t know
Also tempting
Just fill it out
Don’t be so quick
With your selection
Go big and loud
No need to worry
Cause it feels so friendly
I can’t help myself
When I’m in need
You ain’t good enough to stop me
Pocket rocket
All the girls got
Pocket rocket
Okay don’t really needed
Pocket rocket
Pop it, lock it
Pocket rocket
A pocket rocket
Pocket rocket
All the girls got
Pocket rocket
Okay don’t really needed
Pocket rocket
Hope I didn’t steal it
Pocket rocket
A pocket rocket
Pocket rocket
All the girls got
Pocket rocket
Okay don’t really needed
Pocket rocket
Pop it, lock it
Pocket rocket
A pocket rocket
Pocket rocket
All the girls got
Pocket rocket
Okay don’t really needed
Pocket rocket
Hope I didn’t steal it
Pocket rocket
A pocket rocket
Put it in your pocket
Pocket rocket
I take it out
I pop the top
And then I twist it
I take it out
I pop the top
And then I twist it
I take it out
I pop the top
And then I twist it
I’m talking about my lipstick
Pocket rocket
All the girls got
Pocket rocket
Okay don’t really needed
Pocket rocket
Pop it, lock it
Pocket rocket
A pocket rocket
Pocket rocket
All the girls got
Pocket rocket
Okay don’t really needed
Pocket rocket
Hope I didn’t steal it
Pocket rocket
A pocket rocket
Pocket rocket
All the girls got
Pocket rocket
Okay don’t really needed
Pocket rocket
Pop it, lock it
Pocket rocket
A pocket rocket
Pocket rocket
All the girls got
Pocket rocket
Okay don’t really needed
Pocket rocket
Hope I didn’t steal it
Pocket rocket
A pocket rocket
Put it in your pocket
Put it in your pocket
Put it in your pocket
Pocket rocket
Put it in your pocket
Put it in your pocket
Pocket rocket
Put it in your pocket
Pocket rocket
Pocket rocket
A chance to pocket from Rockit
Syndicate agricultural investor MyFarm is moving into apples, looking for $13 million from investors to set up Rockit apple orchards.
The Rockit apple has been bred through the Prevar programme and it has been taken up by the group Rockit Global, says chief executive Andrew Watters.
Their model is similar to a small Zespri, Watters explained to Rural News.
“They will manage and develop the orchard, provide the trees, pack the product, sell it and market it. But they are not the grower,” he says.
MyFarm has formed Rakete Orchards as an investment vehicle to grow rocket apples under licence to Rockit.
Rakete has four orchards under lease in two clusters – one near Taradale and the other just south of Havelock North.
“We are taking over four leases for 28 years,” says Watters. “The blocks are bare land at the moment and we will invest in their development.
“We will grow the apples under licence to Rockit. We will plant those in Rockit apples. We are paying a small licence to Rockit, buying and planting the trees, putting all the structures in; apples grow on a trellis structure a bit like grapes do.
“We are developing the blocks into productive orchards then from about the fourth year we will sell apples and deliver investors’ returns.”
Rockit operates a growers’ trust – a pool payment system somewhat similar to Zespri.
“They take all the payments, deduct their costs and royalties and then the growers get the mean margin from the market,” explains Watters.
Prevar, which developed Rockit, was set up to globally commercialise the new apple and pear cultivars bred in New Zealand by Plant & Food Research.
Promotional material on Rockit says “it’s the world’s first miniature apple sold in a distinctive plastic tube, and now grown under license in nine countries and sold in airports, sports stadiums and cafés in 29 countries”.
Watters says Rockit has established markets – strong in Asia, strong and growing in North America and in Europe.
For Kiwis the Rockit is a very expensive apple.
“But if you put them in your fridge and the kids have a few to choose from they will always go for the Rockit apple first,” says Watters.
“They are twice the price of any other apple. It is a snack food sold in outlets where people are looking for a healthy snack.”
MyFarm is promoting now to investors under Rakete Orchards as the investment vehicle. One translation of Rakete in te reo Maori is ‘rocket’, says Watters.
“We are looking for $13m from investors with $100,000 or more. The big difference about this investment is a very high level of cash returns forecast. It will take us seven years to pay back what the investors have put into the orchards. But thereafter we are forecasting returns of over 50-55% per annum.”
The company has a total of 55ha with 40ha of trees for the next planting season in spring and the remaining 15ha will be the following spring.
Watters says interest has been good. After seminars in Auckland and Tauranga he will tour NZ to talk to potential investors.
“The commentators, columnists and all sorts tell us that in agriculture we shouldn’t produce commodities. We need to produce branded products so we get maximum returns for NZ.
“This is a good example of an innovative company with a premium product customers want and they are marketing it very smartly to overseas customers,” Watters says.
“It is investment in the Rockit company; even though we are growing apples it is an investment in the Rockit apple and the Rockit brand, but the returns are extremely good.
“It is an excellent example of adding value to commodity products produced in NZ.”
Hollywood Rip Ride Rockit at Universal Studios Florida
At Orlando Informer, we work diligently to keep information up to date. This page was last updated on August 17, 2021.
Skip to: Overview | Location | Restrictions | Fear factor | Song list | Secret song list | Guest reviews
Vertical lift and inverted loop on Hollywood Rip Ride Rockit
What is Hollywood Rip Ride Rockit?
Hollywood Rip Ride Rockit is an open-air roller coaster that features a 167-foot-tall vertical lift, reaches speeds of up to 65 mph, and – despite the loop and several corkscrews – does not actually invert (hence the lack of over-the-shoulder restraints).
Each seat has an on-board stereo system that lets each passenger choose a ride soundtrack, along with cameras that record your ride (for purchase later, of course).
Where is Hollywood Rip Ride Rockit located?
In Production Central, which is in Universal Studios Florida.
Hollywood Rip Ride Rockit – height restrictions and other factors
Riders must be between 51 and 79 inches tall to ride, but before you get in line, make sure all your personal items (including wallets and cell phones) are stored in the free lockers outside the attraction – all guests are required to pass through metal detectors before riding. This attraction accepts Express Passes and usually has a single-rider line available. There is a test seat available for those who have concerns about the size of the restraints, while guests in a wheelchair must be able to transfer to the ride vehicle.
Hollywood Rip Ride Rockit – what you wish you knew before you experienced it
The single-rider line can be deceptively slow, and don’t worry about getting a seat in the front row – the ride vehicles feature stadium seating, so you’re guaranteed to get a good view.
