Exploring Deceleration and Change of Direction with Daniel Bove from the Philadelphia Flyers

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The obsession with shapes and patterns, whether we were at dinner last night or taking me through the hands-on, it's almost like that's how you see things.
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And then talking more with you had such a background in art.
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I can't help to think that's where this connection comes through.
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Is am I right with that?
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Yeah, I mean, honestly, since I can remember, I was always sort of fascinated with uh being creative and honestly art.
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I I came into uh my undergrad, I actually came in in under architecture and then moved to fine art as my major, and then about midway through, as most art majors do, they switch to kinesiology.
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So um, so switch from art to kines, and but my background has all my foundation is in fine art.
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So when I work on any project, I come come at it from an artistic lens because that's just how I see it, and that's how it sticks in my brain.
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If I can create these shapes that I can visualize and you know burn them into my brain, then I can better teach them and I can I can better explain them to others.
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Like, and even if you go through you know one of my first books, like quadrant system, it all came about through literally just thinking about quadrants and where people can be placed and visualizing it on a whiteboard, and it just sort of took shape from there, but it always starts with the visual component with in my brain.
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It starts visual and then it kind of works backwards from there, and it's the same with the the speed stuff or what you see in redirect.
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I think I mean that that's kind of the whole premise of this project in general, is I'm a visual learner and I I learn best from watching, hearing things, it helps me like kind of attack a thought from two different angles.
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I'm listening to it and I'm watching it.
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When you say the art piece and the shapes, and you said it helps you kind of are relate to things or talk to people.
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Did that come out of a necessity with like working with front office or athletes, or you're like, man, I'm trying to give you a glimpse of inside my mind, a thought process I'm trying to give.
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So you give them these shapes and these patterns kind of to for them to kind of be reference what's going on in your side of your head?
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Yeah, I mean, so it's always it always manifests out of trying to solve a problem.
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When we talk quadrant system, that actually started out as a project that I was working on with Corey Schlesinger when we were working together in Phoenix.
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We were looking at how we can collaborate to combine stressors of encore and weight room stuff.
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And we just whiteboarded it.
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I said, Hey, this is this is how I see it visually.
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And he said, Holy shit, that's awesome.
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He's like, You need to put that out there.
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And with his support, I did.
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Yeah.
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Put it out.
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Takeoff, which was the next one, was all about trying to answer questions that we were asking in the weight room, like, hey, is the stimulus that we're providing plyometrically or with like a holding ISO, is this giving us the actual like force signature that we think it is?
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So then we just started testing things on force plates, visualizing them, and then it became takeoff.
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With redirect, it sort of all started with you know, when I got into the NBA, it was just bigger, faster, stronger.
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But then as I morphed into a director of performance, you start to get questions about all kinds of stuff.
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Um, player development, they're trying to get guys to go over and under screens better or have better help defense or move and transition better, and which is a very niche specific skill to be able to analyze that and then intervene in a way that's gonna help, right?
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Front office comes to you, and the front office says, Hey, we're looking to draft so-and-so out of Illinois, like, look at this film.
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Do you think he moves well laterally?
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Like, what do you think about him?
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Can he put on weight?
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Can he do this?
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And they're asking you to come in and assess whether it's good or bad.
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And then if it is good or bad, then what do you do with it?
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And you have to have a foundation, you have to have a model of okay, this is what a shuffle should look like.
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And I think the first time I ever was really exposed to multi-directional speed and this model approach was Lee Taft back in, I think it was 2017, 2018.
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I was with Corey and Phoenix.
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We had Lee Taft come in and do a staff workshop with us.
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And at that time, I think my whole exposure to speed was just like straight line running, just like you know, if you can be fast in a straight line, you're gonna be fast everywhere, right?
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Yeah.
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Um, but the lead comes in, he puts us on the court, and he's having us do all these different variations, a lot of run, hip turn, change of direction, and he's cueing us in real time, fixing movement patterns in real time, just giving us these little quick cues, or maybe throwing a band on and having you feel something different.
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And I was like, oh wow, there's levels to this.
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Yeah.
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And that's when I started to really get interested in better understanding, okay, how do you assess and then coach multi-directional speed so that I can help not only the players I'm working with, but then also help the front office when they're looking at, hey, like how does this guy move or can he get better and being able to look at those those those aspects.
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And I also think um, you know, we we are in this like sports science age and data is so abundant, but like I can't really coach a number.
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So if I'm assessing you, and like, yeah, 1080s are great, I use 1080s, um, I use timing gates, I use force plates, I use these numbers to make sure objectively we're making changes, but I can't really coach a number.
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So, you know, throughout this redirect project that I that I started, it was basically it started out was like, hey, I want to create these movement models by using kinograms to break the movements down, but I don't want to just do it in one plane, I want to do it from three or four planes, right?
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So I want to do drone over top, side view, front view, back view, so that I can see everything that's happening.
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More than you can actually see as just a coach.
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If I have you doing a squat, I'm seeing it from one angle.
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Yeah, I can walk around you, but to be able to sync them all up and look at them all together, you can start to get a lot of context that you can't necessarily get.
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So in developing these models, you start to see what good positions are, what good postures are, and what inefficient postures are.
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And then that's when you can start to train them and intervene on them.
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So that's kind of that's how the project sort of took shape.
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That's a kind of a long-winded way of answering your question, but that's that's kind of how it all came to be.
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So a project like that that is different.
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And I don't know anyone else that's done that.
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I would assume, like largely, that's probably a pretty big discovery process of of yourself.
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Like you are trying new things, this is different.
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What are some of the things you discovered along that way that maybe maybe you weren't expecting, or you were like, oh, this validates what I'm doing, this makes sense?
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Great question.
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I think, well, I think first, first off, I just want to lay the lay the foundation that like I never start out with I'm starting this and I'm writing a book.
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Yeah, and that's what this is, or it's a project.
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Because it never really starts out as a project, it starts out as I'm trying to understand the model so that I can help the athletes and I can help the front office and I can help the player development staff.
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I love that.
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That's what it starts with.
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Yeah.
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And then it's it's like 80 to 90% of the book kind of gets written just by osmosis and just by going about my day.
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And then eventually it gets to a point where it's like, oh wow, I think this can help people, and I think this could be a special resource.
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And then I start to curate it and put it together.
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Um, during this one, I mean, I never really dove speed is a whole science in itself.
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And I'm not, I'm not on the level of a lot of speed coaches out there.
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But the things that I really tried to focus on were just like, what were those key, what are those key shapes, positions, and drivers of speed?
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And a lot of it comes down to you know, touchdown location, trunk control, center of mass displacement.
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And that can kind of be applied to every speed pattern, um, whether it's a shuffle, a sprint, a D cell, a change of direction, uh hip turn, all these things, all these vectors, it all applies and they're very connected.
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And as you're going through these kinograms for all these movements, like a backpedal.
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Like, you know, no one really looks at a back pedal from three or four different angles and tries to understand exactly what it is.
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That's what I was trying to do.
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And at the very end, it was like, wow, this could be a good resource for people.
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Let's put it together.
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That never started out as that.
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If that makes sense.
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So I want to take you through a COD or change of direction prep series.
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Okay.
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Okay, so when we break down the change of direction, we can break it into a few different phases.
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For today, we're gonna focus specifically on the deceleration, the transition, and the reacceleration.
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Okay.
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Okay.
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Uh, someone that I'm that I am friends with asked me the other day, they said, hey, how do you go about programming change of direction in season when it's so neurologically taxing?
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And especially for a sport like basketball or pro basketball where you're playing 82 plus games, that's a lot.
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They're getting that from the game.
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Same with hockey.
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82 games, now 84 games is actually quite a bit.
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But you're not necessarily needing to train specifically the full out effort of change of direction, everything altogether.
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If you know how to break it down into the phases, the ones I just told you, and you know how to look at the positions in something like a kinogram where you're taking, you know, a side image or a side video of these specific postures, you can start to intervene on the D cell, intervene on the transition, intervene on the re-excel without actually having to have them do the whole gambit of a change of direction.
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So the first thing we're gonna do is we're gonna get into the COD prep series.
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I'm gonna have you start with the deceleration and we're gonna work from there.
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Okay.
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A lot of this is gonna be with a band with a lot of heavy tension.
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Um, when we look at, we break down why we use a band.
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We use a band, for instance, in like a resisted sprint, which is probably what people are most used to.
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What we're really trying to do is stop forward motion.
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We're slowing down velocity.
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What that allows us to do is apply a little bit more force to the ground horizontally, and it allows us to have a support structure to lean against to hit positions that are important, postures that are important.
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So it slows everything down for us.
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So everything we do today is gonna be based around that framework.
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Okay.
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Okay, so with that in mind, knowing that a resisted sprint, I'm anchoring from the back, the the I'm gonna say a lot of things about trunk posture today.
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So the trunk is essentially the steering wheel for multi-directional speed.
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The body is gonna go where the trunk goes, but also the trunk, when stacked correctly over the body, allows me to apply force efficiently.
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You know, anyone who knows jumping or squatting as a tip, like a just general strength conditioning concept, stacking is gonna allow you to apply a little bit better force.
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When I'm leaning forward, I'm really stacked and ready to go to apply force backward to propel forward.
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As I get into more upright running, I actually end up stacking vertically and I can apply force down, which is what you do at max speed.
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And then when I decel, I'm actually leaning back more and I'm gonna plant in front of the body, applying force in the opposite direction.
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So when we're talking about trunk posture, that's why it's so important.
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So when a lot of these, a lot of the cues here are gonna be around the trunk.
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Um, so we're gonna go opposite of a resistant sprint right now.
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We're gonna actually move into a deceleration posture.
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We're gonna anchor the band in front of us because we do know we need to stop center mass from moving forward.
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We plant in front and we sit back a little bit.
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Okay.
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Okay.
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So what I'm gonna have you do is let's go ahead and get ready in this belt.
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Where am I putting this thing at?
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Yeah, so we're gonna actually go around the center of mass.
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So a lot of people they do make the mistake.
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Oh, it's not a mistake, but the way I like to do it is I like to not really be over the lower back.
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I like to be right around the hips, okay, right around the pelvis, so right around the butt right there.
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And what I'm gonna have you do is I'm gonna have you face this rack and I'm gonna have you get some decent tension.
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Let's actually center this for me.
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Center this like right in the middle, right there.
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Good.
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And I'm gonna have you get some tension on it.
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So just take like a half a step back if you can.
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Good.
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Other foot two in parallel.
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So I want you to be in parallel.
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Oh.
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So pretend like you're doing a wall sit.
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Okay, so we're gonna be 90 degree angles, perfect.
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You're already doing what I want to see you do.
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So you have a nice vertical trunk, which is typically an early deceleration.
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That's what I want to see.
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As you move into later deceleration, that angle on a sharp change of direction is gonna start to face this way as you plant and get ready to re-excel out.
