Загрузка видео...

Не удалось загрузить видео

На главную

Decided to give a little demonstration on what I teach when going directional. Main points: - Plant foot, hips, and ball set towards target. -Tight knees down your line. -Relaxed upper body/shoulders slightly forward -HOLD ONTO THE BALL! Adam briggs bourgeois

shanee_mc's profile picture

Shane McDonough

2,377 subscribers

27,352 просмотров • 2 лет назад •via X (Twitter)

LIVE

Anya Rossi• Live Now

Private livecam show

Комментарии: 0

Нет доступных комментариев

Здесь появятся комментарии из оригинального поста

Похожие видео

Chipping Cheat Sheet Lower shot: - use a 9i or PW - hands high/up and forward at address - feet are a clubhead width apart - square to slightly open alignment - weight 70-80% forward - ball position off back foot Mid traj shot: - use a GW or 54º - hands high/up and forward at address - feet are a clubhead width apart - square to slightly open alignment - weight 70-80% forward - ball position central or slightly back Higher shot: - use a SW or LW - hands high/up and slightly fwd at address - feet are a clubhead width apart - square to slightly open alignment - weight 60-70% forward - ball position central Notes: - Keep the club head over the target line (out) going back and through. - As the club starts back rock your body towards the target. - In the downswing feel yourself rise up and away from the ball/ground. - The follow through can be the same size or smaller than the backswing, but never longer.
0:10

Chipping Cheat Sheet Lower shot: - use a 9i or PW - hands high/up and forward at address - feet are a clubhead width apart - square to slightly open alignment - weight 70-80% forward - ball position off back foot Mid traj shot: - use a GW or 54º - hands high/up and forward at address - feet are a clubhead width apart - square to slightly open alignment - weight 70-80% forward - ball position central or slightly back Higher shot: - use a SW or LW - hands high/up and slightly fwd at address - feet are a clubhead width apart - square to slightly open alignment - weight 60-70% forward - ball position central Notes: - Keep the club head over the target line (out) going back and through. - As the club starts back rock your body towards the target. - In the downswing feel yourself rise up and away from the ball/ground. - The follow through can be the same size or smaller than the backswing, but never longer.

Andrew Rice

180,984 просмотров • 5 месяцев назад

Want to feel real compression at impact? Post up on your lead leg. 🦵💥 This classic move creates a firm left side, allowing your hands to stay ahead and the shaft to lean forward—delivering a crisp, penetrating strike. When the lower body stabilizes, the upper body can unwind with power and precision. Plant that lead leg and let the ball sizzle off the face. 🔥
0:10

Want to feel real compression at impact? Post up on your lead leg. 🦵💥 This classic move creates a firm left side, allowing your hands to stay ahead and the shaft to lean forward—delivering a crisp, penetrating strike. When the lower body stabilizes, the upper body can unwind with power and precision. Plant that lead leg and let the ball sizzle off the face. 🔥

Classic Golf Swing

69,232 просмотров • 1 год назад

Most people can’t hold a Reverse Plank because their nervous system doesn’t feel safe being that exposed. Collapsed shoulders and tight hips are postures of defense. This pose invites the body to leave that state. One minute a day can begin to reverse years of silent tension. If you want the fitness results you see in your mind to become real, you’ll need to teach your body how to relax first. Otherwise, forget the great transformation. You'll burn out before coming close to changing. At first, you may need to adjust the position or do shorter sets. You will notice slight improvements each time, whether it is strength, mobility, or endurance. One day, you will unlock the posture and feel much lighter within. Form Cues: - Hands shoulder-width apart, fingers pointing toward feet or slightly outward - Press palms firmly into the ground to engage shoulders - Lift hips in line with shoulders and heels - Squeeze glutes and push hips up, avoid letting them drop. - Keep legs straight and active, heels grounded - Draw shoulder blades down and together - Open the chest. - Gaze slightly upward or keep neck neutral - Breathe steadily, through the nose if possible - Hold tension evenly through arms, core, and legs Here are three adjustments you could make to ease into the Reverse Plank: 1. Bend the knees slightly - What it does: Reduces the load on tight hip flexors and stiff shoulders. - How to do it: Instead of keeping the legs fully straight, maintain a small bend at the knees and press through the heels. Focus on lifting the hips and opening the chest. 2. Use yoga blocks under the hands - What it does: Elevates the wrists and reduces wrist extension strain, especially for people with limited mobility or wrist pain. - How to do it: Place yoga blocks (or low, stable books) under your palms to give your shoulders more space and reduce the pressure on the wrists. 3. Turn the fingers outward slightly - What it does: Opens up tight shoulders and reduces internal rotation. - How to do it: Instead of pointing the fingers directly toward the feet, turn them slightly outward (about 30–45 degrees). This gives the shoulders more room to move and helps you stay open. You're not reading this by accident. Start using Reverse Planks to take your quality of life to the next level.
0:18