Finally, you’ll only have about 30 seconds to pick the song for your ride, so study the song list and pick your faves before you go!
How scary is Hollywood Rip Ride Rockit?
5 out of 5. While the ride itself isn’t that intense, its first hill is a major psych-out.
What was Hollywood Rip Ride Rockit’s opening date?
August 19, 2009
Hollywood Rip Ride Rockit – song list
Classic rock and heavy metal
Evanescence – “Bring Me to Life” (2003)
Finger Eleven – “Paralyzer” (2007)
Hinder – “Born to be Wild” (2007)
Limp Bizkit – “Rollin’” (2000)
Motley Crue – “Kickstart My Heart” (2007)
ZZ Top – “Gimme All Your Lovin’” (1983)
Club and electronica
Beastie Boys – “Intergalactic” (1998)
The Crystal Method – “Busy Child” (1997)
The Crystal Method – “Keep Hope Alive” (1997)
Daft Punk – “Harder Better Faster Stronger” (2001)
MARRS – “Pump up the Volume” (2000)
Shiny Toy Guns – “Le Disko” (2006)
Country
The Allman Brothers Band – “Midnight Rider” (1970)
The Charlie Daniels Band – “The Devil Went down to Georgia” (1979)
Dwight Yoakam – “Guitars, Cadillacs” (1986)
Jason Michael Carroll – “I Can Sleep When I’m Dead” (2007)
Kenny Chesney – “Living in Fast Forward” (2005)
Montgomery Gentry – “All Night Long” (1999)
Rap and hip-hop
Beastie Boys – “Sabotage” (1994)
The Black Eyed Peas – “Don’t Phunk with My Heart” (2005)
The Black Eyed Peas – “Pump It” (2005)
Cypress Hill – “Insane in the Brain” (1993)
Kanye West – “Stronger” (2007)
N.
E.R.D. – “Rock Star” (2002)
Pop music and disco
Donna Summer – “Bad Girls” (1979)
Fergie – “Glamorous” (2006)
Gloria Gaynor – “I Will Survive” (1978)
KC and the Sunshine Band – “That’s the Way (I Like It)” (1975)
MC Hammer – “U Can’t Touch This” (1990)
No Doubt – “Hella Good” (2001)
Hollywood Rip Ride Rockit – Secret Playlist
In addition to the 25 songs available on the main screen, there’s an additional list of more than 60 secret songs that can only be accessed if you’re in-the-know. To select one of these songs, take your seat on the ride and, instead of going through the song selection menu, press your finger on the Rip Ride Rockit logo for a full 10 seconds. A numerical keypad will then pop up, and you’ll be able to enter the three-digit code of your chosen jam. The tricky part here is that there is no list of songs, and you won’t have your phone with you, so make sure you memorize a few options and their corresponding codes from the list below, before you queue up for the coaster.
(Note: if you don’t get it entered fast enough, a random track will be selected for your ride.)
One last note of caution – caveat auditor! Because these songs are from a secret list, they have separate licensing rights, which means that if you choose a secret song, you will not be able to purchase a video at the end of the ride. If it’s your first spin on Hollywood Rip Ride Rockit, or if you are intent on buying the on-ride video, we recommend you go with one of the above-listed songs.
101 – Rush – “The Temples of Syrinx” (1976)
102 – The Smithereens – “Blues Before & After” (1990)
103 – The Doors – “Break On Through” (1967)
104 – Elton John – “Crocodile Rock” (1973)
105 – Steely Dan – “Do It Again” (1972)
106 – Candlebox – “Don’t You” (1993)
107 – Gov’t Mule – “Drivin’ Rain” (2002)
108 – The Byrds – “Eight Miles High” (1966)
109 – Aldo Nova – “Fantasy” (1982)
110 – American Hi-Fi – “I’m A Fool” (2001)
112 – Lynyrd Skynyrd – “Freebird” (1973)
113 – Led Zeppelin – “Immigrant Song” (1970)
114 – Jane’s Addiction – “Just Because” (2003)
115 – Lenny Kravitz – “Live” (1998)
116 – Queens of the Stone Age – “Mexicola” (1998)
121 – Tom Petty – “Runnin’ down a Dream” (1989)
122 – The Rolling Stones – “Start Me Up” (1981)
123 – Muse – “Stockholm Syndrome” (2003)
124 – Breaking Benjamin – “The Diary of Jane” (2006)
127 – Foreigner – “Urgent” (1981)
128 – U2 – “Vertigo” (2004)
129 – Journey – “Wheel in the Sky” (1978)
130 – The Who – “Won’t Get Fooled Again” (1979)
131 – Blue Man Group – “Klein Mandelbrot” (1999)
132 – Blue Man Group – “Drumbone” (1999)
301 – Modest Mouse – “Float On” (2004)
302 – Jackson Five – “I Want You Back” (1969)
303 – The Cat Empire – “In My Pocket” (2005)
304 – Billy Joel – “It’s Still Rock and Roll to Me” (1980)
306 – Eminem – “Lose Yourself” (2002)
307 – Christopher Cross – “Ride Like the Wind” (1979)
308 – Bryan Adams – “Run to You” (1988)
309 – John Legend – “Save Room” (2006)
310 – Madonna – “Vogue” (1990)
311 – Fleetwood Mac – “You Make Loving Fun” (1977)
312 – Barry White – “My Everything” (1997)
504 – Robert Cray – “Smoking Gun” (2008)
506 – B.
B. King – “The Thrill Is Gone” (1969)
507 – John Mayer Trio – “Who Did You Think I Was” (2005)
508 – Dry – “Pivot” (1998)
701 – Metallica – “Cyanide” (2008)
702 – Flaw – “Endangered Species” (2004)
703 – Metallica – “For Whom the Bell Tolls” (1984)
704 – Black Label Society – “Forever Down” (2005)
705 – The Sword – “How Heavy This Axe” (2008)
706 – Ministry – “Just One Fix” (1992)
707 – Rage against the Machine – “Know Your Enemy” (1991)
708 – Ministry – “Let’s Go” (2007)
709 – Pantera – “Mouth for War” (1992)
710 – Judas Priest – “Painkiller” (1990)
711 – Black Sabbath – “Paranoid” (1980)
712 – Down – “Temptation’s Wings” (1995)
713 – Iron Maiden – “Wicker Man” (1975)
714 – Ill Nino – “Unreal” (2001)
715 – Megadeth – “Wake Up Dead” (1986)
716 – Suicidal Tendencies – “We Call This Mutha Revenge” (1992)
718 – Judas Priest – “You’ve Got Another Thing Comin’” (1982)
782 – Skillet – “Monster” (2009)
901 – The Muppets – “Movin’ Right Along” (1979)
902 – The Muppets – “Rainbow Connection” (1979)
903 – Paper Moon – “Your Attitude Towards Cuttlefish” (2002)
904 – Modest Mussorgsky – “Night on Bald Mountain” (1867)
Hollywood Rip Ride Rockit – photo gallery
Shrek 4D – real guest reviews
Hollywood Rip Ride Rockit
Average rating: 69 reviews
Jun 19, 2017
by AWESOME on Hollywood Rip Ride Rockit
Go On This
Date Of Last Visit: December 9th, 2016
So I just went with my dad.