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So right now, I like your position.
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Okay.
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Okay.
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So feel your big toe, feel your heel.
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Go ahead, let's take it a little bit deeper if we can.
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Good.
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So in this position, you've got the right trunk posture.
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I like what we're doing.
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Let's go a little bit deeper if we can.
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Okay, we can even pulse a little bit there.
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Okay.
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You feeling up to it?
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Good.
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Yeah, you're a terrible person.
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Good.
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Okay.
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Good.
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Let's take a rest.
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Go ahead and stand up.
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All right.
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So just a typical, you know, this is part of a warm-up, prepping tissue, prepping the posture that I want to see.
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Now we're gonna start to move a little bit more into single leg variants.
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So let's go back, let's hit that same 90-degree little bit of a sit there.
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You want vertical shins?
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You know what?
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Shin, I'm not too worried.
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That's good right there.
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I like that.
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That's good.
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You're gonna get a little bit of all of the whole excursion during a D sell.
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You kind of you will get a vertical and you'll get actually a roll through.
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Yep.
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I'm cool with what you're doing right now.
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Okay.
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All right, so here, I want you to go ahead and take your left leg off the ground and hold.
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You can re-sh, you can you can kind of reset yourself.
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Good.
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Switch other side.
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Good.
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Switch back.
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And switch back.
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Good and rest.
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Alright, good.
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And what I'm looking for there, I'm just looking to see well, do you have the strength to be able to hold that position?
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But then also what happens to your trunk, and your trunk looks pretty good.
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You didn't really lean forward, you kept that vertical.
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Do you find when they don't have that leg strength?
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They have to like lean forward or lean back.
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You will see a little bit of that.
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That tends to be a big flaw with this type of training.
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But this specific angle we're trying to hit, the trunk will start to lean forward.
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Okay.
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Um, so now what I'm gonna have you do is we're actually gonna go a little bit deeper into a split squat position.
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Okay, so for this one, the same thing goes for the trunk, vertical angle.
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Okay, so we're gonna go ahead and keep some good band tension.
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I want some real horizontal pull so you're really preventing yourself from moving forward just like a D cell.
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So go ahead and get into a split squat for me.
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All the way down.
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All the way down if you can.
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Good.
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Hold.
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Nice, good position.
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I like it.
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Good trunk hold.
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Alright, now I want you to pulse a little bit for me.
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Good.
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I want you to come up and rest.
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Okay, there's a lot of band tension on that.
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Yeah.
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Alright, so I gotta give ample rest here.
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The next thing I'm gonna have you do is we've controlled it in an isometric.
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I'm gonna have you start to actually move your center mass forward and backward.
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So it's kind of like a closed chain knee extension.
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I see what you're saying.
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That's just drifting my body forward.
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Okay.
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Right.
00:14:36.799 --> 00:14:42.000
Now the big thing here to feel this correctly, I really like to make sure that that is around the hips and not the back.
00:14:42.080 --> 00:14:44.080
So if it starts to ride up, push it back down.
00:14:44.559 --> 00:14:49.440
What I really want to see is I want to see you get back with full leg knee extension to start.
00:14:49.519 --> 00:14:52.240
So let's go ahead and get into that split squat position.
00:14:52.399 --> 00:14:53.759
And I'll hand you these.
00:14:54.080 --> 00:14:58.000
Do you like more of a banded tension versus uh like a cable, like a cable stack?
00:14:58.240 --> 00:15:01.519
Like cable works if you have enough, you have to have a lot of tension.
00:15:01.600 --> 00:15:03.679
So a lot of weight to support yourself.
00:15:03.840 --> 00:15:04.080
Yeah.
00:15:04.240 --> 00:15:12.320
Um, one of the things I really do, and this isn't this isn't a plug, but like the Vulture units are really good for yeah, Vultras and 1080, like those are great.
00:15:12.399 --> 00:15:21.279
I love to actually, I do like an overloaded eccentric on it where it'll actually yank you back and it's a little bit, it feels more like a like a horizontal D cell.
00:15:21.360 --> 00:15:21.519
Yeah.
00:15:21.679 --> 00:15:23.919
Um, those are really good for what we're doing here.
00:15:24.159 --> 00:15:26.240
So what I'm gonna have you do is use these as support.
00:15:26.399 --> 00:15:30.000
So I want you to go ahead and find that split squat position for me.
00:15:34.320 --> 00:15:34.720
Good.
00:15:34.879 --> 00:15:37.120
You got good tension on that band, you feel good force?
00:15:37.600 --> 00:15:37.919
Yeah.
00:15:38.080 --> 00:15:38.320
Okay.
00:15:38.480 --> 00:15:45.200
Now what I'm gonna have you do is start back in extension, knee extension, good, and trying to keep your center and mass at around the same level.
00:15:45.360 --> 00:15:47.200
I want you to go ahead and move forward.
00:15:47.519 --> 00:15:52.879
Center mass comes forward, rock forward, and then push yourself back.
00:15:54.159 --> 00:15:54.799
Good.
00:15:55.759 --> 00:15:58.159
Good and pay attention to the trunk here.
00:15:58.480 --> 00:16:00.000
Good and push back.
00:16:00.960 --> 00:16:02.720
Good, let's go move one more.
00:16:04.399 --> 00:16:05.759
Good and push.
00:16:06.720 --> 00:16:07.360
Good.
00:16:07.840 --> 00:16:08.480
And rest.
00:16:09.440 --> 00:16:09.840
Good.
00:16:10.080 --> 00:16:12.080
How many reps are you looking at for something like that?
00:16:12.240 --> 00:16:15.360
Uh if it's slow and controlled, honestly, like five reps.
00:16:15.519 --> 00:16:19.039
I'm looking for a nice three-second eccentric, three-second concentric.
00:16:19.200 --> 00:16:31.600
So in basketball players, there's a ton of patella tendinopathy and HSR, heavy slow resistance training, is something that is is researched and basically one of the best methods for improving tendon health.
00:16:31.840 --> 00:16:40.080
This isn't gonna provide quite the load you need for an HSR, but what it does allow is it does have a little bit of an analgesic effect.
00:16:40.159 --> 00:16:45.039
So if you do have a guy that has a hot patella and you're trying to get them out of pain a little bit, it can't help.
00:16:45.200 --> 00:16:45.360
Okay.
00:16:45.519 --> 00:16:46.799
Um, it's great for warmups.
00:16:46.879 --> 00:16:48.320
I do like using it for that.
00:16:48.559 --> 00:16:56.879
Um, now the next thing that we're gonna do is we're gonna start to actually load your trunk in the split squat position.
00:16:56.960 --> 00:16:57.200
Okay.
00:16:57.360 --> 00:16:58.720
And I'm gonna take these from you.
00:16:58.960 --> 00:17:02.159
If you feel good with the split, you can actually get rid of these and do the same thing.
00:17:02.240 --> 00:17:03.440
I call that D cell rocking.
00:17:03.600 --> 00:17:04.960
Yeah, I've done that before just for me.
00:17:05.279 --> 00:17:06.880
Um just kind of sliding back and forth.
00:17:06.960 --> 00:17:11.920
I've noticed for me personally, especially if my knee is like a you know, that feeling of like kind of clunky.
00:17:12.079 --> 00:17:13.759
It's just kind of not feeling that great that day.
00:17:13.839 --> 00:17:18.079
And I got squats, something like that, just kind of loading that tissue, just kind of gliding back and forth feels good.
00:17:18.240 --> 00:17:18.559
100%.
00:17:18.880 --> 00:17:28.799
And it's it's super relative to a D cell when I'm actually I'm throwing that tibia in front of the center of mass, starting with the heel, rocking to the midfoot, and then I'm actually towing off under the hips.
00:17:28.880 --> 00:17:33.279
So I'm getting that full foot and I'm getting that quad and that knee to kind of work together.
00:17:33.359 --> 00:17:36.400
Yeah, um, it's very, very relatable to the D cell.
00:17:36.480 --> 00:17:42.000
So I love that as part of the prep and part of getting them to control the trunk and the knee together.
00:17:42.480 --> 00:17:46.240
Um, so you know you can do that with or without mobility sticks.
00:17:46.559 --> 00:17:56.400
Uh, the next thing I'm gonna actually have you do is I'm gonna have you get into the split squat ISO, really solid trunk position.
00:17:56.559 --> 00:18:03.200
Now, what I'm gonna do is I'm gonna put my hands on your shoulder blades and I'm gonna push you forward for five seconds, and you need to resist me.
00:18:03.359 --> 00:18:05.279
Do not let me push your trunk forward.
00:18:05.440 --> 00:18:05.839
Yep.
00:18:06.559 --> 00:18:07.119
Good.
00:18:10.079 --> 00:18:10.720
Good.
00:18:11.119 --> 00:18:11.759
Rest.
00:18:12.960 --> 00:18:16.160
Man, that's a that's a big difference from pushing the upper body.
00:18:16.240 --> 00:18:20.160
Like, yes, I didn't realize my pelvis would shift so much just from that.
00:18:20.400 --> 00:18:22.160
You should feel a ton of inferior glute too.
00:18:22.240 --> 00:18:22.400
Yeah.
00:18:22.559 --> 00:18:23.839
Right up in that hamstring tie-in.
00:18:23.920 --> 00:18:24.160
100%.
00:18:24.400 --> 00:18:25.200
There's a lot there.
00:18:25.359 --> 00:18:41.599
Now, obviously, I'm trying to challenge you to keep a vertical trunk, but in sport, especially in more subtle change of direction movements, where maybe it's like a 10 or 20 degree cut, and sometimes I might be accelerating and then going into a cut from an acceleration, not really a full stop the way that we're kind of training right now.
00:18:41.839 --> 00:18:42.480
Does that make sense?
00:18:42.640 --> 00:18:42.960
Yeah.
00:18:43.279 --> 00:18:58.000
So, because of that, you know, we know in sprinting, when I one of the leading risk factors for hamstring injuries in sprinting is when you're at high speed, making contact in front of the center of mass, you create a braking force which is really tough on the hamstring, especially when you have poor trunk control.
00:18:58.160 --> 00:18:58.559
Yep.
00:18:58.960 --> 00:19:04.720
But in some deceleration events in sport, that happens.
00:19:04.799 --> 00:19:08.720
It's part of the sport and it's part of what creates the advantage on the field.
00:19:08.799 --> 00:19:20.240
So, for instance, in basketball, a guy might be going full transition speed and they might do this little like glide up in the air to basically misdirect or hesitate so the defender doesn't know where they're gonna go.
00:19:20.400 --> 00:19:23.759
And then they brake step at high speed in front.
00:19:24.160 --> 00:19:25.759
I'm not gonna tell them not to do that.
00:19:25.839 --> 00:19:33.599
They need to be strong enough to be able to handle that, especially if I start to add in that trunk lean, which is gonna prepare them to then go and accelerate.