Most people can’t hold a Reverse Plank because their nervous system doesn’t feel safe being that exposed. Collapsed shoulders and tight hips are postures of defense. This pose invites the body to leave that state. One minute a day can begin to reverse years of silent tension. If you want the fitness results you see in your mind to become real, you’ll need to teach your body how to relax first. Otherwise, forget the great transformation. You'll burn out before coming close to changing. At first, you may need to adjust the position or do shorter sets. You will notice slight improvements each time, whether it is strength, mobility, or endurance. One day, you will unlock the posture and feel much lighter within. Form Cues: - Hands shoulder-width apart, fingers pointing toward feet or slightly outward - Press palms firmly into the ground to engage shoulders - Lift hips in line with shoulders and heels - Squeeze glutes and push hips up, avoid letting them drop. - Keep legs straight and active, heels grounded - Draw shoulder blades down and together - Open the chest. - Gaze slightly upward or keep neck neutral - Breathe steadily, through the nose if possible - Hold tension evenly through arms, core, and legs Here are three adjustments you could make to ease into the Reverse Plank: 1. Bend the knees slightly - What it does: Reduces the load on tight hip flexors and stiff shoulders. - How to do it: Instead of keeping the legs fully straight, maintain a small bend at the knees and press through the heels. Focus on lifting the hips and opening the chest. 2. Use yoga blocks under the hands - What it does: Elevates the wrists and reduces wrist extension strain, especially for people with limited mobility or wrist pain. - How to do it: Place yoga blocks (or low, stable books) under your palms to give your shoulders more space and reduce the pressure on the wrists. 3. Turn the fingers outward slightly - What it does: Opens up tight shoulders and reduces internal rotation. - How to do it: Instead of pointing the fingers directly toward the feet, turn them slightly outward (about 30–45 degrees). This gives the shoulders more room to move and helps you stay open. You're not reading this by accident. Start using Reverse Planks to take your quality of life to the next level.

Alex Bernier

71,160 просмотров • 1 год назад

A lot of hitters confuse being late with letting the ball get deep. They’re not the same thing. In this video I show it with a simple example. I toss the ball and reach way out in front of me to catch it. That’s what late looks like. The ball already beat you… now you’re chasing it with your hands. Then I toss another one and catch it slightly behind me. That’s being on time and letting the ball get deep. When you’re late, your body and barrel are reacting after the ball passes your window. You’re forced to reach, cut across it, or roll it over. When you’re on time, you can let the ball travel and still control it. Now the barrel can stay through the zone longer, and you can drive it with authority. Deep ≠ late. Good hitters aren’t reaching for the ball… they’re on time enough to let it come to them. ⚾️ Train with an expert. Not an influencer.
0:15

A lot of hitters confuse being late with letting the ball get deep. They’re not the same thing. In this video I show it with a simple example. I toss the ball and reach way out in front of me to catch it. That’s what late looks like. The ball already beat you… now you’re chasing it with your hands. Then I toss another one and catch it slightly behind me. That’s being on time and letting the ball get deep. When you’re late, your body and barrel are reacting after the ball passes your window. You’re forced to reach, cut across it, or roll it over. When you’re on time, you can let the ball travel and still control it. Now the barrel can stay through the zone longer, and you can drive it with authority. Deep ≠ late. Good hitters aren’t reaching for the ball… they’re on time enough to let it come to them. ⚾️ Train with an expert. Not an influencer.