He was very, truly scared, but I don’t know why. The ride was the best one in the state! I had a delay on the summit of the 167 foot drop for 1 minute. At least I got an awesome view!Jun 12, 2016
by Rebecca on Hollywood Rip Ride Rockit
Rip Ride Rockit
Date Of Last Visit: 6/11/16
I never write reviews but I must say I have rode many roller coasters and I love them , but I was very disappointed in the Rip Ride! I was on the very last seat of the coaster and it was extremely rough . As I read other reviews , it made me feel better to know others felt the same. Maybe the front is better, all I know is I had a terrible headache when I got off . Yes , it slung me around like a rag doll. My recommendation is to ask if you can wear a football helmet and a BC powder before riding , especially if they put you in the back! I couldn’t wait for that ride to end .#dontsitinthelastseat
Dec 22, 2014
by Jonathan on Hollywood Rip Ride Rockit
Depends on the car you’re in
Date Of Last Visit: 12-16-14
I rode this four times in a row on the evening of DEC 16th.
The first time I was in the last row and it was super smooth, making this the most amazing ride ever on this coaster. The other three times were not at all as smooth–one time also in the last row, other two times a bit further up. If they can adjust all the train cars like that first one, everyone will always love this ride. I’m guessing that with age, the cars are a bit looser on the rails resulting in a bumpy ride–which is not good.Sep 30, 2014
by Ana on Hollywood Rip Ride Rockit
Something’s changed
Date Of Last Visit: 09/25/14
We’ve ridden this coaster 4 or 5 times previously in the last year and it was definitely our favorite. Every other time, however, we sat in the first or 2nd row. We loved how smooth a ride it was.
This time – we were in the last row and as some have noted, it’s an entirely different experience – quite rough and hard to tell whether to press one’s head against the head rest or try and hold it away.
It’s one thing to have everyone put loose items in the lockers – but they challenged zipped pockets, wallets and keys in pockets. We had to go back to the locker a 2nd time. And then they challenged paper towel in my husbands jeans and there were at least 4 ‘checkpoints’ all the way to the top of the ride. No other ride was enforced this rigorously and it turned us off to our favorite coaster.
Both left with slight headaches. But that wasn’t the worse ‘change’.Sep 1, 2014
by ComebackMomma on Hollywood Rip Ride Rockit
Brain Scrambler
Date Of Last Visit: 8/31/14
I am a huge coaster fan so I was super excited to ride this one. If I could do 2.5 stars, that’s probably what I would give it. Having ridden a few other coasters with only lap restraints, I expected this ride to be smooth, but it was not. The thrill of going straight up and the huge drop in the beginning was great, but much of the middle of the ride was too rough.
The second half of the ride was much smoother and enjoyable enough for me to put my hands up. Some folks complain about the music, but I thought some classic MC Hammer was a perfect accompaniment to the ride. G forces are really strong on this one too so don’t do it if that is not something you like.Do you have a question about the information on this page, would like to provide feedback, or did you spot an inaccuracy? Join us in our OI Community Facebook group, and let’s talk about it!90,000 Slow talk about music. Rock of the nineties
My dear friend Ksenia Aleksandrovna, a wonderful teacher, master of written and spoken words, suggested the following format: nostalgic conversations about music in the form of correspondence, a replica from her, a replica from me. In a similar way, as we know, the Strugatsky brothers often worked on their texts. In our case, this is such a relaxed vigil, reflections on youth, well, just a test of the format. Under the cut – the first part of the correspondence, everyone よ う こ そ and join in the comments!
Ksenia: The generation of thirties-plus is intensely nostalgic for the nineties: music, clothes, dashing freedom.
Do you remember how crazy neighbors put tape recorders on the windows and turned on the Nautilus at full volume? Yesterday I heard “Nau” from someone else’s headphones – as if I could smell the old apartment where I lived as a child. And this music will last forever, even if you don’t change the batteries. Moreover, now no one changes the batteries.
Notes, conversations in sleepy kitchens, dancing on dirty tables. Tight party circles where long memory is worse than syphilis. Teenage drug addicts coming off in basements to Nirvana.Queenie rallies, where everyone is in dyed feathers from a pillow and sequins torn from mother’s dress. Was there something special about that? Are you listening to any old stuff?
Kenichi: The epithet “dashing” in relation to the nineties has always provoked a good-natured smile in me. In the context of nostalgic paraphernalia, it turns out to be not entirely accurate. It was an unprecedented feeling of freedom – not just permissiveness, but real freedom, freedom of opportunity.
Dream anything, be anyone.In this sense, the rock of the nineties (and rap of the nineties, by the way, also, in general, all “youth” music) for our region has absorbed meanings fundamentally different from what it originally intended. It has become an attribute of not just protest, but intellectual protest. If in the West both punk rock, metal and grunge looked like a funny and slightly obscurantist rebellion against highbrow bores and cleanliness (exactly what is “dashing”), then all this seething energy has become the lot of the public reading, thinking, well, let’s just say, not the easiest one.Therefore, the texts in Russian rock have always been of greater importance than in the West. That is why the merciless division of teenagers’ society into informals and gopniks was so piercing in our country, although in Western youth subcultures “gopnik” and “informal” were essentially the same.
Xenia: It is surprising that now it is a little different. In the nineties, it was considered normal to be different, I wanted to be different.
Listen to your music, look for your outer family. The parties multiplied like mushrooms.If we talk about Nizhny, it was a Kucha near the Melody store, Kurt somewhere in the gateways, a little later – the Philology Department on Pokrovka. Role-playing and forty-man parties I do not list. It was impossible to listen to rock alone – it demanded consolidation, collective love.