00:19:33.680 --> 00:19:33.839
Yep.
00:19:34.000 --> 00:19:37.039
And I'm not gonna cue them out of that, but I need to make them strong enough to be able to handle it.
00:19:37.200 --> 00:19:37.519
Absolutely.
00:19:37.680 --> 00:19:40.960
So the next thing I'm actually gonna have you do is I want you to go into a compromising position.
00:19:41.119 --> 00:19:44.720
I want you to actually get into that split stance and I want you to lean forward a little bit.
00:19:44.880 --> 00:19:48.720
We're gonna go ahead, see if you can hinge on that left hip forward.
00:19:48.960 --> 00:19:49.200
Yep.
00:19:49.359 --> 00:19:50.720
Now resist this.
00:19:51.119 --> 00:19:51.920
Here we go.
00:19:52.160 --> 00:19:52.720
Yeah.
00:19:53.039 --> 00:19:55.200
You should feel a ton of inferior glute here.
00:19:55.279 --> 00:19:55.680
Yep.
00:19:56.000 --> 00:19:56.640
And rest.
00:19:57.119 --> 00:19:57.519
Good.
00:19:57.759 --> 00:20:05.680
Yeah, I definitely that is definitely different because now that tie-in is is way higher, and I feel like my body just compressed.
00:20:05.839 --> 00:20:06.400
Yes, yes.
00:20:06.480 --> 00:20:09.519
And you you created length, and then we're loading you at length.
00:20:09.680 --> 00:20:15.359
Okay, now you imagine doing that fast now where you're pitching in front and you have the the trunk angle here.
00:20:15.519 --> 00:20:20.559
You can see why, if you're not prepared, that can get kind of dicey, right?
00:20:20.720 --> 00:20:25.599
Um, okay, so we've worked on creating force in all of these D cell angles.
00:20:25.759 --> 00:20:30.880
Now I want to actually add a little bit of RFD, some rate of force development, just get it to happen a little bit quicker.
00:20:31.039 --> 00:20:32.559
So everyone knows about a snap down, right?
00:20:32.720 --> 00:20:34.240
Snap down to a single leg.
00:20:34.400 --> 00:20:36.400
What I want you to do is I want you to go back.
00:20:36.480 --> 00:20:38.079
We're gonna go back to our first position.
00:20:38.160 --> 00:20:39.599
So that little wall sit we did.
00:20:39.680 --> 00:20:40.480
Yep, right.
00:20:40.559 --> 00:20:43.279
So let's make sure, make sure this isn't riding up.
00:20:43.359 --> 00:20:45.440
Let's make sure it's right on the hips.
00:20:45.680 --> 00:20:49.839
Okay, so what I want you to do is we're gonna go into our snap down position and get up nice and tall.
00:20:49.920 --> 00:20:55.920
And when you snap down, I want you to snap down with a vertical trunk, and you're gonna go ahead to one leg.
00:20:59.440 --> 00:20:59.920
Good.
00:21:00.160 --> 00:21:01.119
Try the other.
00:21:05.440 --> 00:21:05.920
Good.
00:21:06.240 --> 00:21:10.960
See if you can get a little more tension on the band, lean into it more and have more of a vertical trunk.
00:21:11.200 --> 00:21:11.279
Okay.
00:21:11.519 --> 00:21:12.559
You came forward a little bit.
00:21:13.119 --> 00:21:14.079
Trust the band.
00:21:16.319 --> 00:21:16.799
Good.
00:21:17.119 --> 00:21:17.519
Better?
00:21:17.839 --> 00:21:18.160
Better?
00:21:18.319 --> 00:21:19.359
Give me one more.
00:21:22.319 --> 00:21:22.960
Good.
00:21:23.599 --> 00:21:24.079
Solid.
00:21:24.160 --> 00:21:24.319
Yeah.
00:21:24.799 --> 00:21:25.519
Just trusting the tension.
00:21:26.079 --> 00:21:27.119
Trusting the tension, right?
00:21:27.359 --> 00:21:35.759
So now what I want is so that took us from a point of basically zero contact with the ground to a very quick loaded pattern.
00:21:36.000 --> 00:21:39.599
Now we can start to mess around with a little bit of a little bit of a lunge.
00:21:39.680 --> 00:21:39.839
Okay.
00:21:40.000 --> 00:21:41.279
So just kind of lean, go into it.
00:21:41.359 --> 00:21:42.799
We don't gotta go super deep.
00:21:43.440 --> 00:21:45.599
Just a little bit of like a quarter lunge right there.
00:21:45.759 --> 00:21:46.240
Good.
00:21:46.480 --> 00:21:46.720
Good.
00:21:46.799 --> 00:21:47.920
And you can alternate.
00:21:48.480 --> 00:21:49.759
I want tension back on the eye.
00:21:50.000 --> 00:21:50.720
You want tension, yeah.
00:21:52.079 --> 00:21:52.400
Good.
00:21:52.640 --> 00:21:53.599
Bounce out of it.
00:21:53.839 --> 00:21:54.079
Good.
00:21:54.240 --> 00:21:55.920
Give you one more on each side.
00:21:56.319 --> 00:21:56.960
Good?
00:21:58.000 --> 00:21:59.759
Alright, now what I'm gonna have you do.
00:22:00.240 --> 00:22:01.680
And I'm not giving you a lot of time to rest here.
00:22:01.920 --> 00:22:02.240
You're fine.
00:22:03.759 --> 00:22:05.839
So now we're gonna go into a split squat position.
00:22:06.000 --> 00:22:08.799
So let's go ahead and get into that back into that split squat ISO.
00:22:09.039 --> 00:22:12.799
And what I'm gonna have you do is I'm gonna have you just do a little bit of bouncing here.
00:22:12.880 --> 00:22:13.519
A little bit of bouncing.
00:22:13.680 --> 00:22:14.319
Both leave the ground.
00:22:14.480 --> 00:22:16.000
Both feet leave the ground.
00:22:19.440 --> 00:22:20.559
Good and rest.
00:22:20.880 --> 00:22:21.680
That's stand up.
00:22:21.839 --> 00:22:27.759
Now what we're doing, every time we leave the ground, we're no longer basically putting impulse into the ground.
00:22:27.839 --> 00:22:31.200
And then as soon as we hit the ground, we have to apply it immediately.
00:22:31.359 --> 00:22:31.440
Yeah.
00:22:31.680 --> 00:22:33.440
So that RFD component is there.
00:22:34.000 --> 00:22:36.079
Otherwise, it's gonna yank us forward.
00:22:36.240 --> 00:22:36.559
Right?
00:22:37.119 --> 00:22:42.160
So the next one that I like to do from there is I like to actually work on switching.
00:22:42.240 --> 00:22:43.200
So we're gonna bounce.
00:22:43.359 --> 00:22:47.279
You're gonna go bounce, switch, bounce, switch.
00:22:47.440 --> 00:22:47.759
Okay.
00:22:48.400 --> 00:22:50.319
How deep am I getting in this split squad?
00:22:50.400 --> 00:22:56.559
Is that so um depends on which side, which which part of the D cell you want to work?
00:22:56.640 --> 00:23:00.480
As you get further into a D cell, late D cell, the angles get a little bit deeper.
00:23:00.559 --> 00:23:02.880
The range of motion, you your center mass goes lower.
00:23:02.960 --> 00:23:04.079
So you have to hit bigger.
00:23:04.559 --> 00:23:06.079
So it's something you can explore based upon the first.
00:23:06.480 --> 00:23:07.279
Explore explore.
00:23:07.359 --> 00:23:09.839
Early D cell range of motion is gonna be a little bit more shallow.
00:23:09.920 --> 00:23:10.240
Yeah.
00:23:10.480 --> 00:23:12.160
Further into the D cell, a little bit deeper.
00:23:12.240 --> 00:23:14.319
I like training both, and it depends on the sport too.
00:23:14.480 --> 00:23:18.319
Basketball, you're in these lunging patterns, you're deep, depending on how you play.
00:23:18.559 --> 00:23:20.559
They may dictate how you also train these.
00:23:20.720 --> 00:23:20.880
Okay.
00:23:20.960 --> 00:23:22.799
So let's go ahead, let's get on that switch.
00:23:22.880 --> 00:23:24.400
So we're gonna go deep.
00:23:25.039 --> 00:23:26.640
Give me a bounce, switch.
00:23:26.799 --> 00:23:28.319
Good, good.
00:23:31.279 --> 00:23:32.160
And good.
00:23:32.880 --> 00:23:45.200
So, what are some of the things you're looking for when you put these athletes, and then you start this assessment process, or you're watching film, or an athlete comes in and the front office asks you to what are some of the things that you are looking for for some of these athletes?
00:23:45.519 --> 00:23:46.160
Good question.
00:23:46.240 --> 00:23:49.119
Uh definitely just depends on the sport and basketball.
00:23:49.200 --> 00:23:59.519
Um, one thing that I was very uh very big on was understanding how guys moved in different planes and some of the the movements that more are more relative to basketball.
00:23:59.599 --> 00:24:08.720
I really wanted to know like how well you desell, how well you transition, how well you come out of the hole in a reacceleration, and then doing it on both sides, like a left versus right.
00:24:08.880 --> 00:24:12.160
I find a lot of utility out of not even necessarily looking at the output.
00:24:12.240 --> 00:24:20.160
Yeah, the output and the number is cool, but then looking at the difference between left and right and seeing like how do you how do you strategize a D sell on your left versus your right?
00:24:20.240 --> 00:24:22.000
How do you plant on the right versus the left?
00:24:22.160 --> 00:24:23.279
How do you come out of the hole?
00:24:23.359 --> 00:24:24.720
What's the thigh separation look like?
00:24:24.799 --> 00:24:26.319
What's the trunk angle look like?
00:24:26.480 --> 00:24:31.039
Um, are you creating stiffness at the ankle coming out of the hole on that side versus that side?
00:24:31.119 --> 00:24:33.359
Like it's just there's so many things that you start to see.
00:24:33.519 --> 00:24:46.640
Um, but for instance, a basketball guy, because you get so much out of something like a 1005 or like 180 degree, now you're not doing a ton of 180-degree change of direction in basketball, but I do want to know what your D cell looks like.
00:24:46.720 --> 00:24:52.160
And I do want to know how you transition and I do want to know how you come out of it because you can learn a lot about an athlete that way.
00:24:52.400 --> 00:25:10.160
Um, something like a seven-meter uh lateral shuffle, looking at how you integrate your upper body with your lower body, which is a big part of shuffling that you know you can always tell when you're working with someone who's not super athletic or hasn't done a lot of like lateral work because they don't even use their upper body, right?
00:25:10.240 --> 00:25:13.519
They just kind of they're stiff here and their feet are kind of straightforward.