Stance Doctor

25,605 просмотров • 5 месяцев назад

I created a dance movement sheet by using a reference image to animate every 16 panels from the reference image I provided. GPT Image 2 + See Dance 2.0 on Yapper Tutorial Below Prompt Here’s every step with the text under each heading: 1. Basic Stance Stand with your feet shoulder-width apart. Relax your knees. Keep your upper body relaxed. Get ready. 2. Step to the Right Step to the right. Move your body in the direction of the step. Keep your knees soft. Keep your gaze forward. 3. Step to the Left Step to the left. Move your body in the direction of the step. Keep your knees soft. Return to the starting position. 4. Two Steps Take two steps in sequence. Step to the right first. Then step to the left. Connect smoothly. 5. Body Wave Start the wave from your chest. Move through your ribs and hips. Finish with your lower body. Make the motion smooth like a wave. 6. Hip Sway Move your hips side to side. Shift your weight with the motion. Use your body naturally. Keep your upper body relaxed. 7. Arm Swing Swing your arms wide. Step to beat with your feet. Coordinate your arms and steps. Return your arms to center. 8. Turn Preparation Prepare for a turn in place. Cross one foot over the other. Use your core to maintain balance. Spot in the direction of the turn. 9. Right Turn Turn to the right. Keep your core engaged. Pivot on the ball of your foot. Spot forward after the turn. 10. Left Turn Turn to the left. Keep your core engaged. Pivot quickly. Keep your posture upright. 11. Jump Up Bend your knees and jump up. Reach your arms overhead. Land softly on your feet. Connect to the next move. 12. Kick Pose Kick your leg forward. Keep your supporting leg stable. Engage your core for balance. Control your landing. 13. Side Lunge Step wide to one side. Bend one knee and lower your body. Keep the other leg straight. Show the direction of your strength. 14. Freeze Pose Hit a strong pose on the beat. Freeze your body momentarily. Create a powerful shape. Show your presence. 15. Finishing Pose Finish the dance gracefully. Keep your balance. Show your confidence. End with a clean, sharp pose. 16. Whole Flow Connect from the basic stance to the finishing pose. The steps, waves, and turns flow naturally together. Express your own style.
0:15

I created a dance movement sheet by using a reference image to animate every 16 panels from the reference image I provided. GPT Image 2 + See Dance 2.0 on Yapper Tutorial Below Prompt Here’s every step with the text under each heading: 1. Basic Stance Stand with your feet shoulder-width apart. Relax your knees. Keep your upper body relaxed. Get ready. 2. Step to the Right Step to the right. Move your body in the direction of the step. Keep your knees soft. Keep your gaze forward. 3. Step to the Left Step to the left. Move your body in the direction of the step. Keep your knees soft. Return to the starting position. 4. Two Steps Take two steps in sequence. Step to the right first. Then step to the left. Connect smoothly. 5. Body Wave Start the wave from your chest. Move through your ribs and hips. Finish with your lower body. Make the motion smooth like a wave. 6. Hip Sway Move your hips side to side. Shift your weight with the motion. Use your body naturally. Keep your upper body relaxed. 7. Arm Swing Swing your arms wide. Step to beat with your feet. Coordinate your arms and steps. Return your arms to center. 8. Turn Preparation Prepare for a turn in place. Cross one foot over the other. Use your core to maintain balance. Spot in the direction of the turn. 9. Right Turn Turn to the right. Keep your core engaged. Pivot on the ball of your foot. Spot forward after the turn. 10. Left Turn Turn to the left. Keep your core engaged. Pivot quickly. Keep your posture upright. 11. Jump Up Bend your knees and jump up. Reach your arms overhead. Land softly on your feet. Connect to the next move. 12. Kick Pose Kick your leg forward. Keep your supporting leg stable. Engage your core for balance. Control your landing. 13. Side Lunge Step wide to one side. Bend one knee and lower your body. Keep the other leg straight. Show the direction of your strength. 14. Freeze Pose Hit a strong pose on the beat. Freeze your body momentarily. Create a powerful shape. Show your presence. 15. Finishing Pose Finish the dance gracefully. Keep your balance. Show your confidence. End with a clean, sharp pose. 16. Whole Flow Connect from the basic stance to the finishing pose. The steps, waves, and turns flow naturally together. Express your own style.

Sharon Riley

54,571 просмотров • 3 месяцев назад

Most lifters only think about their legs when they squat. But your squat is only as strong as your upper body tension. ✅A tight torso + strong legs = a big squat. Here’s how to lock it in 👇 ☑️ Pull the bar into you, not onto you Loose bar? You’ve already lost. Pull it into your traps/lats like you’re trying to bend it around you. ☑️ Lock your upper back first Upper back tight ➡️ brace ➡️ squat. Set the tone from the top. ☑️ Elbows control your torso Elbows drifting up? Chest collapses. Tuck them down and back = stacked, powerful torso. ☑️ Upper body moves first? Weight wins A strong squat starts with zero movement up top. Locked-in torso = TOTAL control of the bar so your legs can do their job. Fix your upper body tension and your squat instantly feels 20–40 lbs stronger…dead serious.
0:10