Fenki elbow-deep, torn robes, sang in the streets, sang in the arches. And you’re right: words were of the utmost importance – Russian rock was poetic music, verbal. I don’t remember rap at all. Decl only, deceased.
What were we protesting against? Now it seems that just so as not to merge with the world (or merge with another part of it).I remember that in every snuffed out recreation center there were sessions, where everyone shook their hair, drunk on two bottles of beer. There was a need not only to listen to rock, but also to play it. Music gave birth to music.
You felt it too, didn’t you?
Kenichi: Of course.
The protest was indeed in many ways irrational – like any emotional protest in youth – but, nevertheless, it can be described and formulated quite clearly. I think it was mainly a protest against poverty. Not only material, but also poverty of spirit, poverty of choice, scarcity of the palette of possibilities.That is why our perception of rock was so different from that in the West: there it was a rebellion, on the contrary, against abundance, idleness, satiety. The unifying point here is the categorical rejection of hypocrisy: when you are young, you hate hypocrisy. Here they hated the hypocrisy of poverty, there – the hypocrisy of wealth.
As for the rap of the 90s, Decl is already a very late phenomenon. It all started with Titomir, Lemokh and “Bachelor Party”, which copied Western models and, of course, in a poetic sense were not of such interest as rock, not even close.But the rap of that time was also an important evidence of the difference in the perception of “us” and “theirs.
” Our rap was a sign of not only coolness, but also material and intellectual wealth, if not yours, then your parents’: cool sneakers, trips abroad, knowledge of English. It was in America that rap was “the music of the marginalized”; we have quite well-to-do children.
Yes, now everything is completely different: our perception of youth music is very similar to the Western one. At the same time, rock seemed to have completely disappeared, and rap became fundamentally different.
Xenia: It was always a little incomprehensible to me how music becomes philosophy. She, unlike poetry, is able to replace the view of the world, or not to replace, but to shape it. Man makes himself out of the music he listens to. In the nineties and before that it was possible to nurture oneself on one group, completely inscribing oneself in the line of her work: moviegoers, alisomans, lovers of “Aquarium”, “Civil Defense” often existed on one side of the barricades, but in different systems of perception of the world, in different value ranks.
At that time it was possible to listen to songs as albums: in general, the album existed as a phenomenon, as a product. Now is the time for singles and sets, playlists. Yes, in the nineties it was more difficult from a technical point of view: tapes, rewinding with a pencil, that’s all. But there was also a psychological basis for this type of hearing. The person felt in himself a readiness to stand under a certain flag, to define himself through a reference person, a rocker-frontman and his intention. Here is the rebel Kinchev, here is the thoughtful Butusov, here is the philosophizing BG.
Kenichi: I think the secret of music (music with lyrics, of course) is that it immediately affects both the rational and the animal in man. Texts by themselves, even such “musical” ones as poetic ones, are primarily intellectual, and only then emotional: that is, a person must first comprehend the verse with his mind and baggage of knowledge, reflect and give out some kind of emotional impulse (and that is not necessary).
Melody and rhythm strike directly, invoking the most primitive, non-cognitive manifestations.At the same time, it is also obvious that without text and meaning, music also cannot become philosophy. Rock turns out to be a universal formula that combines the virtues of both music and poetic text. Besides, the “influence” of rock also arises because rock is so damn simple. His lyrics are much simpler than “high” poetry, and his three guitar chords are incomparably simpler than “classical” music (I draw quotation marks so as not to look completely snobbish). This simplicity gives rock a very low barrier to entry. Like the Gospel or communism.Russian rock is very similar to fantasy: to paraphrase Bykov, when today we scold the rock of the nineties as a shit, we always feel a sense of shame, as if we are talking about an unintelligent offspring of a noble family.
My personal preference in Russian rock has always been quite herbivorous. I loved Nau, both for the romantically dissident lyrics of Kormiltsev, and for the musicality of Butusov’s melodies (let’s be honest, the musicality of Russian rock was not always smooth), and, of course, I really love BG and I still listen to it.
Whatever one may say, Boris Borisych always sets a very high bar – both poetic and melodic in his works. My favorite song at “Aquarium” is “Black Brahman”, and my favorite album is “Lilith”. Not the most politically motivated and not the most popular things among fans, but they reflect my attitude very accurately.
Xenia: In any synthetic art, both harmony and struggle are beautiful, and the song is just a synthetic product. In Russian rock, the text was so strong that it always squeezed the music, it somehow existed on the sidelines.The other is also true: any weak text can be dragged by music to incredible heights. Perhaps that is why the lyrics began to fade away. Pure poetry, without music, is no longer so necessary, since it requires more tension and self-organization. With the advent of portable players, a pocket orchestra is always at our service.
Russian rock, in essence, was an analogue of the Silver Age (literary scholars would, of course, spit at me for such words).
Music really made it possible to lower the threshold for entering a very complex and beautiful text structure.There was also a need for this – I wanted implicit complexity. Just as in other times, decisive and strong-willed simplicity is required.
This word amazes me – shit. It was like there was rock of the highest grade, for which we stood in line and which ended right on us. The music of those days was created in such a way as to spread virally in society, to glue people together in groups. Had it been more complicated, it would have ruined society, dispersed it. Rock is the glue of the party.
It took me years to start listening to BG.His music is sometimes so pale and poor that no words can save it. Why do you like Black Brahman? He always struck me as a deceitful sedative. My favorite BG songs are those where there is tension and clear signs of inner trouble – “The Eye”, “On the other side of the mirrored glass.”
Nautilus is more than music. This is a common thread – it is generally the basis of everything for me. It is very interesting to watch how in different phases of life Kormiltsev’s texts form different streams of meanings.I listened to Warm Snow Falling many times, and in my youth I saw in it an exclusively symbolic text built on oxymorons. Recently, with surprise, I realized that the story of the double suicide of lovers completely dropped out of my mind. The history is clearly not domestic, there is an American touch in it. You can listen to “Nautilus” endlessly due to the high semantic capacity of the texts. And the music … well, it’s convenient to purr it when you can’t sing out loud.
When did you start writing music yourself? Who would you like to be like musically?
Kenichi: I think the quasi-term “shit” arose because Russian rock, as they say, is aging badly.Indeed, if now we put on the disc “Separation” (not the late concert versions, where Uncle Slava has already formed the trademark blaarous hoarseness, but the very original “Separation”, where he does not fall into the notes with the timbre of a frog), then of course those songs will be very old-fashioned – in a professional sense.