00:25:13.599 --> 00:25:15.200
They're not even turning that outside foot.
00:25:15.279 --> 00:25:18.400
So there's a lot of stuff you start to pick up on by looking at that.
00:25:18.640 --> 00:25:23.680
Um hip turns, hip turns are a huge part of defending in basketball.
00:25:23.839 --> 00:25:35.519
Being able to basically keep my trunk facing you, or I might be guarding you, and or and I have to very quickly at an instant turn the hips and redirect really quickly.
00:25:36.160 --> 00:25:44.640
Like there's things you learn about what the trunk does, what the pelvis does, and then where the touchdown point is, and then is your trunk in the right position to push off that foot?
00:25:44.799 --> 00:25:49.279
There's so much stuff that you start to see, and it it's it's the all these patterns are the same.
00:25:50.000 --> 00:25:54.079
The things that drive the shuffle, drive the sprint, drive the hip turn.
00:25:54.319 --> 00:25:59.119
So um those are the big things in basketball that I like to I like to look at.
00:25:59.279 --> 00:26:00.240
But um, yeah.
00:26:00.559 --> 00:26:05.759
I love the details of just like not picking up the breadcrumbs that people step over.
00:26:06.000 --> 00:26:12.799
And I think when I hear the words change of direction in sports, it's almost like it's just like a con like one concept.
00:26:12.960 --> 00:26:27.680
And the way I've heard you talk since even since dinner last night is obviously the overarching thought is change of direction, but like the emphasis on the deceleration, on the transition, on the reacceleration, has that helped you coach the concept of change of direction better?
00:26:27.759 --> 00:26:35.359
Because you are looking for specific things of each individual one rather than just being like, oh, you know, just change of direction is one thing.
00:26:35.519 --> 00:26:36.319
Yeah, 100%.
00:26:36.640 --> 00:26:43.839
And uh I and I talked to about this earlier with you, but I had a friend of mine the other day bring up like, hey, how do you train change of direction during the season?
00:26:43.920 --> 00:26:53.039
Yeah, because it's so neurologically taxing, and these guys are playing, you know, even in in hockey or basketball, a ton of change of direction, a ton of D cells, a ton of like really intense work.
00:26:53.119 --> 00:26:56.079
Like, you don't want to add more to that, but you don't really have to.
00:26:56.240 --> 00:27:07.519
Like, if if you if you can identify the posture that someone uses for a D cell or for an XL or for a shuffle, you can start to see like maybe where they're lacking.
00:27:07.839 --> 00:27:18.079
And I can work on a specific position, get you strong in that position and get you to think about it by giving you the right drill or maybe making you feel the right thing.
00:27:18.240 --> 00:27:25.519
And I don't have to necessarily like go crazy and super tax you by doing like a 1005 every day on each side.
00:27:25.920 --> 00:27:30.480
Um, so yeah, like the more you dive into these kinograms, the more you start to watch video.
00:27:30.640 --> 00:27:32.319
Like, I don't think people are using video enough.
00:27:32.480 --> 00:27:34.960
I wasn't until I started this project.
00:27:35.039 --> 00:27:42.400
Uh you know, we have we have a phone in our hands all day and that like goes 240 frames per second.
00:27:42.480 --> 00:27:44.240
Like you can go really, really fast.
00:27:44.480 --> 00:27:47.440
Uh sorry, really fast frame rate and get really slow videos.
00:27:47.519 --> 00:27:47.759
Yep.
00:27:47.839 --> 00:27:48.079
Right?
00:27:48.160 --> 00:27:50.880
It's and you can break this stuff down and it all starts to make sense.
00:27:50.960 --> 00:27:54.480
And then yeah, you can start to intervene in a way that makes sense for the athlete.
00:27:54.720 --> 00:28:03.119
I had a coach one time, sprint coach, uh uh Dan Pfaff actually, and he was showing me someone sprinting, and um he said, You ever looked at someone sprint backwards?
00:28:03.359 --> 00:28:13.440
And instantly in my head, I was just like, like like running fast backwards, and he was like, No, no, no, like watching a side profile video of someone sprinting and then just watch it in reverse.
00:28:13.839 --> 00:28:19.279
And he was like, We have this forward bias in our brain where we just assume what's gonna happen next with the body and mechanics.
00:28:19.359 --> 00:28:22.799
And he was like, and the second it goes in reverse, things look very awkward.
00:28:23.039 --> 00:28:32.400
So it's like if something jumps out at you, it's like, oh, I would have never noticed that position of the hamstring or the hip because I'm just kind of just estimating with my coaching eye in the moment.
00:28:32.559 --> 00:28:36.160
He was like, when I watch it in reverse, it's like, oh, what is it like glares?
00:28:36.240 --> 00:28:40.319
Yeah, and I was just like, Yeah, like that makes so much sense.
00:28:40.559 --> 00:28:40.880
100%.
00:28:41.200 --> 00:29:02.400
And like that's kind of when I was writing the book, and I was actually before I was writing the book, when I was just looking at these angles, something like the hip turn, looking at that with a drone shot, a drone shot, oh, or looking at a hip turn with like one of the things I would do is I would tie um, I tied an iPhone to the basketball hoop and with the zip tie.
00:29:02.480 --> 00:29:21.759
And then I had some, I had my the model Connor, who was our PT, had him do a hip turn underneath of it, and watching sort of how the cervical and the trunk move, and then the pelvis move, and then you get this like counterforce so it can be and how they they untwist to come out of it, like there's so much going on that you can't really see from a normal shot.
00:29:21.920 --> 00:29:26.960
Yeah, and it you just appreciate so much more, and so much of it, like you know, I've learned a lot of this from Lee Taff.
00:29:27.119 --> 00:29:37.279
Lee Taff was like instrumental in my development as a coach, and a lot of the things that Lee had talked about, they started to make sense to me more when I started to film it in the way that I was filming it.
00:29:37.519 --> 00:29:42.720
Um, and just like just like Dan, it's like you look at it from a different lens and it just starts to make sense.
00:29:42.880 --> 00:29:46.799
And when when I was writing it, it this is it's actually funny.
00:29:46.960 --> 00:29:52.319
Um towards the end, it started to kind of make out like a Rorschach test.
00:29:52.400 --> 00:29:56.559
It a Rorschach that a psychologist gives a person where they show them the ink blot.
00:29:56.720 --> 00:29:56.960
Okay.
00:29:57.200 --> 00:30:01.839
They show them the ink blot and they say, Hey, like, how does this make you feel, or what does this look like to you?
00:30:01.920 --> 00:30:04.559
And you look at it and it looks like a jumbled mess, right?
00:30:04.720 --> 00:30:08.720
But what you're really doing is you're projecting like your thoughts and your feelings onto it.
00:30:08.880 --> 00:30:10.799
That's kind of the premise behind a Rorschach.
00:30:11.119 --> 00:30:17.119
And then you tell them, and you're kind of basically telling them like what your perceptions are and what what your feelings are.
00:30:17.359 --> 00:30:34.400
When I started to piece together these patterns, at first it looked like an inkblot, it looked like nothing, and then all of a sudden, towards the end, it started to kind of take shape and become something that was a lot more like visible and it just less murky.
00:30:34.720 --> 00:30:44.720
And but it was a process, it was a process of learning to see things differently, and it it wasn't like intentional, it just kind of happened as you you put the reps in and you start looking at it.
00:30:44.880 --> 00:31:00.400
All right, so we've done our deceleration, we're gonna start to move into the transition phase, which is kind of like the point of zero velocity or maximal like vertical displacement negatively on a CMJ or a jump where you're loading up, it's just turned sideways and applied to change the direction.
00:31:00.640 --> 00:31:00.799
Yep.
00:31:01.039 --> 00:31:04.799
So, what I'm gonna have you do is we're gonna work on that penultimate.
00:31:04.880 --> 00:31:10.160
So that step of that inside leg before we finally plant or push out, we're gonna work on drilling that.
00:31:10.240 --> 00:31:12.880
So let's go ahead and get the band belt on.
00:31:13.359 --> 00:31:16.559
We're gonna get it around the same point, center of mass.
00:31:16.799 --> 00:31:17.839
Nice and low on the hips.
00:31:18.000 --> 00:31:18.640
Yep, right there.
00:31:18.799 --> 00:31:20.880
And have you actually face this direction for me?
00:31:21.359 --> 00:31:23.759
Let's get some good band tension there.
00:31:24.799 --> 00:31:33.519
Okay, now one of the things here, as we go ahead and we step for that penultimate step, yeah, one of the big errors I see people do is they try to go through the thigh.
00:31:33.680 --> 00:31:34.160
Uh-huh.
00:31:34.480 --> 00:31:37.359
And they don't really open up and step forward.
00:31:37.599 --> 00:31:38.000
Gotcha.
00:31:38.160 --> 00:31:40.000
So, and then we're gonna go ahead and lean into it.
00:31:40.079 --> 00:31:42.240
So make sure you create enough space to step through.
00:31:42.319 --> 00:31:42.559
Okay.
00:31:42.799 --> 00:31:45.680
And I'm gonna be here as kind of a fail-safe if you start to fall over.
00:31:45.759 --> 00:31:45.920
Yep.
00:31:46.160 --> 00:31:48.000
Go ahead and go ahead and step through.
00:31:50.000 --> 00:31:50.640
Good.
00:31:51.279 --> 00:31:51.920
Good.
00:31:52.319 --> 00:31:53.279
Now lean.
00:31:53.440 --> 00:31:54.480
Lean into me.
00:31:54.720 --> 00:31:55.759
Right there, hold.
00:31:56.000 --> 00:31:56.480
Hold.
00:31:59.119 --> 00:31:59.759
Good.
00:32:00.240 --> 00:32:01.519
And relax.
00:32:01.839 --> 00:32:02.240
Good.
00:32:02.400 --> 00:32:03.359
That was solid.
00:32:03.599 --> 00:32:07.759
Now you'll know, so that foot is actively souping to prevent yourself from moving.
00:32:08.079 --> 00:32:09.039
My foot is on fire.
00:32:09.200 --> 00:32:15.519
Like I do a bunch of isometrics for the foot, running stuff, running position stuff, putting inversion, like changing angles.
00:32:15.680 --> 00:32:19.440
That is the most stress I have ever felt on my foot from an exercise.
00:32:19.599 --> 00:32:19.920
Yeah.
00:32:20.160 --> 00:32:29.200
People don't realize during a sharp change of direction, something like 180, 135 degrees, how much force actually goes through that inside leg on the penultimate.
00:32:29.279 --> 00:32:31.440
And then as you push out, a ton of force.
00:32:31.599 --> 00:32:35.759
So this, we're getting that mobility and that stiffness all together in one exercise.
00:32:36.000 --> 00:32:36.319
Perfect.
00:32:36.559 --> 00:32:38.480
So now we've worked on the penultimate step.