Most lifters only think about their legs when they squat. But your squat is only as strong as your upper body tension. ✅A tight torso + strong legs = a big squat. Here’s how to lock it in 👇 ☑️ Pull the bar into you, not onto you Loose bar? You’ve already lost. Pull it into your traps/lats like you’re trying to bend it around you. ☑️ Lock your upper back first Upper back tight ➡️ brace ➡️ squat. Set the tone from the top. ☑️ Elbows control your torso Elbows drifting up? Chest collapses. Tuck them down and back = stacked, powerful torso. ☑️ Upper body moves first? Weight wins A strong squat starts with zero movement up top. Locked-in torso = TOTAL control of the bar so your legs can do their job. Fix your upper body tension and your squat instantly feels 20–40 lbs stronger…dead serious.

Jeromy Bryk- Strength and Physique Coach

13,678 просмотров • 8 месяцев назад

This is what happens when you think about your team from the very first ball, think about a big total and try to give the team a start with the playing with selfless cricket and intent. It’s ok, he got out on 0 but his mind set was not for statpadding.
0:17

This is what happens when you think about your team from the very first ball, think about a big total and try to give the team a start with the playing with selfless cricket and intent. It’s ok, he got out on 0 but his mind set was not for statpadding.

Sohamdave

303,240 просмотров • 7 месяцев назад

Yaxel Lendeborg on what he’s going to do this summer to prepare for next season: “I keep hearing that my hips are stiff, so I got to figure out how to loosen up my hips. A lot of I’ve been hearing too is like a point-of-attack defender, something like that. So I want to try to work on those two things, just the little things to fix that up. And then just continue to start shooting the ball consistently and get a quicker release so I can get it off a little better.”
0:19

Yaxel Lendeborg on what he’s going to do this summer to prepare for next season: “I keep hearing that my hips are stiff, so I got to figure out how to loosen up my hips. A lot of I’ve been hearing too is like a point-of-attack defender, something like that. So I want to try to work on those two things, just the little things to fix that up. And then just continue to start shooting the ball consistently and get a quicker release so I can get it off a little better.”

aly ✶

217,992 просмотров • 27 дней назад

One of the best ways to hit the ball straighter is by focusing on the extension of your right arm through the strike. When the trail arm straightens, it delivers the club squarely and helps your body release its stored energy in the right direction. Too many golfers collapse the right arm early or “chicken wing” the left, which causes pulls, slices, and inconsistency. Instead, think of the right arm extending down the target line after impact—just like Hogan, Snead, and so many classic swingers did. That extension keeps the clubface square, compresses the ball, and sends it flying on a rope. Work on this move and you’ll be amazed how much straighter your shots become.
0:17

One of the best ways to hit the ball straighter is by focusing on the extension of your right arm through the strike. When the trail arm straightens, it delivers the club squarely and helps your body release its stored energy in the right direction. Too many golfers collapse the right arm early or “chicken wing” the left, which causes pulls, slices, and inconsistency. Instead, think of the right arm extending down the target line after impact—just like Hogan, Snead, and so many classic swingers did. That extension keeps the clubface square, compresses the ball, and sends it flying on a rope. Work on this move and you’ll be amazed how much straighter your shots become.

Classic Golf Swing

216,043 просмотров • 1 год назад

Dear Catcher, This is Mr. Coach. How dare you do a deflection with your mitt on the 100mph FB spiked at 56’ feet. You need to first get off your knee, slide your body over with two knees down, tuck your chin, and get your barehand behind the ball! - Reality: Nice athletic game-saving stop. Do what you gotta do! Catch first, Stop it second. Hands move faster than the body! I’ve never met a pitcher that tried to intentionally throw a fastball in the dirt.
0:12

Dear Catcher, This is Mr. Coach. How dare you do a deflection with your mitt on the 100mph FB spiked at 56’ feet. You need to first get off your knee, slide your body over with two knees down, tuck your chin, and get your barehand behind the ball! - Reality: Nice athletic game-saving stop. Do what you gotta do! Catch first, Stop it second. Hands move faster than the body! I’ve never met a pitcher that tried to intentionally throw a fastball in the dirt.

