Environmental cues and movement mapping in coaching

So there's three things that you just brought up. The video, the actual experience that they did, and then the words that are written down on either typing or piece of paper, whatever it is. Those are three different experiences that they can draw upon now. The video is something that they're watching that they know happened in the past. The in-person experience is something that they are experiencing in the moment. The words on a piece of paper are representative of what happened in the past or just another experience that they're trying to draw upon. If that scenario was given to me and I said to them, what I'm trying to do for you is give you the sensory experience without any words so that you can remember the sensations, not remember the exact words.

Because you can recite the dictionary to me, but you can't tell me what any of these things feel like. You're listening to the Restoring Human Movement podcast, where movement experts discuss the latest evidence-based practices to help you and your clients move with mastery. And now, your host, Dr. Sebastian Gonzales. Hey guys, it's Dr. Sebastian Gonzales again, your host for the Restoring Human Movement podcast. Thanks for joining the movement, movement. Today we're going to have on a guest. It's Miguel Argonzillo. He is a strength conditioning coach over in Boston. He worked at Cressy Sport Performance from about 2014 to 2018.

And he's worked with quite a bit of different types of athletes, but he's an interesting guy. He actually did not grow up as a formal, I guess, team sport athlete. He grew up as a b-boy, a breakdancer. So he's got a lot of references of that in here today. And he started eventually integrating into strength conditioning and helping other people also become b-boys, breakdancers, and use the external environment to be able to improve their movement patterns. And by the way, this doesn't just work just for dancing. It works for a lot of different things, as you can tell as we get through the content today.

If this is your first time listening to this podcast, welcome. We have a lot of backlogged episodes with great people on it. If you're looking for some really high-quality information on backs and hips and knees, and also if you're a clinician, you're looking to better communicate with your patients, these are great podcasts to listen to. So go back. There's like 100 and, gosh, there's probably 120 right now. I don't know when this is going to be, but we got a ton of them. So I would say probably around session number 50, I started to get, I think, more into my interviewing realm, and I got some big-time people on there, but probably everything about 30 and upward is pretty good.

Now, before we start into the interview or the content, I'm going to share with you guys a little story about me. If you've listened to other podcasts, I try to reveal a little bit about myself through a story or snippet just so you can get to know me a little bit better because I'm your host. And if you're going to follow me on this podcasting journey of mine, then I'm pretty sure you're going to have to like me a little bit. So hopefully you like me, and here's the story. If you guys are looking for the show notes on this, by the way, p2sportscare.com. Just type in the session number on the search bar, and you'll find everything you're going to need.

Enjoy. So a couple years back, I started to do a Jerry Seinfeld impersonation. I think I did anyways. So every time I try to impersonate Jerry Seinfeld, I'd be like, so what is with airplanes? Because it always started with jokes. I thought it started with jokes with what? So what's with, because it's observation of humor, right? So eventually someone asked me after years, like, what is that? I said, well, it's the Jerry Seinfeld bit. He's talking about going to the airport and what's with airplanes. He's like, I don't think that exists. And I know, I think, I said, I think it does. So I looked it up, can't find it.

I don't know where the hell it came from now. So I want to know. So if you know what that came from, or if it even exists, so what is with airplanes? And then it continues with a bit. So if you know where that came from, please tell me. Because I can't find, for the life of me, the Jerry Seinfeld reference where he has a stand-up. It was a stand-up routine, I thought. I can't find it. Anyways, let's get to the content. All right, everyone. Welcome on Miguel Argoncillo. Argoncillo. Is that how we practice it? Yes. Okay, cool. I have a tendency of butchering everybody's last name. So I knew I was going to do yours.

No worries. Thanks for being on, man. Yeah, definitely. What do you want to talk about today? I like talking a lot about, I guess, the initial background, lifting, cues for coaching, because I'm more of a sports performance coach for anything, along with how it kind of plays into the concepts of sensation and sensory motor skills. Okay, that's a big one. So we're going to break that down quite a bit. Yeah, that was a big one at the end. Yeah, well, I don't then let everyone know a little bit about yourself and kind of like your background and how you got into coaching and what you liked as a kid.

What was your favorite sandwich? What was my favorite sandwich? Yeah, because I'm sure it changed. Yeah, that's a tough one. I guess growing up, a super easy one was just like a ham and cheese sandwich because I didn't really need to think about it. I'm not a big thinker when it comes to food. I'm just like a doer. Peanut butter and jelly, those kind of things. Okay. So we're not going to go to a nutritional consult today. Yeah, I'm not the best. I'd rather listen to other people and tell me what to do. So I'm back there. Okay, cool. Well, yeah. All right. So tell us all about yourself then. We need to know who's talking on the other end of this mic today.