00:32:38.559 --> 00:32:38.720
Yep.
00:32:38.880 --> 00:32:40.400
Next, we're gonna start to work on the plant.
00:32:40.559 --> 00:32:47.279
Okay, so that final plant is gonna be here at the penultimate, and then I'm gonna step through into the plant before I push and go out.
00:32:47.519 --> 00:32:51.119
So now we're gonna get a lot of band tension on it, a ton.
00:32:51.279 --> 00:32:56.480
And we're gonna have a nice wide base of support, which is a big KPI for us for change of direction.
00:32:56.640 --> 00:32:59.599
We want that table to be really wide, it's hard to push over, right?
00:32:59.839 --> 00:33:00.880
Creating that pyramid.
00:33:00.960 --> 00:33:09.279
So I want you to drive through this foot, drive through the big toe and heel, that medial edge of the foot, push, lower your center of mass a little bit, lower it.
00:33:09.519 --> 00:33:10.000
Good.
00:33:10.160 --> 00:33:13.440
And I want a lot of force to still be going through that outside leg.
00:33:13.599 --> 00:33:15.200
I want that to be supporting you as well.
00:33:15.359 --> 00:33:21.599
So I want you to trust yourself to really lean, lean, shift more shift.
00:33:21.680 --> 00:33:26.799
And now I want you to go ahead and lean with the trunk, drive through that right foot, hold.
00:33:27.599 --> 00:33:28.960
I'm just gonna check you.
00:33:31.440 --> 00:33:32.079
Hold.
00:33:33.279 --> 00:33:34.640
Now resist me.
00:33:39.279 --> 00:33:39.680
Good.
00:33:39.920 --> 00:33:40.559
And rest.
00:33:41.119 --> 00:33:49.839
And the reason that trunk perturbation is important is because during the D cell, we were worried about anterior, posterior trunk sway, forward, backward.
00:33:50.000 --> 00:33:53.279
As we start to rotate, it becomes really about lateral bend.
00:33:53.359 --> 00:33:53.519
Yeah.
00:33:53.599 --> 00:33:53.759
Right?
00:33:53.839 --> 00:33:58.880
So I'm trying to prevent that lateral bend so that we're stacking force to apply that vector out of the hole.
00:33:59.119 --> 00:34:04.400
So when it comes to the feet, man, I think uh we're obviously work with a lot of football players and defensive line.
00:34:04.480 --> 00:34:08.480
I'm always trying to bend the edge, trying to get a little bit more closer, get the shins a little bit closer to the ground.
00:34:08.559 --> 00:34:22.239
So I do a bunch of foot stuff, but by that, it's like so much stress, like my foot is like for and it also allows my foot to be wide, and I'm not like I can't grab the ground when I'm in that frontal plane.
00:34:22.320 --> 00:34:27.840
I do have to kind of like splay my toes wide and to kind of get as much surface area on the ground as possible.
00:34:28.239 --> 00:34:29.119
I I love that.
00:34:29.280 --> 00:34:31.840
Yeah, and I mean it's it's it's really hard.
00:34:31.920 --> 00:34:35.920
These these things happen so quickly in sport and in change direction.
00:34:36.000 --> 00:34:43.440
It can be tough to find that perfect angle, that perfect amount of stability where you can apply force and have it feel like the right thing.
00:34:43.599 --> 00:34:45.920
But you play around with it enough, you'll end up finding it.
00:34:46.000 --> 00:34:49.280
I, you know, we can add a little bit more rate of force to this now.
00:34:49.760 --> 00:34:53.119
Um, we hit that isometric position, had you stabilize.
00:34:53.199 --> 00:34:55.199
Now we can actually bounce out of it a little bit.
00:34:55.440 --> 00:35:00.719
So I'm gonna have this go around your hips, and I'm gonna have you face this way.
00:35:00.800 --> 00:35:01.119
Okay.
00:35:01.360 --> 00:35:07.920
Now, what I'm gonna have you do is you're gonna step into that same penultimate position and you're gonna bounce out.
00:35:08.239 --> 00:35:08.719
Good.
00:35:09.280 --> 00:35:09.519
Good.
00:35:09.679 --> 00:35:10.480
Three more.
00:35:16.400 --> 00:35:17.039
Good.
00:35:17.679 --> 00:35:18.000
Good.
00:35:18.159 --> 00:35:20.559
So we're just adding a little bit more pop to it.
00:35:20.800 --> 00:35:29.360
The progression to this, um, you know, plyometrics, line hop, side to side, where I'm actually working that same foot angle, the mobility and the stiffness, curve or linear running.
00:35:29.440 --> 00:35:34.880
Yeah, there's a ton of different ways that you can hit this exact foot position and get better at it for COD.
00:35:35.039 --> 00:35:53.440
Would you would you would you find, like obviously we're we're walking through this progression, that that that heavy ISO helps set up the ability to be dynamic because even just by holding that ISO there, I mean I have good mobility in my my lower leg, but now when I'm like going across, like my foot just finds that ground.
00:35:53.519 --> 00:35:54.719
Yeah, so much easier.
00:35:54.800 --> 00:35:59.039
It's like I don't have to like reach and like reach across, it's just like plop.
00:35:59.280 --> 00:36:00.320
Yeah, I full foot.
00:36:00.559 --> 00:36:06.000
I look at it as almost like a mobility uh exercise, yeah, um, more than anything strength related.
00:36:06.239 --> 00:36:12.639
Um, what I find this is actually really good for, it actually has a really good crossover for curvilinear running.
00:36:12.719 --> 00:36:16.480
When I'm trying to get guys to trust the lean, yeah, a lot of times they just don't trust it.
00:36:16.639 --> 00:36:30.639
And whether I use a box to kind of brace myself and support or get them into a banded position where they can feel that lean and that everted foot, and they're okay there, it actually will translate to a little bit better performance on the curvilinear side too.
00:36:30.800 --> 00:36:34.400
So I it I do like this, and I learned this from Jonas Dudeau.
00:36:34.480 --> 00:36:38.480
I can't take full credit that he made me look stupid when he did this to me first.
00:36:38.559 --> 00:36:42.320
Yeah, I was shaken, I couldn't stabilize, and it's it's it's a good one.
00:36:42.639 --> 00:36:46.079
How do the athletes respond to these positions and shapes that you're putting in them?
00:36:46.159 --> 00:36:48.320
Because this is, I feel like something like this.
00:36:48.480 --> 00:37:00.000
There's some athletes that are great athletes and they're terrible weightlifters, but the great athletes make a lot of money, play for a long time, the great weightlifters become great coaches, like strength coaches.
00:37:00.079 --> 00:37:11.679
And I'm not trying to say that jokingly, but um by putting them in these positions, the con allows them to use their athleticism and build strength in those positions that they're probably very sturdy and resilient in.
00:37:11.760 --> 00:37:16.559
Do they respond well to that and come and like because you're as bridging that gap from the weight room?
00:37:16.719 --> 00:37:17.440
Yes, for sure.
00:37:17.599 --> 00:37:26.559
I think especially when you can show them like snapshots, pictures of hey, dude, like this is how this is what you look like during a plant stop.
00:37:26.960 --> 00:37:28.079
You see that trunk sway?
00:37:28.239 --> 00:37:31.280
You see how you're not in a straight line, the vector that I need you to be in.
00:37:31.440 --> 00:37:41.280
You show them, they immediately make the connection because most people are visual and they're like I said, they're not gonna understand a number because even like me, I hear a number, like I don't know what I'm gonna do with that.
00:37:41.360 --> 00:37:44.719
Yep, but I show them the shape that I'm looking for, it makes the connection.
00:37:44.880 --> 00:37:52.239
The other thing that really works now, I my background, um, most of my career has been in a 82-game season, right?
00:37:52.480 --> 00:37:57.760
NBA now hockey, which is actually 84 now, um, you're not looking to kill these guys every day.
00:37:57.920 --> 00:38:01.039
And I said this earlier too, you're not looking to kill them every day and add a bunch of more volume.
00:38:01.119 --> 00:38:09.280
But if I can show them the shape and I can integrate it with their warm-up, I mean if you think about it, if I have 82 games with a guy, you usually have more with preseason and playoffs.
00:38:09.599 --> 00:38:29.440
But if I'm doing something like a lateral shuffle with them or a derivative of the lateral shuffle, and I'm doing two sets of five, two sets of 10 every game day as part of their routine, and that's just one, that's just one movement, you're getting over a thousand quality opportunities a year to work on that position.
00:38:29.679 --> 00:38:32.320
So now extrapolate that to practice days.
00:38:32.400 --> 00:38:36.880
You have probably 80 to 100 practice days, you can do the same thing, and that's just one movement.
00:38:37.199 --> 00:38:45.440
So these are all opportunities to slowly make change without having to you know go to the bank and take all the resources away from the athlete.
00:38:45.599 --> 00:38:47.360
So that's kind of how I approach this.
00:38:47.519 --> 00:38:48.079
I like that.
00:38:48.159 --> 00:38:59.440
I think the when I think about just the simple concept of cueing an athlete, the fastest way is uh the slowest way is to tell them, the second fastest way is to touch something, like touch their quad, like hey, not your no, that right there.
00:38:59.599 --> 00:39:01.119
And the third is then from them to see it.
00:39:01.199 --> 00:39:03.360
The second they see it, they're like, oh, that's what you mean.
00:39:03.519 --> 00:39:03.760
100%.
00:39:04.000 --> 00:39:16.639
So if I can just go right to showing someone right away, whether that's a mirror, whether that's showing them a video, I can waste my time trying to create all these metaphors and analogies about a bottle and a can, or I can just show you and then so like, oh, that's what you mean.
00:39:16.880 --> 00:39:24.480
Um, what are things you think coaches miss when it comes to change of direction as you are talking about deceleration, the transition phase, the reacceleration?
00:39:24.559 --> 00:39:31.519
Is there is there a is there one of the three you think coaches are a couple that they're not really focusing on that you think they should prioritize more?
00:39:31.840 --> 00:39:33.199
That's a really good question.
00:39:33.519 --> 00:39:44.559
Um I think, I mean, I find myself doing this because I I I'm a creature of habit and like I find the things that I really I'm like like anybody, I like to I find things I gravitate towards and I stick with them.
00:39:44.639 --> 00:39:59.280
Yeah and sometimes I just get used to it, and then I'm not actually thinking of, well, if I have 10 or 11 different multi-directional speed patterns that a basketball player might have to use, like I might get pigeonholed where I'm only doing three or four of them when really you link all these things together, right?
00:39:59.360 --> 00:40:10.320
Like a hip turn can link into an XL or it can link into a shuffle, or it can link into a lateral run, which then becomes another hip turn and then turns into a lateral run in the opposite direction.