Tyler Goodro

990,888 просмотров • 1 год назад

NC State Linebacker Drill!🚨🚨🚨 This drill teaches the linebackers to not cross over when coming down at an angle. You have no power when your legs are crossed over. You should only cross over when the ball carrier is out of your range. Keeping a good base and staying squared is very important especially when you are taking on a big offensive lineman. It also teaches them to not double tap their feet when they are changing direction. Dig your outside foot on the ground and get out! Notice that they are all staying low and keeping their shoulders squared even when they are coming down at a 45 degree angle. NC State Football
0:15

NC State Linebacker Drill!🚨🚨🚨 This drill teaches the linebackers to not cross over when coming down at an angle. You have no power when your legs are crossed over. You should only cross over when the ball carrier is out of your range. Keeping a good base and staying squared is very important especially when you are taking on a big offensive lineman. It also teaches them to not double tap their feet when they are changing direction. Dig your outside foot on the ground and get out! Notice that they are all staying low and keeping their shoulders squared even when they are coming down at a 45 degree angle. NC State Football

Linebackers University™

39,748 просмотров • 1 год назад

Another Saturday without Notre Dame Football? No problem I got you covered with another legendary Tony Roberts call. This time ReggieBrooks40 with one of the greatest runs you’ll ever see. Reggie gets knocked out around the 5yd line and manages to hang on to the ball for the touchdown! What makes it even more incredible is Reggie still to this day doesn’t remember scoring the touchdown. He was literally knocked out on his feet and still had the wherewithal to hold onto the ball even moving it to the outside arm away from the defender. In a word AMAZING! ☘️
0:16

Another Saturday without Notre Dame Football? No problem I got you covered with another legendary Tony Roberts call. This time ReggieBrooks40 with one of the greatest runs you’ll ever see. Reggie gets knocked out around the 5yd line and manages to hang on to the ball for the touchdown! What makes it even more incredible is Reggie still to this day doesn’t remember scoring the touchdown. He was literally knocked out on his feet and still had the wherewithal to hold onto the ball even moving it to the outside arm away from the defender. In a word AMAZING! ☘️

Bruce Straughan

10,750 просмотров • 4 месяцев назад

A hallmark of Lee Trevino’s swing was right arm extension. I studied this move with Tim Brantley, and it completely changed the way I think about the release. Here I’m working on allowing my right hand to thrust the handle forward and around through impact rather than trying to “hit” at the ball. It’s a great feel to try because it encourages the club to release naturally while maintaining lag and compression. Trevino understood that power comes from extending through the shot, not quitting on it. Give this feeling a try on the range and see what it does for your ball striking. 👍🏻
0:13

A hallmark of Lee Trevino’s swing was right arm extension. I studied this move with Tim Brantley, and it completely changed the way I think about the release. Here I’m working on allowing my right hand to thrust the handle forward and around through impact rather than trying to “hit” at the ball. It’s a great feel to try because it encourages the club to release naturally while maintaining lag and compression. Trevino understood that power comes from extending through the shot, not quitting on it. Give this feeling a try on the range and see what it does for your ball striking. 👍🏻

ChristoGarciaGolf

116,551 просмотров • 1 месяц назад

This is the prompt for figure 4 head lock: Begin with a low three-quarter view from Honoka’s left side, showing Arisa standing behind her head. Move closer gradually while keeping Arisa’s hips, knees, ankles, and Honoka’s defensive movements fully visible. 0.0–1.5 sec: Honoka lies facing upward, breathing heavily, with both knees slightly bent and her gloves near her chest. Arisa stands behind Honoka’s head with a wide, balanced stance. She studies Honoka briefly, then bends her knees and lowers into a controlled squat. 1.5–3.0 sec: Arisa sits onto the canvas directly behind Honoka’s head. She places both palms on the mat beside Honoka’s shoulders for balance, without grabbing Honoka’s wrists or arms. Honoka reacts by lifting her head and shoulders slightly and raising both gloves defensively. 3.0–4.8 sec: Arisa shifts onto her left hip and slides her right thigh beneath the back of Honoka’s neck and upper shoulders. Arisa’s right knee points diagonally toward Honoka’s left shoulder, while her right lower leg extends along the canvas beside Honoka’s head. Honoka tries to turn toward Arisa and pushes against Arisa’s thigh. 4.8–6.5 sec: Arisa swings her left leg across the front of Honoka’s upper chest and near shoulder. The back of Arisa’s left knee settles beside Honoka’s right cheek and shoulder line. Arisa keeps her left foot elevated briefly while adjusting the angle, preventing Honoka from sitting upright. 6.5–8.0 sec: Arisa bends her left knee more deeply and brings her left ankle toward the bend behind her right knee. At the same time, she lifts her right lower leg from the canvas and folds it inward, crossing it over the left ankle. Her knees close around Honoka’s head-and-shoulder line, creating a compact closed loop. 8.0–9.5 sec: Arisa secures the crossed-leg arrangement by placing the back of her right knee firmly over her left ankle. She flexes both feet, draws her heels closer to her hips, and rotates her torso slightly toward Honoka’s right side. One hand remains posted on the canvas while the other steadies her own shin. 9.5–11.5 sec: Honoka struggles fiercely. She grips Arisa’s lower leg with both gloves, bridges her hips high, twists her shoulders, and plants both feet against the canvas. She tries to turn onto her side and slide her chin and shoulder toward the open space. 11.5–13.2 sec: Arisa follows Honoka’s movement by scooting her hips backward several inches, keeping her knees tightly connected. She lowers onto one forearm, slightly straightens her upper leg, and pulls the opposite heel inward to stop Honoka from rotating free. 13.2–15.0 sec: Honoka continues resisting without surrendering. She bridges again, kicks her heels against the canvas, pushes at Arisa’s knee, and twists her torso from side to side. Arisa maintains the secured leg configuration with steady posture and controlled pressure. End with Arisa holding the dominant position while Honoka remains conscious, active, and still refusing to tap.
0:15