The really quick 30-second elevator pitch of who I am would be a dancer turned strength coach. If that's anything I can start to start off as the real background is I started dancing when I was 14, freshman in high school, maybe a little bit earlier with my cousins and a couple of friends because I just wasn't good at sports. I tried the normal sports, but I was really uncoordinated, wasn't tall enough to be good at basketball. My growth spurs started early and ended early, I usually say. So that's why my username for a lot of things is Miggsy Bogues. It's an homage to Muggsy Bogues from the Charlotte Hornets.

Oh, yeah. I did see that. I was wondering where that came from. There you go. That's what it is. Because I think he's the shortest or was the shortest recorded NBA player, 5'3", if I'm correct. Soccer, I just hated running. I only did well when I had the captains band when I was 11 or 12. And outside of that, I got into more of the arts side of things. Because that's where my family went. I always say, my brother started DJing early. He got me into a lot of the hip-hop music when it not first started coming out, but when it just came to me. I didn't understand what all this culture was and how these things kind of came about.

He got me into techno and all these crazy things when I was just trying to understand what the radio music even meant. What does techno mean, by the way? I mean, it's like technological is kind of where it comes from. It's literally just played on a piece of instrument, like a keyboard or whatever it may be. To a one-man band? I mean, it can be, for sure. And it's definitely evolved, and I don't know too much about it now. The whole EDM thing, that's a whole thing on its own. But then, like, that kind of spiraled into me dancing because my brother did DJing. I was a younger brother, and I was like, all right, I'm going to start dancing because it felt good.

I could kind of do it at my own pace. I didn't have a coach telling me what to do. I could practice whenever I wanted. I didn't have to, like, set up a time. I could just, like, go in the garage and do it. It was just, like, my life because I was like, okay, I got to be obsessive about something. All my other friends are playing sports and doing all these other things. So that was, like, the super early childhood version. Translating that, I went to college strictly on the facts of trying to understand what movement meant. I just had no concepts of, like, why did this informal, I started b-boying or breakdancing, whatever you want to call it, more formally known as b-boying.

Like, why did this informal dance, very nonspecific, there's no rules about it, how did this kind of come about? And why aren't there any, like, understandings of how these things work? Like, why can't people spin on their heads? It's just physics. So I was like, all right, let me just try to understand it more in college. It wasn't really born out of, like, trying to, you know, help people and all these things. So it was more of a selfish thing turned later on into, like, a selfless kind of endeavor trying to help others. As I saw that, you know, whether or not you get injured or certain individuals, like I got injured, certain individuals might get injured.

There's things you can do to help yourself outside of that. And that was, like, kind of the post-college career. I can't keep on dancing because, again, I started really late. I started, like, 14, 15. And then I didn't have a teacher, so I taught myself. So there's, like, this really, like, self-coaching kind of thing. It comes about when it comes into the concepts of dancing. And I kind of try to – that kind of pervades my own coaching. I try to help my athletes teach themselves. So it's a lot of self-coaching in that aspect once I kind of figured out what I was doing from a work perspective.

It's interesting that they – so you weren't – as I heard it, you weren't good at so basketball and soccer and, like, things where you had to react to an object. But then you were really good at controlling your own body and the – That was after. After. Yeah, yeah. Nobody, like, wants to coach somebody who's just, like, bad at something. And doesn't know they're bad at it? Right, right, yeah. It's like you can't – like, nobody broke it to me. Like, what's the hard part? Like, nobody just said, hey, you're really bad. Like, you just need to, like, do this for, like, a long time. And I didn't get that message, so.

So did you think you were really good at the time? Like, you were looking in, like, a fun house mirror and you're like, oh, yeah, this shit's good. No, I just knew I was bad. Like, nobody had to tell me because I could see the results. Like, I didn't shoot a bunch of three-pointers. Oh, they were talking about – they were talking about dancing. Oh, well, from that too, it was really tough from that as well. Like, because I would go to – they're called jams. I would go to jams. I'd see, like, little kids doing crazy stuff. I'd see people my age, like, I would start going to jams around, like, 16, 17, 18.

And I'm like, man, these guys are really doing awesome. It's because of the environment that they surrounded themselves with. They had a crew. They had a lot of people to dance with. So I sought that out. I went to Philly because I live right next to it. And I was like – like, I went to Philly for college for two reasons. One, to understand more about the physics of it, of dancing. And then also to surround myself with dance. Like, I literally just wanted to go for dancing. Like, even my professors were saying to me, hey, are you here to dance? Are you here to study? And I said, both. Because right after – we had ex-phys around 3 o'clock.

I remember this like it was yesterday. And then right as soon as the class was almost done, like, just when everybody starts to fall asleep at the end of class, you could hear music in the background because they were dancing in the hallways. And I was like, oh, my friends are dancing. And then my professors at the end of the semester, I was getting, like, a B+, whatever. And they were like, hey, are you here to study or are you here to dance? And I'm like – Did you say – did you see my spinning? I've been paying attention. Yeah, like, they would see me in the middle of, like, my session. So, yeah.