00:40:10.400 --> 00:40:21.920
So there's so many different variants that I think I know for me, sometimes I will I'll get blinders on and I won't think about the variability that I should be adding to the athlete if I'm working on these type of types of things.
00:40:22.159 --> 00:40:28.000
Um, and I think the other one, like you know, change of direction is really hot right now, and and obviously I'm interested in it.
00:40:28.239 --> 00:40:29.280
The industry is interested in it.
00:40:29.519 --> 00:40:29.840
It should be.
00:40:30.000 --> 00:40:34.559
It's it's a it's a big component, and change of direction applies to all the patterns that we talk about.
00:40:34.639 --> 00:40:39.679
Yeah, the lateral run can become a change of direction into another lateral run.
00:40:40.079 --> 00:40:47.199
But change of directions based on the angle, it really changes a lot of the the kinematics in the movement, right?
00:40:47.280 --> 00:41:06.000
Like a sharp change of direction from like 180 to 90 degrees, where you're basically stopping all four momentum and then coming the other way or somewhere close to the other way, is completely different than a change of direction of like 20 or 30 degrees, where it's just a subtle cut and I'm going, where velocity stays high.
00:41:06.079 --> 00:41:16.079
So force, horizontal braking forces are gonna be really, really strong with that sharp change, not quite as strong with that that more upright posture of that velocity range.
00:41:16.159 --> 00:41:18.480
So, like every change of direction is different too.
00:41:18.800 --> 00:41:24.239
So finding which one you want to work on is also I think a part of the puzzle that I don't think too many people have gone.
00:41:24.400 --> 00:41:31.679
I know some people are doing it, yeah, but like like I know I wasn't doing it, I wasn't paying attention to it until maybe a couple years ago, honestly.
00:41:31.920 --> 00:41:38.239
I mean, I haven't, no offense, I haven't breaking apart and look at it from that three-prong approach, D cell transition, reacceleration.
00:41:38.320 --> 00:41:42.559
It's kind of like I kind of lump it in, you're setting it up, you're getting out of it as safe and as quick as possible.
00:41:42.800 --> 00:41:54.559
Have you noticed any tendencies with the athletes that you've you've already worked with, I guess, or overarching of being better at one of those phases versus the other, or is it kind of just dependent upon the athlete and how they organize their body?
00:41:54.800 --> 00:41:57.360
Yeah, I mean, there are guys that you see.
00:41:57.519 --> 00:42:05.760
Um, I mean, these guys, the guys at the highest level of sport, they they're so special and some of them break rules like so well.
00:42:05.920 --> 00:42:06.079
Yeah.
00:42:06.320 --> 00:42:31.440
I know we had this, we had this one guy, um he had probably the best 1005 score on both sides and unbelievably bad plant phase and like a ton of uh lateral trunk sway, which typically would be like you wouldn't expect that guy to be have a really good 1005 score, but his he just was so twitchy that he just made up for it.
00:42:31.599 --> 00:42:34.559
Just out of pure twitch coming out of the whole his acceleration, yeah.
00:42:34.719 --> 00:42:37.039
He just was really quick, but yeah, he had poor trunk stability.
00:42:37.199 --> 00:42:38.400
Now that's that's a rarity.
00:42:38.480 --> 00:42:42.559
Usually you do see a better organization strategy from people who are good with the COD.
00:42:42.800 --> 00:42:53.760
Um, but uh but I really like looking at like the top performers and seeing like the little idiosyncrasies, I think that things that make them different, um, make them perform at a really high level.
00:42:53.920 --> 00:42:57.840
Like I love uh maybe I'm going off on a tangent here, but I was talking we want.
00:42:58.079 --> 00:43:01.280
I was talking to Hunter Hunter Eisenhower the other day about you know breaking rules.
00:43:01.360 --> 00:43:11.119
And when you watch a guy like Shea Gilgis Alexander play and how insane some of the cuts, some of the angles he hits, and some of the wiggle he hits, he breaks rules too.
00:43:11.280 --> 00:43:14.960
And by rules, I mean like he's able to misdirect you.
00:43:15.039 --> 00:43:19.679
If I see your trunk going one way and you have a plant in the other way, well, you're gonna misdirect me.
00:43:19.760 --> 00:43:21.920
I'm gonna think you're going this way, you're gonna go this way.
00:43:22.079 --> 00:43:25.360
Now, is that creating a lot of sheer stress on certain joints?
00:43:25.519 --> 00:43:26.159
Absolutely.
00:43:26.320 --> 00:43:32.800
But these guys drill that throughout their careers and they get really good at that, and that's kind of towing that line between health and performance, yeah.
00:43:33.039 --> 00:43:33.519
Right?
00:43:33.760 --> 00:43:44.159
So, um, because we do know like trunk sway towards the plant leg on something like a subtle change of direction is associated with lower body injury or an ACL risk.
00:43:44.320 --> 00:43:48.400
So, but it can also create an advantage if you can do it really well, yeah.
00:43:48.639 --> 00:43:51.119
So, and that's that's the dichotomy here.
00:43:51.199 --> 00:43:54.559
And but the best of the best are able to thread that needle really well.
00:43:54.719 --> 00:43:57.280
So we've done the D cell, we've worked on transitioning.
00:43:57.360 --> 00:43:59.039
Now we're gonna move into accelerating.
00:43:59.280 --> 00:43:59.760
All right, so here.
00:44:00.239 --> 00:44:03.360
We're gonna use a rack acceleration drill that I got from Jonas Speedworks.
00:44:03.440 --> 00:44:07.039
This is a great drill for working on that projection angle coming out of the hole.
00:44:07.199 --> 00:44:11.360
Let's bring your chest back to the bar and let's find that same 45-degree angle that you had before.
00:44:11.599 --> 00:44:13.519
Nice stiff ankle position.
00:44:14.000 --> 00:44:14.400
Good.
00:44:14.559 --> 00:44:17.199
Maybe move your feet back another inch or two right there.
00:44:17.360 --> 00:44:17.679
Good.
00:44:17.840 --> 00:44:18.880
Chest to the bar.
00:44:19.119 --> 00:44:19.360
Good.
00:44:19.440 --> 00:44:21.119
Now I want you to go into a hip lock.
00:44:21.280 --> 00:44:22.800
We're gonna hold an ISO here.
00:44:23.039 --> 00:44:23.360
Good.
00:44:23.519 --> 00:44:24.480
Nice ankle.
00:44:24.719 --> 00:44:26.639
Nice straight line from the head down to the foot.
00:44:26.719 --> 00:44:27.360
We're gonna hold.
00:44:27.519 --> 00:44:29.360
Let's switch to the other side.
00:44:30.320 --> 00:44:30.719
Good.
00:44:30.880 --> 00:44:31.760
Good shape.
00:44:33.599 --> 00:44:34.000
Good.
00:44:34.239 --> 00:44:36.400
Suck in your abs a little bit right there.
00:44:36.639 --> 00:44:37.199
Good.
00:44:37.440 --> 00:44:38.880
And let's come out of it.
00:44:39.199 --> 00:44:41.360
Okay, now we're holding that position.
00:44:41.440 --> 00:44:42.559
We're creating that shape.
00:44:42.800 --> 00:44:45.280
Just like we projected forward with the double leg version.
00:44:45.360 --> 00:44:47.840
You're gonna send your hips back and we're gonna project with a single leg.
00:44:48.000 --> 00:44:48.159
Okay.
00:44:48.320 --> 00:44:48.480
Okay?
00:44:48.719 --> 00:44:51.280
So let's go ahead and find that position, that ISO.
00:44:52.159 --> 00:44:52.960
Maintaining that.
00:44:53.039 --> 00:44:55.280
Am I holding that hip lock when I slide back or kicking away?
00:44:55.440 --> 00:45:02.000
You're gonna get that hip lock and that leg that's in the hip lock, you're going to send back and swing behind you as you go into projection.
00:45:02.159 --> 00:45:02.400
Okay.
00:45:02.559 --> 00:45:03.840
Okay, so go ahead.
00:45:04.639 --> 00:45:04.960
Good.
00:45:05.039 --> 00:45:05.920
We're gonna send it back.
00:45:06.079 --> 00:45:07.840
Push yourself away from the bar.
00:45:09.840 --> 00:45:11.039
And drive.
00:45:11.679 --> 00:45:12.320
Good.
00:45:13.199 --> 00:45:14.719
Let's do it again.
00:45:17.440 --> 00:45:18.480
And drive.
00:45:18.719 --> 00:45:19.760
Good and rest.
00:45:20.079 --> 00:45:25.119
One thing that I am seeing, I'm not gonna cue you in the position because you'll probably you won't hear what I'm saying because it's tough.
00:45:25.280 --> 00:45:25.440
Yeah.
00:45:25.519 --> 00:45:27.519
It's a lot of quad, a lot of patilla.
00:45:27.679 --> 00:45:30.719
One thing I am seeing is I am seeing a knee, a little bit of a knee drop.
00:45:30.880 --> 00:45:31.119
Okay.
00:45:31.280 --> 00:45:38.079
I want you to keep your shin where it's at, and I want you to push your hips back more, not as much down towards the ground.
00:45:38.239 --> 00:45:38.320
Okay.
00:45:38.480 --> 00:45:39.920
Okay, so let's try that.
00:45:43.199 --> 00:45:46.480
So keep the shins locked in where they are.
00:45:48.800 --> 00:45:50.559
And push yourself back.
00:45:51.199 --> 00:45:51.760
Yes.
00:45:52.239 --> 00:45:53.039
Hips up.
00:45:54.159 --> 00:45:54.880
Project.
00:45:55.679 --> 00:45:56.320
Good.
00:45:57.440 --> 00:45:58.079
One more.
00:45:58.719 --> 00:45:59.440
Hips back.
00:45:59.599 --> 00:46:01.039
Bench press yourself away.
00:46:01.599 --> 00:46:02.400
Project.
00:46:03.199 --> 00:46:03.840
And rest.
00:46:06.159 --> 00:46:07.039
Holy hell.
00:46:07.760 --> 00:46:08.159
Yeah.
00:46:08.320 --> 00:46:12.159
Now, one thing that you do it pretty well, you keep a pretty good ankle position.
00:46:13.440 --> 00:46:24.159
One thing you can do to clean that up, if someone is getting real soft with that ankle, if you actually apply more force with a band behind you, it'll clean it up pretty good because it's hard to push through a band when you have a soft foot.
00:46:24.639 --> 00:46:26.159
So that's one of the things I'll do.
00:46:26.559 --> 00:46:30.400
One of the things we can focus on for you is maybe a little bit better brace at the abs.
00:46:30.559 --> 00:46:32.880
We are going a little or lordotic.
00:46:32.960 --> 00:46:33.119
Okay.
00:46:33.199 --> 00:46:34.719
So maybe focus on that on the next one.
00:46:34.800 --> 00:46:37.440
I'm gonna add a band to you and we're gonna project with the band.