This is the prompt for figure 4 head lock: Begin with a low three-quarter view from Honoka’s left side, showing Arisa standing behind her head. Move closer gradually while keeping Arisa’s hips, knees, ankles, and Honoka’s defensive movements fully visible. 0.0–1.5 sec: Honoka lies facing upward, breathing heavily, with both knees slightly bent and her gloves near her chest. Arisa stands behind Honoka’s head with a wide, balanced stance. She studies Honoka briefly, then bends her knees and lowers into a controlled squat. 1.5–3.0 sec: Arisa sits onto the canvas directly behind Honoka’s head. She places both palms on the mat beside Honoka’s shoulders for balance, without grabbing Honoka’s wrists or arms. Honoka reacts by lifting her head and shoulders slightly and raising both gloves defensively. 3.0–4.8 sec: Arisa shifts onto her left hip and slides her right thigh beneath the back of Honoka’s neck and upper shoulders. Arisa’s right knee points diagonally toward Honoka’s left shoulder, while her right lower leg extends along the canvas beside Honoka’s head. Honoka tries to turn toward Arisa and pushes against Arisa’s thigh. 4.8–6.5 sec: Arisa swings her left leg across the front of Honoka’s upper chest and near shoulder. The back of Arisa’s left knee settles beside Honoka’s right cheek and shoulder line. Arisa keeps her left foot elevated briefly while adjusting the angle, preventing Honoka from sitting upright. 6.5–8.0 sec: Arisa bends her left knee more deeply and brings her left ankle toward the bend behind her right knee. At the same time, she lifts her right lower leg from the canvas and folds it inward, crossing it over the left ankle. Her knees close around Honoka’s head-and-shoulder line, creating a compact closed loop. 8.0–9.5 sec: Arisa secures the crossed-leg arrangement by placing the back of her right knee firmly over her left ankle. She flexes both feet, draws her heels closer to her hips, and rotates her torso slightly toward Honoka’s right side. One hand remains posted on the canvas while the other steadies her own shin. 9.5–11.5 sec: Honoka struggles fiercely. She grips Arisa’s lower leg with both gloves, bridges her hips high, twists her shoulders, and plants both feet against the canvas. She tries to turn onto her side and slide her chin and shoulder toward the open space. 11.5–13.2 sec: Arisa follows Honoka’s movement by scooting her hips backward several inches, keeping her knees tightly connected. She lowers onto one forearm, slightly straightens her upper leg, and pulls the opposite heel inward to stop Honoka from rotating free. 13.2–15.0 sec: Honoka continues resisting without surrendering. She bridges again, kicks her heels against the canvas, pushes at Arisa’s knee, and twists her torso from side to side. Arisa maintains the secured leg configuration with steady posture and controlled pressure. End with Arisa holding the dominant position while Honoka remains conscious, active, and still refusing to tap.