Yes, this contempt is primarily caused by the conventional unprofessionalism of the old Russian rock: as a craft, pop music (in the broadest sense of the word “pop”) has galloped very far ahead today.Studio sound operators create magical things, technology allows you to blow away stadiums with the purest sound, and the most casual divas in their own glamor have learned to sing very cool without a phonogram. Therefore, when everything in your composition squeaks, hisses, past the notes and past the rhythm, the elusive aroma of a shit arises. Of course, this term in no way refers to philosophy, to the meanings that the old Russian rocker tried to convey.
For me, the music of Aquarium has never been poor. On the contrary, in terms of symphony, multi-layered arrangements, experiments with rhythm and meter, a variety of instruments, nothing of the kind in Russian rock was even close.Who in pop music (and not only in rock, and not only in Russian) still so richly uses “triangular dimensions” (3/4, 6/8)? Only Mike’s Gopniks, Kinchev’s All This Rock and Roll and Butusov’s Quiet Games (the first two compositions do not differ much musically) come to mind.
All other rockers, metalheads, punks, rappers and pop musicians around the world are marching straight four quarters in step.
Everything is beautiful in “Black Brahman”. There are surprisingly accurate, at the same time surprisingly light and ironic words.This song seems to be about love, but in fact it is also about real inner freedom, and about happiness, and about being beyond the control of natural and political forces. This is a very “western” song in meaning, a hymn to individualism and individual freedom, but at the same time very “Russian” in style of poetics and music (genre “Black Brahman” is a Russian urban romance). And there are great solos and a selection of instruments. Besides, this song is in many ways a symbol of my family.
I was sick with “Nautilus” when I experienced numerous school falls in love (of course, unhappy and unrequited, otherwise I would have been wasting time on this Russian rock!).The music of “Nau” for me is still mainly lyrical, romantic, and not social, political or whatever.
Even the texts of “Prince of Silence” and “Chained by the same chain”, put on the music and manner of uncle’s Slavs, sound like gothic ballads, not dystopian protests. From the very first listening I interpreted “Warm Snow” as a story about suicide (and “Juliet” – as a story about rape), so I often tried to stay away from her, because suicide always turned me away.
I began to write music, probably, like many, in high school, and, of course, in those days it was a blatant epigony.I imitated “Nautilus” not only in melodies and lyrics, but also tried to wheeze like Uncle Slava. Once upon a time it seemed ungodly cool.
Ksenia: It is also wonderful in Nautilus that they have an integrating idea behind almost all their albums. In “Alien Land” the mortal code, a description of the methods of dying and the phases of death, is delightful. In “Wings” – the idea of a variety of forms of love and loneliness, acceptance of oneself as loved and unloved. In Yablokitai, the world is not subject to any laws, except for the law of imagination.
Boris Borisych also knew how to write albums – it seems he can even now. This outgoing type of thinking, based on the urge to cyclize, is a particularly valuable artifact of the nineties, their parting gift. As if we have gone through the last era of unity before the inevitable and in our own way arranged disintegration.
There is another important detail that you mentioned: music begets music. When you listen to a really good song, you can’t do it detached – you connect to it psychologically. You sing along, play along on an invisible guitar, move to the beat (this leg here, hand here, head like this).How many groups and groups have spawned a powerful wave of Russian rock! Labali both in the little room behind the assembly hall and in the garages. Russian rock was contagious, like a Spanish woman, and unprofessional, like a graduate of the humanitarian faculty. And yet this is our music.
Kenichi: In the sense of the impossibility to move away, this is very accurate: I almost never listen to music in the background while doing business, only if it is, well, a very mechanical matter; I immediately begin to be distracted by the song, not only by the words, but also by its very musical structure, so you can’t do anything.
It doesn’t seem to me that a music album is an endangered form. Myron recorded “Gorgorod”, which is even more a thing in itself than classic rock albums. Yes, the craving for cyclization has pretty much evolved today, but for the sapiens’ cognitive perception of reality, it still seems inescapable: a person will still see the world in the form of cycles for a long time, the only difference is in a more obvious transformation of a vicious circle into a spiral. Rock albums and novels have been replaced by TV series and epics with sideways, but in fact they are the same albums and novels, just at the end they have a “post-credits scene” that gives impetus for the next cycle.
Original
Rock bands versus streaming platforms: where does our money go?
Streaming services are a true music lover’s paradise. For symbolic money, you get access to almost all the music that has ever existed on the planet.
But for artists, there is no particular exhaust from streaming.
Against the background of the death of live music from the coronavirus, the situation is becoming very sad.
“A lot of bands are doing part-time jobs now,” says While She Sleeps guitarist Mat Welch.“And it’s not a fact that all of them will then return to music. Streaming is incredible, it’s a great marketing platform for engaging audiences. But it does not provide a stable income. ” While She Sleeps themselves admit that they receive “pocket money” from streaming.
Musicians’ dissatisfaction with streaming fees is nothing new. Back in 2009, with the launch of Spotify, it became clear that these payments were far beyond the royalties for live performances. Spotify has been criticized by many artists.
In the era of covid, musicians cannot make money by performing at all. Accordingly, their complaints intensified. In some places, they even began to be reckoned with at the state level. For example, in Britain they conducted a corresponding investigation.
Where does the money go from the general bank of the streaming service? From it get their share: the streaming service itself, the artist’s label, the music publisher and the songwriter. VAT is also deducted. And the rest reaches the musicians themselves, depending on their audibility.
And if the hype artists, churning out tracks, live quite well on this system, then rock musicians with a narrower audience have a hard time. They also release music less often, and it is not as popular as pop or hip-hop.
Yes, there are hype rock bands like AC / DC, Linkin Park and Green Day. But there are not so many of them, and these coverage still cannot be compared with pop music.
However, many rock bands are grateful that streaming exists.For example, tracks from Bring Me The Horizon’s latest EP “Post Human: Survival Horror” have even made it onto Spotifay’s hot playlists, which usually aren’t heavy.
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It may not be a lot of money, but new listeners are valuable for rock bands. Especially for new and underground ones. After listening to music, people may want to merch the band, and the likelihood of purchasing tickets for concerts in the future increases.
What is suggested to be changed
At the moment Spotify works like this.There is one common bank from which the proceeds are distributed among all the artists on the platform, according to auditions. What they propose to change, options:
- Distribute 50-50 income between the label and the artist. And not 80 to 20, as it is now.
- Raise subscription prices because they haven’t changed from the start. Unlike some Netflix;
- Switch to user-centric payments.