00:46:37.599 --> 00:46:37.760
Okay.
00:46:38.000 --> 00:46:38.239
Good.
00:46:38.320 --> 00:46:39.760
Now go into that hip lock.
00:46:40.880 --> 00:46:42.079
Go ahead, send it back.
00:46:46.000 --> 00:46:48.159
Go! Two more.
00:46:50.880 --> 00:46:51.199
Go.
00:46:52.480 --> 00:46:53.280
One more.
00:46:55.840 --> 00:46:56.159
Go.
00:46:56.800 --> 00:46:57.440
Good.
00:46:58.159 --> 00:46:58.719
Nice.
00:46:59.760 --> 00:47:02.000
I see why you banded the rack, the bar down.
00:47:02.159 --> 00:47:02.320
Yeah.
00:47:02.400 --> 00:47:03.440
And not just put plates on it.
00:47:03.760 --> 00:47:04.400
Holy crap.
00:47:04.800 --> 00:47:07.199
Between my foot, my knee, my hip.
00:47:07.840 --> 00:47:08.320
Damn.
00:47:08.480 --> 00:47:09.519
I feel it feels great though.
00:47:09.840 --> 00:47:14.320
Getting slide, getting that slide, length, driving forward.
00:47:14.559 --> 00:47:15.119
Yeah.
00:47:15.280 --> 00:47:15.599
Yeah.
00:47:15.679 --> 00:47:17.920
So we dissipated force on that D cell.
00:47:18.000 --> 00:47:19.519
We learned how to kind of transition it.
00:47:19.679 --> 00:47:25.519
And now we're learning how to create that momentum and project a little bit, tying it all together into a full change of direction.
00:47:25.599 --> 00:47:30.239
If you wanted to add a little more rate of force development, you could start doing some switches in the same positions.
00:47:30.400 --> 00:47:40.559
So let's say you have an athlete like that that has that unique gift that they can obtain those things that as a coach that comes into that situation, maybe you identify it.
00:47:40.800 --> 00:47:42.800
I'm now going, man, you have a gift.
00:47:42.880 --> 00:47:46.159
I need to do as much as I can to protect that gift as possible.
00:47:46.320 --> 00:47:52.559
Because me saying, hey, that's not ideal, that's putting a lot of stress, obviously, he's gonna do whatever he wants in the moment.
00:47:52.719 --> 00:47:57.599
So your goal now is to just try to create as much resiliency and durability around that area as possible.
00:47:57.840 --> 00:47:58.239
Exactly.
00:47:58.320 --> 00:47:58.960
That's all it is.
00:47:59.119 --> 00:48:01.199
Build capacity and try not to mess them up.
00:48:01.519 --> 00:48:10.639
I remember I actually remember when uh when Corey came to Phoenix as as our heads train coach, I remember talking to him, and you know, he was working with Devin Booker at the time.
00:48:10.719 --> 00:48:17.519
And you know, Devin Booker is such a talented, like um basketball player, but even mover, he moves different.
00:48:17.760 --> 00:48:21.280
And we don't got to break down his mechanics right now, but like he just moves different.
00:48:21.360 --> 00:48:26.079
And there's some things about him that Corey and I could rap with you about that are like that are unique.
00:48:26.400 --> 00:48:33.199
And you know, Corey came in and he's like, Man, I'm just trying not to mess him up because he does things so well.
00:48:33.360 --> 00:48:42.400
His his motor patterns, his touch is so good, he has sneaky quickness, sneaky speed, sneaky athleticism, can actually jump pretty well fast.
00:48:42.559 --> 00:48:44.159
He's like, I'm gonna.
00:48:44.400 --> 00:48:48.719
It was the first time I actually met a strength coach who was like, hey, I'm not gonna mess this guy up.
00:48:48.800 --> 00:48:50.480
That's like my number one priority.
00:48:50.719 --> 00:48:54.239
And that kind of stuck with me moving forward because these guys are so special.
00:48:54.400 --> 00:49:00.159
Like, you shouldn't try to reverse that, but you still need to build them up to be resilient to, you know, stay, stay good.
00:49:00.320 --> 00:49:02.159
How do you convince an athlete of that level?
00:49:02.320 --> 00:49:09.679
Not him specifically, but someone else that you, you know, that you potentially worked with that has such high capacity and you do, I don't want to mess them up.
00:49:09.840 --> 00:49:13.039
Like, I would imagine they've had a lot of stuff thrown at them already.
00:49:13.119 --> 00:49:18.480
Like, there's already been a bunch of experts that have been like, hey, I'm gonna, I'm gonna fix you, I'm gonna get that, I'm gonna do this.
00:49:18.719 --> 00:49:20.559
How do they respond to that?
00:49:20.639 --> 00:49:24.719
Like that slight nudging in there of like, hey man, I'm just gonna do enough.
00:49:24.880 --> 00:49:26.639
Like, what this is the reason we're doing it.
00:49:26.719 --> 00:49:27.840
How do they respond to that?
00:49:28.000 --> 00:49:30.639
I mean, that you and I talked at dinner last night a lot.
00:49:30.800 --> 00:49:50.639
Like, I think what is becoming like the modern like performance coach in pro sport, at least on the team side, like the people that are gonna thrive in those roles are people who can, yes, they gotta be like monster clinicians, monster practitioners, but they also have to be extremely good communicators and people who can build trust with the athletes.
00:49:50.880 --> 00:49:54.079
You can't really be one-dimensional anymore in pro sport.
00:49:54.480 --> 00:50:00.559
These guys, they have they have so many resources and there's so much available to them outside now.
00:50:00.719 --> 00:50:02.960
Like they can go and get what they want anywhere.
00:50:03.440 --> 00:50:10.079
And you have to be that much better to be able to connect with them and show them that you do care and they can trust you.
00:50:10.239 --> 00:50:18.800
And over time, it does take time, and you know, every athlete's different, um, and where they're at in their career is different, and who they have around them definitely affects it.
00:50:19.039 --> 00:50:27.119
But um I do think like having the right blend of those skill sets can help uh progress the process a little bit in developing that relationship.
00:50:27.199 --> 00:50:41.119
And then also, like I said, like being able to show them what they care about, being able to show how this is gonna relate directly to their game, being able to pull up a picture of their trunk sway, of them in game doing a specific move and make that relation, right?
00:50:41.199 --> 00:50:44.239
Like that's the kind of stuff you have to go above and beyond to do that.
00:50:44.559 --> 00:50:48.559
I say uh I'll talk to coaches and I'll say you can't play all your games on the home court.
00:50:48.960 --> 00:50:50.639
Like you can't play all your games in the weight room.
00:50:50.719 --> 00:50:55.679
You got you have to visit them on their in their space and their mindset that makes sense to them.
00:50:55.920 --> 00:51:00.800
So now we've talked a lot about basketball, but there's been a pretty big transition in the bov household, man.
00:51:00.880 --> 00:51:02.960
So now uh now over into hockey.
00:51:03.280 --> 00:51:08.159
Have you noticed any similarities, any differences now with just being in that world?
00:51:08.400 --> 00:51:11.199
Yeah, well, so first, first off, yeah, big change.
00:51:11.280 --> 00:51:13.119
Um, my role is a little different too.
00:51:13.199 --> 00:51:19.039
Um I'm less hands-on, a little bit more managerial in the role that I'm in, which it presents different challenges.
00:51:19.199 --> 00:51:22.719
I can't sit here and I'm not gonna be able to dice up skating mechanics.
00:51:22.880 --> 00:51:27.440
I think we were talking about the car last night about like we're not gonna get into the details, but I'm not a great skater.
00:51:28.000 --> 00:51:28.400
Put it that way.
00:51:28.719 --> 00:51:30.400
Eat and leak skate at some point.
00:51:31.519 --> 00:51:33.679
Um, no, I'm just not a great skater, man.
00:51:33.760 --> 00:51:34.400
Yeah, yeah.
00:51:34.719 --> 00:51:41.119
But uh but the sport and the logistics around it are so similar to basketball.
00:51:41.280 --> 00:51:44.800
Like I said, it was an 82 game season, now it's an 84 game season.
00:51:44.880 --> 00:51:48.000
So this the week, the frequency of play is exactly the same.
00:51:48.159 --> 00:51:49.920
Um, it's the same travel schedule.
00:51:50.079 --> 00:51:54.079
Game days are exactly the same with skate around in the morning or morning skate.
00:51:54.239 --> 00:51:56.719
In basketball, you have shoot around on game days.
00:51:56.880 --> 00:52:00.320
Games are the same time at night, same planes, everything is the same.
00:52:00.559 --> 00:52:01.360
Sport is different.
00:52:01.519 --> 00:52:08.239
Guys are it's a little bit more anaerobic in nature, a little bit you have to be conditioned in you know, in hockey.
00:52:08.400 --> 00:52:14.639
Um shorter burst, you're going out there 40, 50 seconds, balls to the wall, come out, rest, go back in.
00:52:14.800 --> 00:52:28.159
Um, but in terms of like the mechanics and the speed, I have I have great strength coaches who they can handle that side of it because I'm I'm still uh I'm still green in that area, but um I know my strengths and skating's not one of them yet.
00:52:28.320 --> 00:52:29.599
Yeah, hey, but here we go.
00:52:29.760 --> 00:52:30.320
We're working on it.
00:52:30.480 --> 00:52:31.199
There we go.
00:52:31.440 --> 00:52:37.840
How was the I mean you've been coaching, uh I'm sure people watching how long you've been coaching at this at this point or and been involved?
00:52:38.079 --> 00:52:43.840
So going into my 11th year in pro sport, I had 10 years in the NBA, and yeah, it's where I'm at now.
00:52:44.159 --> 00:52:50.719
So now going back home, um, been in uh New Orleans for I'd you say seven, seven, six years?
00:52:50.960 --> 00:52:51.360
Six years.
00:52:51.519 --> 00:52:55.199
Six years, six years in New Orleans now going back home.
00:52:55.360 --> 00:52:57.519
Um, what is what is that like?
00:52:57.840 --> 00:52:59.519
I mean, it's been amazing.
00:52:59.599 --> 00:53:02.400
I mean, both my wife and I are both from Philadelphia.
00:53:02.559 --> 00:53:03.679
We're born and raised.
00:53:03.760 --> 00:53:08.159
Uh, you know, we've got two kids, so getting them home to be around grandparents is huge.
00:53:08.320 --> 00:53:16.320
Uh, you know, I met my wife in Philadelphia and I was working private sector at the time before I went to grad school and then ended up making the trip to the NBA.
00:53:16.559 --> 00:53:18.639
Um, it's been really awesome, man.
00:53:18.719 --> 00:53:30.000
Being able to wake up, you know, with grandparents right down the street, you know, that can be around the kids, going taking guys, kids to Phillies games, like growing up, watching the Phillies play, taking them there.