Angel Combat

14,668 просмотров • 24 дней назад

I want parents to really think about this. Imagine paying good money for lessons because you care about your daughter’s long-term development… and the first thing you’re told is that “swinging down isn’t correct.” Instead it’s barrel depth, elite path, and swinging up because “that’s what the pros do.” That’s where development goes backwards. Most young athletes aren’t broken they’re underdeveloped in movement. They don’t understand shoulder angles, how to get on top of the ball, situational hitting, or how the body actually organizes a swing. That’s not their fault. That’s instruction skipping steps. In my cage, athletes do not swing up first. They have to earn the right to swing up by first owning the down. We stay at the top of the zone, learn how to find the down, and teach how the shoulders orient the swing. The up isn’t cued or forced it’s a byproduct of correct movement. What floors me is how often kids, especially in softball, are taught to swing up immediately. How do you start middle-down and swing up in a sport where the ball is traveling on an upward plane? It makes no sense. Baseball and softball mechanics are the same the body doesn’t change. But instruction must start differently because pitch plane is different. Baseball breaks down. Softball rise spins up. If a softball hitter can’t control the down out front, they’ll never handle elite rise. Once control is there, the femur turns down, the torso gets pulled up, and the natural up shows itself. No forcing. No manipulation. I can post videos like this all day. I’m not teaching a “style.” I’m teaching how the body is designed to move. I’m demanding because parents invest real time and money, and I won’t waste either. If you want game swings that hold up to velocity and plane find the down!
0:10

I want parents to really think about this. Imagine paying good money for lessons because you care about your daughter’s long-term development… and the first thing you’re told is that “swinging down isn’t correct.” Instead it’s barrel depth, elite path, and swinging up because “that’s what the pros do.” That’s where development goes backwards. Most young athletes aren’t broken they’re underdeveloped in movement. They don’t understand shoulder angles, how to get on top of the ball, situational hitting, or how the body actually organizes a swing. That’s not their fault. That’s instruction skipping steps. In my cage, athletes do not swing up first. They have to earn the right to swing up by first owning the down. We stay at the top of the zone, learn how to find the down, and teach how the shoulders orient the swing. The up isn’t cued or forced it’s a byproduct of correct movement. What floors me is how often kids, especially in softball, are taught to swing up immediately. How do you start middle-down and swing up in a sport where the ball is traveling on an upward plane? It makes no sense. Baseball and softball mechanics are the same the body doesn’t change. But instruction must start differently because pitch plane is different. Baseball breaks down. Softball rise spins up. If a softball hitter can’t control the down out front, they’ll never handle elite rise. Once control is there, the femur turns down, the torso gets pulled up, and the natural up shows itself. No forcing. No manipulation. I can post videos like this all day. I’m not teaching a “style.” I’m teaching how the body is designed to move. I’m demanding because parents invest real time and money, and I won’t waste either. If you want game swings that hold up to velocity and plane find the down!

John Sangillo

47,117 просмотров • 8 месяцев назад

If order to hit a big league fastball your brain needs to decide to pull the trigger roughly 25 feet from the ball reaching the plate…. In order to do that, your eyes must be oriented at a spot 25 feet to your left for a righty or 25 feet to your right if you are a lefty…. This begs the question what is the point of hitting off of a tee?…The body will never work the same vs a live ball…. Look how different Mike Trout looks when hitting off of a tee vs hitting a live ball…Watch his left arm and left shoulder do completely different things. The right forearm supinates vs an overhand pitch but it pronates vs the tee…. It’s a function of where the biceps inserts onto the radius. There isn’t a hitter on earth that will use the same swing mechanics off of a tee as they will vs an overhand pitch.
0:16

If order to hit a big league fastball your brain needs to decide to pull the trigger roughly 25 feet from the ball reaching the plate…. In order to do that, your eyes must be oriented at a spot 25 feet to your left for a righty or 25 feet to your right if you are a lefty…. This begs the question what is the point of hitting off of a tee?…The body will never work the same vs a live ball…. Look how different Mike Trout looks when hitting off of a tee vs hitting a live ball…Watch his left arm and left shoulder do completely different things. The right forearm supinates vs an overhand pitch but it pronates vs the tee…. It’s a function of where the biceps inserts onto the radius. There isn’t a hitter on earth that will use the same swing mechanics off of a tee as they will vs an overhand pitch.