Namely – so that the funds from the subscription of a particular listener go only to those performers whom he really listens to.And it turns out that, listening to black metal at least 24 hours a day, you still pay a penny to the conventional Justin Bieber.
The user-centered approach seems to be the fairest of all in the music industry. Many streaming platforms are already ready to test it. For example SoundCloud. But Deezer has been trying to do this for several years, but it is difficult to come to an agreement with all the labels.
We hope that something will come out of this idea, and that alternative performers can also benefit from it.
Leader of the group “Cockroaches!” – about how he went for drugs across the line of fire in 1993, hung out during the putsch and was in prison
Visiting Mikhail Kozyrev – the leader of the group “Cockroaches!” Dmitry Spirin. He shared the stories of how he found the singer Svetlana Vladimirskaya in the toilet, in 1993 he went to get drugs right through the epicenter of a shootout, served 5.
5 months in prison, “hung out” during the coup after being woken up by tanks, and drove to Japan, from which his jaw dropped.
My compliments, precious viewers of the Dozhd TV channel. The next episode of my series “How It All Began” is on the air. It is generally devoted primarily to the nineties, but I invite people to the studio who are simply dear to me, close and interesting, it seems to me, and interlocutors for you. Today I have a long-awaited guest, the leader of the Tarakany group, Dmitry Spirin, aka Sid. Great.
Hello, Misha. Thanks for the invitation. Hello everyone.
And excuse me, just before the shooting started we were discussing the premiere of Bohemian Rhapsody.We both watched the film, agreed, in general, both in his merits and in questions to him. But Dima completely remembered a thing that I cannot remember, how he first saw Queen on TV.
Yes, it’s amazing that no one can remember such a moment. All my peers, in one way or another, attribute the first acquaintance with the Queen group to being watched in Soviet cinemas, the movie Magic Queen in Budapest, “The Magic of Queen in Budapest” was shown on a small screen.I don’t know how in 1995-1996 our then authorities allowed this movie, probably because it was filmed in fraternal Hungary.
This is not 1995, this is the eighties, the film was shown, this is not the nineties.
Oops, 1986. I said 1996, sorry, of course, I meant 1986-1987. I remember that Queen was actually shown on Soviet television even earlier, Vladimir Voroshilov at one time, when he hosted the program “What? Where? When?” from time to time he showed in the musical pauses all sorts of generally quite harmful Western artists.As I remember now, there was a clip of Michael Jackson’s Billie Jean, it was also shown for the first time on Soviet TV, as part of the musical break in “What? Where? When?”. And in the same way, I saw the Queen band there for the first time.
I was 10 or 11 years old, it was 1985 or 1987. As I remember now, it was a performance of the song We Will Rock You, as it turned out later, from that very epoch-making Live Aid concert. And for me, a ten-year or eleven-year-old Soviet teenager, this was generally the first experience of contemplating a live performance of a Western rock group, the very one that was hidden from us, plus or minus, which was not in normal mode, it was impossible to see either on TV or in cinema.
90,000 Speaker is … What is Blues Speaker?
| Blues-Interlocutor Blues-Interlocutor, BS | |
| Genre | Russian rock, blues-rock, rock-n-roll, chanson, folk-rock, reggae |
|---|---|
| Years | 2002 – present |
| Countries | Russia |
| City | Perm |
| Song language | Russian |
| Ingredients | Dmitry Mikheenko, Arseny Shirinkin, Artyom Shirinkin, Ivan Isaev, Artyom Kruglov, Konstantin Reiter, Ilya Samoilov |
http: // bluessobesednik. ru / | |
“Blues-Interlocutor” is a Perm rock group, founded in 2002. The leader of the group, the author of most of the songs and the only permanent member is the poet, composer, performer, Dmitry Mikheenko, also known for his solo projects.
History
Create group
The Blues-Interlocutor group was formed on October 20, 2002 by guitarist and songwriter Dmitry Mikheenko, guitarist Arseny Shirinkin, bass guitarist Artyom Shirinkin and drummer Ivan Isaev.Later, keyboardist Artyom Kruglov, saxophonist Konstantin Reiter and accordion player Ilya Samoilov joined the collective.
I’ve been writing songs since I was 16. Before the Blues-Interlocutor group, I had other projects, mainly of a bardic orientation. It so happened that at one point I met the guitarist Arseny Shirinkin, then he was attracted to the group by his brother, as a bassist – everything actually happened on October 20, 2002. Then the first concert of the Blues-Interlocutor group took place, and we consider this date our birthday.
– From an interview with Dmitry Mikheenko (2009) [1]
It was necessary to hold an event in Polazna, the guitarist and I had already worked out the material, only the rhythm section was missing. And we brought in a drummer and bassist. Since then, everything has started. A little later, keyboardist Artem appeared, then saxophonist Kostya, and not so long ago, accordion player Ilya came to the group. At the same time, sometimes I play acoustic concerts with the guitarist. Of the permanent composition of the “Blues-Interlocutor”, only two members of the group have a musical education: bassist Artyom Shirinkin and multi-instrumentalist Arseny Shirinkin, both graduated from the children’s music school in the village of Polazna in the domra class.
The style of the group during its existence has changed from rockabilly to acoustic rock, from jazz and delta blues, to the traditions of Russian folk; along with the sound, the composition of the instruments also changed.
The musicians themselves ironically call their work “Komi-blues” or “Komi-reggae” [2] . In 2009, thanks to the successful statement of a member of the Huun-Huur-Tu ensemble Sayan Bapy, the style of “Perm folk rock and roll” [3] was entrenched in the group. “I don’t try to call what I do rock.It’s just a song genre, we play it, we sing it, ”says Dmitry Mikheenko himself [4] .
Creative activities
According to Dmitry Mikheenko himself, the history of the group dates back to the first concert, which took place on October 20, 2002 in the Polaznensky DK Tekhniki. The musician’s early songs were used to form the first concert program. In addition to Dmitry Mikheenko and Arseny Shirinkin, the first line-up of “Blues-Interlocutor” included drummer Ivan Isaev (Black Notes group) and bassist Artyom Shirinkin, who took the bass “a week before the concert”.From the time of the first concert in the group’s repertoire, only the compositions “Fighters of the Alcohol Front”, “Faith in the Best” and “I was born when .
..” remained in the group’s repertoire.