00:53:30.400 --> 00:53:31.039
Disgusting, bro.
00:53:31.119 --> 00:53:31.679
I know.
00:53:32.159 --> 00:53:32.480
I'm sorry.
00:53:33.360 --> 00:53:33.840
I'm sorry.
00:53:34.079 --> 00:53:38.480
I took I took my son to uh his first Phillies game last week, and it was it was awesome.
00:53:38.559 --> 00:53:39.360
It was a special moment.
00:53:39.440 --> 00:53:48.880
And so being when we start these careers out, especially pro sport, it's so rare that you get to do what you love at that level in like your hometown.
00:53:49.119 --> 00:53:52.719
And truthfully, since I entered pro sport, that was always the dream.
00:53:52.880 --> 00:53:58.159
And it never really was about what sport I was working in, but I always wanted to make my way home.
00:53:58.239 --> 00:54:00.800
And finally to do it, it means a lot.
00:54:01.119 --> 00:54:03.280
Daniel Bove, the practitioner, I think.
00:54:03.360 --> 00:54:09.440
I mean, when I posted that you were coming on, I had more than a handful of DMs, like, man, I can't wait, I can't wait.
00:54:09.679 --> 00:54:23.920
But now getting to know you a little bit more outside of sport, family man, um, moving back home, um, getting to have, I think, a little bit more balance in your life, probably because you were traveling back and forth, new New Orleans or whatever.
00:54:24.079 --> 00:54:24.960
How is how is that?
00:54:25.039 --> 00:54:32.159
Like, do you have you felt like you've been able to center into yourself a little bit, like find some bearings, like almost maybe find yourself again?
00:54:32.320 --> 00:54:44.559
Because now you went from probably being professional, not 24-7, but a lot of 24-7s, to now you do get to kind of like have that other side of being around family more, being in more engaged in that sort of life.
00:54:44.800 --> 00:54:45.760
Yeah, no, for sure.
00:54:46.000 --> 00:54:56.719
Um, yeah, so we spent the last two years of my tenure in New Orleans doing the remote thing where actually my wife and kids, I moved them back to Philly um to give them a little bit more stability with a little bit more support.
00:54:56.800 --> 00:55:01.519
And then I spent time living in New Orleans, but going back and forth like we talked about last night, that was hard.
00:55:01.679 --> 00:55:02.320
That was really hard.
00:55:02.400 --> 00:55:11.119
And honestly, that's probably why redirect got done because that's where I was putting all my energy so that I didn't have to think about the fact that I wasn't with my kids.
00:55:11.679 --> 00:55:13.760
That's probably why it got done, honestly.
00:55:14.239 --> 00:55:20.000
Um so, but yes, like when you're redlining like that for so long, it's great to take a breather.
00:55:20.079 --> 00:55:29.440
And I definitely feel like I'm at a place right now where I feel comfortable until the next itch starts, and then it's like, okay, what's the next thing?
00:55:29.679 --> 00:55:38.000
Yeah, because I think I think everyone, like any of you and I are probably like that, uh, where it's like, yeah, you can be comfortable for so long, and then it's like, okay, what's the next thing that's gonna push me?
00:55:38.159 --> 00:55:38.320
Yeah.
00:55:38.559 --> 00:55:41.440
Um, I like I you can't really it has to be organic.
00:55:41.519 --> 00:55:48.480
You can't inorganically just be like, hey, I'm gonna go create a struggle over here, but you gotta wait to see what that next thing is and it'll come up.
00:55:48.719 --> 00:55:50.800
Well, it's like it's like you said, it's no different than an artist.
00:55:50.960 --> 00:56:03.199
Like if you go in with I'm doing this because I'm being paid or I'm doing this with this outcome, it's never gonna be the same as I love this, I'm passionate, and then it's oh, maybe other people wouldn't enjoy this.
00:56:03.280 --> 00:56:03.440
Right.
00:56:03.599 --> 00:56:05.840
I think that's something I think with this in general.
00:56:05.920 --> 00:56:10.400
Like I'm here to learn from somebody like you, and I hope other people learn from it.
00:56:10.480 --> 00:56:13.280
But if they don't, if no one watches it, I don't I don't give a shit.
00:56:13.440 --> 00:56:17.280
Like it is for me that that I that and I'm and I get to share.
00:56:17.440 --> 00:56:17.599
Right.
00:56:17.760 --> 00:56:35.039
Um, the one challenge, and sorry to interrupt, but the one challenge that is actually piquing my interest right now is taking a step back from being the hands-on clinical guy in the trenches and being more of the director of performance and medical, which is what I'm doing now with the flyers.
00:56:35.119 --> 00:56:37.199
It's a challenge that I haven't really had before.
00:56:37.360 --> 00:56:46.880
So it is it is kind of it's giving me that push that I need to go into uncharted waters and sharpen my weapons in another way, which I've really enjoyed doing.
00:56:46.960 --> 00:56:50.239
And growing up a Flyers fan, it's something that, you know, it's a dream.
00:56:50.400 --> 00:56:56.559
I mean, I grew up watching John Leclerc, uh, you know, all those guys.
00:56:56.639 --> 00:56:58.239
Um, Eric Lindross.
00:56:58.320 --> 00:57:00.400
And Jeremy Roenick play for the flyers.
00:57:00.480 --> 00:57:01.840
Jeremy Roenick, yeah, it was a good era.
00:57:02.000 --> 00:57:02.159
Yeah.
00:57:02.239 --> 00:57:06.800
Um, even our GM, Danny Briere, I grew up watching him, and he was a phenomenal player, all-star.
00:57:06.960 --> 00:57:13.199
And to work with them and to be in that building is really rewarding, and it does push me in a way that I haven't been pushed before.
00:57:13.440 --> 00:57:18.000
Um, but uh, you know, that's that's just kind of how how things have been for me.
00:57:18.239 --> 00:57:19.199
What what is that challenge?
00:57:20.159 --> 00:57:22.239
What is the specific thing that is challenging?
00:57:22.400 --> 00:57:27.760
Is it the the leaning on people to kind of like that that what is it called?
00:57:27.920 --> 00:57:30.559
Um passing things off and hoping they do it right.
00:57:30.719 --> 00:57:33.920
What what is one of those challenges moving into more of that managerial role?
00:57:34.079 --> 00:57:37.840
Yeah, I think I think delegating and trusting people.
00:57:37.920 --> 00:57:41.039
And like I have really good, really good strength coaches.
00:57:41.119 --> 00:57:43.760
We have really good PTs, really good ATs, or massage.
00:57:44.159 --> 00:57:45.360
Like I can trust everyone.
00:57:45.599 --> 00:58:01.119
Um, but I think the challenge is when I'm so used to being hands-on and when you see something that you want immediately and you want to change it, rather than just jumping right in and doing it yourself, being able to kind of take a step back and let people see it from their perspective and then be helpful where you can.
00:58:01.280 --> 00:58:05.360
But really, like the the thing that and challenge doesn't mean bad.
00:58:05.519 --> 00:58:16.800
Like for me, now my challenge is how do I remove barriers that are preventing people from doing the best job they can do, rather than it's just being, hey, how do I remove remove barriers from me doing the best job?
00:58:17.119 --> 00:58:17.360
Right?
00:58:17.519 --> 00:58:20.719
That's kind of what my job's become, and it's a good, healthy challenge.
00:58:20.880 --> 00:58:23.039
And so when I say challenge, I mean it in a positive way.
00:58:23.199 --> 00:58:23.519
Absolutely.
00:58:23.679 --> 00:58:28.480
And that's that's what it has now become more of barrier removal.
00:58:29.519 --> 00:58:31.280
Where where can people find more?
00:58:31.360 --> 00:58:32.480
Where are you selling the book?
00:58:32.559 --> 00:58:34.400
Where where where can people find these things?
00:58:34.559 --> 00:58:40.400
Yeah, I mean, uh, so athleteframework.com is where I sell pretty much my whole catalog of books.
00:58:40.639 --> 00:58:46.000
Um, and then I think the only channel that I'm really active on is Instagram at Daniel Bove.
00:58:46.320 --> 00:58:49.360
I love the art, I love the art stuff, how you do the redirect, man.
00:58:49.440 --> 00:58:50.719
It it is artistic.
00:58:50.960 --> 00:58:51.679
Appreciate it, man.
00:58:51.840 --> 00:58:55.199
When you came in here and said that, I was just like, duh.
00:58:55.440 --> 00:58:56.719
Like in my head, it just clicked.
00:58:56.800 --> 00:58:59.280
I'm like, of course, of course, he is an art person.
00:58:59.440 --> 00:59:00.000
Look at it.
00:59:00.079 --> 00:59:05.280
It is it is visually stimulating, it is creative, it is different.
00:59:05.599 --> 00:59:06.960
And I appreciate it.
00:59:07.119 --> 00:59:07.760
Well, thank you, man.
00:59:07.840 --> 00:59:08.559
That means a lot.
00:59:08.880 --> 00:59:11.119
Um, coming down to Virginia Beach, bro.
00:59:11.280 --> 00:59:14.480
Um we tried to arrange slash year.
00:59:14.639 --> 00:59:20.239
You are entirely too busy, which is a a great thing, and I think a uh a testament to who you are and what you're doing.
00:59:20.400 --> 00:59:26.159
But dude, um, I think I don't know if people tell you how much you've like you've done.
00:59:26.400 --> 00:59:37.760
Like people talk about you in ways that I think you'd you'd be surprised, like in uh very prideful way, very proud of you, what you're doing, very like looking up to what you're doing for the field.
00:59:38.000 --> 00:59:44.159
So if if you haven't heard that, dude, like you are looked at into this field as a as a guy.
00:59:44.480 --> 00:59:47.280
And uh just thank you for what you're doing for the space, man.
00:59:47.360 --> 00:59:50.159
Thank you for coming here and being on this and being so open to share.
00:59:50.320 --> 00:59:55.199
And uh I hope to continue a friendship with with you uh for many years, man.
00:59:55.440 --> 00:59:56.239
Man, thank you so much.
00:59:56.400 --> 00:59:57.599
Appreciate you bringing me down here.
00:59:57.760 --> 00:59:58.320
Thank you, man.
01:00:00.880 --> 01:00:01.599
Great shit.
01:00:01.679 --> 01:00:02.639
Yeah, that was good.
01:00:02.800 --> 01:00:03.199
Thank you.
01:00:05.039 --> 01:00:06.800
Exploring exploring our body.
01:00:07.119 --> 01:00:10.960
Aviation center inside edge of the foot, crushing you from here, different angles.
01:00:11.440 --> 01:00:12.960
Like these kids don't want to be here.
01:00:13.440 --> 01:00:15.039
Heels are into roll.
01:00:15.440 --> 01:00:17.840
Perception is the engine that drives our entire experience.