Prehension Athletics

24,813 просмотров • 6 месяцев назад

Best Kegel Exercises for Erctile Dysfnction (E.D.) and Premture Ejacultion (P.Ε.) strengthening the pelvic floor muscles (the ischiocavernosus and bulbocavernosus) can provide a natural first line of treatment to improve stability and control. Kegel Exercises for Better Performance 1. Floor Lying (On Your Back) - Lie on your back with knees bent and feet flat. Draw your p*nis inward toward your body. Hold for 5 seconds, then release. Squeeze your anus muscles (as if stopping a bowel movement). Hold for 5 seconds, then release. Repeat 8 to 10 times for 3 to 5 sets.2. Side Lying Squeezes Lie on your side with a large pillow between your knees. Squeeze your legs together firmly against the pillow. Hold for 5 seconds, then release. Repeat 8 to 10 times for 3 to 5 sets. 3. Sitting Chair Squeezes Sit comfortably in a chair. Squeeze your internal muscles as if trying to stop urine flow. Hold for 5 seconds, then release. Repeat 8 to 10 times for 3 to 5 sets. Important Training Tips Keep Breathing: Never hold your breath during the squeezes. Lift, Don't Push: Focus on squeezing and lifting the muscles upward rather than pushing down. Relax the Rest: Keep your stomach, glutes, and thighs relaxed. Only the pelvic floor should be working. Progress Gradually: Start with 5-second holds. After a month of daily practice, aim for 10-second holds and 8 to 10 sets.
0:14

Best Kegel Exercises for Erctile Dysfnction (E.D.) and Premture Ejacultion (P.Ε.) strengthening the pelvic floor muscles (the ischiocavernosus and bulbocavernosus) can provide a natural first line of treatment to improve stability and control. Kegel Exercises for Better Performance 1. Floor Lying (On Your Back) - Lie on your back with knees bent and feet flat. Draw your p*nis inward toward your body. Hold for 5 seconds, then release. Squeeze your anus muscles (as if stopping a bowel movement). Hold for 5 seconds, then release. Repeat 8 to 10 times for 3 to 5 sets.2. Side Lying Squeezes Lie on your side with a large pillow between your knees. Squeeze your legs together firmly against the pillow. Hold for 5 seconds, then release. Repeat 8 to 10 times for 3 to 5 sets. 3. Sitting Chair Squeezes Sit comfortably in a chair. Squeeze your internal muscles as if trying to stop urine flow. Hold for 5 seconds, then release. Repeat 8 to 10 times for 3 to 5 sets. Important Training Tips Keep Breathing: Never hold your breath during the squeezes. Lift, Don't Push: Focus on squeezing and lifting the muscles upward rather than pushing down. Relax the Rest: Keep your stomach, glutes, and thighs relaxed. Only the pelvic floor should be working. Progress Gradually: Start with 5-second holds. After a month of daily practice, aim for 10-second holds and 8 to 10 sets.

forged manhood

19,380 просмотров • 4 месяцев назад

Watch the difference in the practice swings and the shot. See the head dip & knee buckle? Have seen this from Lexi before. Can’t remember which major it was, but it was last season in the closing stages of the final round and tight lies. It’s a classic move from those who have anxiety with their pitching and are trying to help the ball in the air. I know it well. I had the chipping / pitching yips for a few years and was a complete mess. Head moving down & leaning back to the right shifts the low point of the club to an earlier spot. Club hits the ground too early. When you look at great pitchers they are usually shifting a little left, and slightly extending up after impact. Not dipping down and back. Imagine standing side on to the target and tossing to the landing spot with your trail arm. The dip down and knee buckle is completely at odds with how you would move. I am confident an expert short game coach could really help her with this. I reckon she is in the horrors mentally standing over these shots. No disrespect to Lexi, she’s obviously a great player. Yes, I’m just an armchair fan sitting on my couch 😎.
0:19

Watch the difference in the practice swings and the shot. See the head dip & knee buckle? Have seen this from Lexi before. Can’t remember which major it was, but it was last season in the closing stages of the final round and tight lies. It’s a classic move from those who have anxiety with their pitching and are trying to help the ball in the air. I know it well. I had the chipping / pitching yips for a few years and was a complete mess. Head moving down & leaning back to the right shifts the low point of the club to an earlier spot. Club hits the ground too early. When you look at great pitchers they are usually shifting a little left, and slightly extending up after impact. Not dipping down and back. Imagine standing side on to the target and tossing to the landing spot with your trail arm. The dip down and knee buckle is completely at odds with how you would move. I am confident an expert short game coach could really help her with this. I reckon she is in the horrors mentally standing over these shots. No disrespect to Lexi, she’s obviously a great player. Yes, I’m just an armchair fan sitting on my couch 😎.

Fit For Golf - Mike Carroll

4,076,743 просмотров • 2 лет назад