In the future, “Blues-Interlocutor” becomes a participant in several local festivals (“Learning to Fly”) and joint acoustic concerts. On May 18, 2003, in the Palace of Culture of Goznak (Perm), the first live recording of the performance of the “Blues-Interlocutor” was made, which is currently not at the disposal of the affiliated group. After the concert, the band temporarily ceases activities, reuniting after four months.From that moment on, the activity of the group began to rise, which became noticeable not only at festivals, open or charity concerts, but also in the press. In 2004 the group includes saxophonist Konstantin Reiter, in 2007 – accordion player Ilya Samoilov.
Touring
Despite the fact that the Blues-Interlocutor project was not originally a commercial project, throughout the years of its existence the team has been actively involved in concert and touring activities. In the field of girth of the territories where Blues-Interlocutor performed, such cities as Yekaterinburg, Chelyabinsk, Kirov, Izhevsk, St.
Petersburg, settlements of the Perm Territory.The group stood at the same concert venues with the groups “Kalinov Most”, “Voskresenye”, “Different People”, “Umka and Armored Car”, “Grassmeister”, “Lumen”, “SP Babai”.
Actually, it is still difficult to expand the geography of the “Blues Interlocutor”, because the group is large, there are many people, and the organizers of events in other cities are not yet ready to pay for travel. While they invite me alone to solo performances. The last two concerts were in Voronezh and Lipetsk. I can’t say that the concerts were sold out, but I made an extremely favorable impression on the audience.
– From an interview with Dmitry Mikheenko (2009) [5]
At various times, “Blues-Interlocutor” became an invited participant in the Grushinsky festival, the festivals “Greenlandia”, Rock-Line, “Pilorama” and many others. “Blues-Interlocutor” and Dmitry Mikheenko, in particular, become laureates of the All-Russian festivals of author’s songs “Aisha – 2004” (Kazan), “Project“ Time Zones ”at the V. Grushin – 2004 “,” Greenland – New Age – 2004 “(Kirov), as well as laureates of poetry festivals” Countrymen “(2001),” Pilgrim “(2003) [6] .
Composition
Current squad
Former squad
At various times in the “Blues-interlocutor” played:
Discography
Official Studio Albums
- 2008 – “On the benefits of bad habits”
- 2011 – “Infinite Dog”
- 2012 – Offseason (EP)
Unofficial albums
- 2003 – “A holiday for yourself” (acoustics).
- 2004 – “Beer and Sex”.
- 2006 – “Everything I need now …”.
- 2008 – “You can’t think.”
Dmitry Mikheenko’s solo albums
- 2005 – “Sentimental Blues”.
- 2008 – “Faces”.
- 2009 – Pocket Blues.
Notes
- ↑ The soloist of the “Blues-Interlocutor” group answered the questions on Properm.ru – News of Perm – ProPerm.ru
- ↑ Blues interlocutor – Rocklab
- ↑ Sayan Bapa, Radik Tyulyush, Kaigal-Ool Khovalyg, Aleksey Saryglar, musicians of the Huun Huur Tu collective: “When it comes to a person, when he plunges into the very mud, then he starts …
- ↑ Dmitry Mikheenko – Persons – Permskaya Afisha – PRM.RU
- ↑ Dmitry Mikheenko, bluesman, author and performer: “There is something original in Perm, but now we are losing it” – Person of the week – 59.ru
- ↑ Dmitry Mikheenko – Concerts, Perm – Perm Afisha – PRM.RU
project participant
Bravo: Rock is no longer a cult
The rock festival Kubana will take place in Riga from 6 to 9 August. This event will delight fans of various genres: the legendary pop singer Lev Leshchenko will perform on the same stage, the Leningrad band, the Dolphin depression singer, popular foreign performers – Infected Mushrooms, Kill the Noise, Hollywood Undead, The Bloody Beetroots, The Locos, Panic! at the disco.The famous Russian band “Bravo” will be the headliner of the Sunday evening. On the eve of this event, Dni.Ru talked with the leader of the group, Yevgeny Khavtan, about how the attitude towards Russian musicians abroad has changed, “archaic” rock and roll, sanctions and pocket hell that interferes with sleep at night.
Evgeniy, now you are preparing to perform at the Kubana festival in Riga. In recent years, you have been touring a lot and actively: you have performed in Belarus, the Baltic states, Israel, London, and at European festivals.Have you felt how the attitude of foreigners towards Russia has changed?
Yes. This affected our compatriots living in Europe, England, Israel and America. Former Russians stopped going to Ukrainian artists, and Ukrainians practically stopped going to Russian. This is very unpleasant, but it is a natural consequence of everything that has happened between Russia and Ukraine over the past two years.
Your last album “Fashion” was released three years ago. The sound of “Bravo” has seriously changed, you have thoroughly approached the recording (it was conducted in the USA with the participation of an American producer.- Approx. ed.). How did the fans take the new album and your cool spread?
In my opinion, “Fashion” is a logical continuation of what I did on the previous albums. The sound – yes, it has seriously changed, since Bravo has never had such a quality of production before.
Once you said: “A rock band today is something terrible for me. If I used to be loyal to it, now the very word” rock “annoys me. It’s not that irrelevant, but just bad form.”
Perhaps these words were overkill. I meant that rock music has become as “archaic” as jazz. Rock has become weekend music, it is no longer a cult as it was for the generation of the 1960s, 1970s and 1980s, and I don’t see any tragedy in that.
At the same time, the album “Fashion” came out very rocky. What style do you refer the album to?
I don’t think “Fashion” sounds rocking, except for some of the songs. And in principle, I stopped dividing music into genres: I divide only by quality – good and bad, and playing loudly with a fuzz on the guitar does not mean playing rock at all. I have a concept that everyone has their own pocket hell, which interferes with sleeping at night, talking with people, and answering phone calls. Do you have your own pocket hell? How do you get along with him?
My pocket hell is the constant thought that my cat is running out of food and will stop bringing it here because of the sanctions. And he eats half a pack a day, no less. The food is Dutch and is sold only via the Internet – our other animal does not eat.
Interviewed by Evgeny Medvedev
90,000 Pocket Steam.Do you need a Steam Deck, the handheld console from Valve
Valve announced the Steam Deck, a handheld console that has Steam and your entire library of games installed on it. Here are two reasons why you should pay attention to this device, and two why you can skip it.
Valve’s Steam Deck comes out in December – a portable console similar to the Nintendo Switch, only tied to a Steam account.There could be a meme about the fact that you will have to buy Skyrim again, but the catch is that you have already bought it – it is in your Steam games library – now you can take it with you on the road.
for
This is the most powerful portable device
The new console is powered by an AMD quad-core processor and has a 7-inch screen with a resolution of 1280 × 800 pixels. Verge calculated the technical specifications in great detail. In short, the Steam Deck is noticeably weaker than the PS5 and Xbox Series X, but more powerful than the Nintendo Switch OLED .The battery should last for a long time, but it is important what exactly you are playing. If in Portal 2 with a frequency of 30 frames per second, then it will be enough for 5 hours; if in a modern game at maximum settings, then only 2 hours. According to journalists who have already tried the new product, it perfectly copes with the Control and Star Wars Jedi: Fallen Order at high graphics settings .
It’s cheap
The console is equipped with two sticks, and underneath there are trackpads for more precise targeting.It can be connected to a monitor or TV through a dedicated station. It can be used to install third-party apps and even Valve’s competitors from the Epic Games Store.
Starting price – $ 400; Gabe Newell says keeping the console’s price low was a painful but critical decision for Valve. For this money, however, you will be offered a basic configuration with a 64 gigabyte hard drive – this is very little, Call of Duty: Modern Warfare alone weighs almost four times more.The space can be expanded by purchasing additional SD cards, but the price, accordingly, will start to rise.
One problem – it is not yet known whether it will be possible to purchase a Steam Deck in Russia, and if so, how much it will cost with us.
Vs
This is Linux
There is still a supply for skepticism. Valve has dominated the PC gaming market for nearly 20 years, but it hasn’t been very successful in everything when it comes to devices. The Steam Controller and Valve Index, which did not become popular, are an example of this.
The most unpleasant analogy is the Steam Machine, a small console for your Steam games that ran on the not-so-popular Linux operating system. It seems that Valve’s experience has taught nothing: the new device also runs on modified Linux.
What’s wrong? Without getting into the technical details, we are talking about the fact that you might not be able to run a bunch of games on the Steam Deck, including Destiny 2, Apex Legends, Rainbow Six Siege and PlayerUnknown’s Battlegrounds .Valve is working on fixing this problem, but at the moment it is not clear whether it will be possible to solve it and, most importantly, whether such difficulties will arise with each new release that is not adapted for Linux.
PC you already have
One of the reasons for the popularity of Steam is the multitasking PC on which it is installed. Simply put, the ability to flip through the browser while in the next window there is a selection of players in the next Counter-Strike match is not just a pleasant trifle, but an important part of the service.If a game library exists separately from such a service, it turns out to be something like a defective personal computer. Yes, you can take it with you, but you won’t be able to work with it. Whether this is a profitable exchange is still unknown.
Steam Deck comes out in December this year, priced between 400 and $ 650. Whether it will be sold in Russia, we repeat, it is still unknown.
Topic details
Why Xbox Series S was the perfect console for very busy people
Why Xbox Series S Was The Perfect Console For Busy People
90,000 Why no one uses money at Burning Man in Nevada
The Burning Man Festival, which takes place at the end of August on the Oregon-Nevada border, is full of anything.A stretch of lifeless desert turns into an arena of the most unimaginable structures – from multi-meter statues and tracery towers to a gigantic gramophone traveling on rails. Huge tents are being built, where music thunders all night and crowds of people dance, and small bars, which offer cocktails or menus exclusively from the hugs. After a week, all traces of the giant camp disappear, only to reappear a year later.
The history of the festival began in 1986, when Larry Harvey and Jerry James burned a wooden effigy on the Baker Beach in San Francisco on the summer solstice.They decided to repeat the same thing the next year. This continued until 1990, when the police banned the burning of a 12-meter figure, which had already gathered 500 people to look at. They decided to move the event to the Black Rock Desert in Nevada. The popularity of the festival grew, and in 2010 more than 50,000 burners came to Burning Man. Tickets are sold in advance and cost between $ 210 and $ 360. For each exit from the territory, you will have to pay another $ 20. All the money goes to the organization of the festival, because only for the right to use the site of the desert, Harvey pays the Nevada authorities almost one and a half million dollars.
Each year the festival has a special theme: last year, when I went there, it was “the life of big cities”, now – rather abstractly – “rituals of transformation”. Accordingly, new objects and compositions are invented every year. However, something never changes at Burning Man.
Black Rock is located at the bottom of a salt lake that dried up 20,000 years ago. Something like this, probably, Mars looks like: a lifeless desert surrounded by mountains, underfoot – solid cracked earth, covered with the finest lime dust, in the daytime – about 40 degrees, a scorching sun, which is sometimes not visible due to dust storms.At the same time, at night the temperature drops to 10 degrees and below, and stars the size of a fist shine in the black sky.
The Martian colony of Black Rock City looks like this: from Playa, a section of desert with a radius of about three kilometers, streets diverge in concentric arcs, which for convenience are called the names of large cities in alphabetical order – Athens, Baghdad, and so on. The shortest, but also the busiest street – Esplanade – borders Playa, where the most interesting sites and camps are located.The streets are crossed by avenues named by the hour – from 2.00 with half-hour marks until 10.00. The address of our camp sounded like “at the corner of Jakarta and 8.30”. Everyone understood.
The only way to get around is a bicycle, and if you don’t make it special (don’t paint it, don’t glue it with fur, don’t attach a mannequin to the trunk, etc.), it will be considered public, and everyone can take it there with a pure heart, where you leave it. From motor vehicles, mutant cars are allowed: a bus converted into a caravel, a pink plush Cadillac with an open top, a neon boar, a car from a supermarket with a jet engine.But all this must be registered in advance.
It is difficult to describe what the Burners look like: someone is wearing a Superman or Santa Claus costume, someone is leather and fur, someone is wrapped in latex, and some generally prefer to go without clothes. But in general, a typical Berner has terribly dusty complex clothes of beige-brown-khaki shades, a flask (for drinking) and an iron mug (for pouring) on his belt, and glasses like aviator’s on his head, protecting the eyes from dust.
Firstly, money is not used on the Black Rock territory: everything you need to take with you, if something is missing, exchange it.It is customary to visit, meet, give gifts, treat. Some come for a week without anything at all and survive just fine. Secondly, the principle “Leave no trace” is valid. All participants take out not only garbage, but also dirty water (it is forbidden to spill anything on the ground), cigarette butts (all smokers carry pocket ashtrays), and the remains of structures and art objects at the end of the festival are burned on a special platform. Thirdly, there are no spectators at Burning Man, but there are only characters, that is, if you have arrived, then be so kind as to participate in the life of the city.
This participation can take many different forms.