So did you used to have dreams about dancing? Yep. It's – so when you thought, hey, I'm going to go to school to learn about how dancing works then, was it because it's like, hey, I'm going to be able to spin and hold myself up better if I knew the physics of it? Yep. That's it. That's kind of it. I mean, right now, I can obviously say, like, it didn't happen. Yeah. But I did have those kind of aspirations. I had, like, a coming to, you know, whatever talk at the end of my college year. I'm like, all right, if I keep on going, I might hurt myself. I might do really awesome. Or I could just, like, have a plan B, C, D kind of thing.

Well, but then – so then just from a coaching perspective, then you're – since you're trying to self-coach and you're probably thinking about, like, angular velocity and, like, leverage and stuff, is this why it didn't work? Or could you have just gone and seen a coach to, say, push your hand through the floor or something? Right, right. The concepts of – I did have, like, one or two, like, sparingly, like, just – every once in a while. And I did have a crew that helped me out with a couple things. But a lot of the help came about more for myself. It's hard because none of the B-boys, like, I'm not saying they don't know how to help, but they don't have the things that I have now that I can – I can literally coach up any B-boy that I want to at this moment because it's a skill.

And once you understand the understandings of the timing in conjunction with, like, the very quick movements that you need, the details of it, well, now you're a sports skill specialist, if that makes sense, or sports-specific coach. In this case, I'm going to be a B-boy-specific coach. I have never heard of that. Like, how many are there in the world? Well, there's, like, the good ones. Like, that would be out there. They teach workshops, and they teach different dance clinics and things like that. But that's what it is. Like, it's not exactly like, hey, this is what you need to do at this time with this much tempo and at this much momentum.

Or, you know, it's not super specific. It's more like, hey, you just got to feel the rhythm. You got to do this. You got to do that. It's super nonspecific. So, how did weightlifting come into this? Like, is that supposed to improve? Wait, what does B-boy mean? Beatbox boys? Break boy. I didn't know that. Okay. So, how did strength and conditioning come into this, actually? Well, I mean, that's what I went to for school. So, it seemed pretty straightforward for me to kind of, like, do a needs analysis and all these things and see how, like, the body works. And you understand kind of the, I don't know if it's constructivism or productionism or whatever the word is where you just say, okay, during this move, you're clearly using these leg muscles.

So, we need to get stronger here. And, you know, now understanding, like, it's not exactly like that. Like, you just don't do quad extensions on a machine just because your leg's not strong enough. It needs to be specific to the actual activity. So, anyway, lifting aspect, that's what I, that's where our brain was before. I said to myself, well, I'm not strong enough to do these movements, to do, like, backflips and different movements that involve single leg strength, et cetera. So, like, let me train squats. Let me train lunges. Let me train this. Let me train that. And it's good on a general sense, but to a certain point.

Like, all right, well, doing a 405 back squat is not going to help you do a backflip. Huh. That is interesting. Now, I'm just thinking about all the times that I've encountered b-boys then. And I think about on, so I went to, I went to Memphis one time. And right there on, what is that street, that little street right there? It's made of bricks. I've never been to Tennessee. Well, so this is just a little area they blocked off at nighttime. And then there was people doing just backflips. Like, the street was, like, slightly slanted. And they would do, like, repetitively, like, 20, 30 backflips in a row.

Is it a street show or is it just practice? You know what? I don't think they were asking for money or anything. There wasn't, like, a formal, it was just, they were just, they were just using the street because it was open, I think. But they were good. And, but they also, I don't, I doubt they went to go do any strength conditioning. So, like, what are your thoughts on, like, how do those people just, is that just repetition on that point? Would they be better if they added? Right, right. Exactly. Like, would it be better if they added, like, even the slightest bit of formal, like, understanding of movements?

I would say yes. But then there's also the concepts that are coming in to, like, eat a portal, functional range, conditioning, where the whole movement pattern needs to be explored, like, movement range of motion, uninhibited kind of teaching. That's one end of the spectrum. And then the other is, like, super formal, like, lunges need to be this, squats need to be that, this needs to be this. I would say yes to both. You need a healthy mix. When it comes into, like, the strength and conditioning, if I could have, like, an ideal program and, like, you know, there would be a handbook that I did give out, it would involve a little bit of both.

I called it back in the day where I was, like, writing down in my notebooks, like, how would I do this if I was trying to help other people? When I used to write more for that population, I would say there needs to be days for creativity, and then there needs to be days for formality. So, you'd have both of those kind of built in, and the formality, obviously, would be, like, a strength and conditioning program, and then you would have the creativity side of things for just your own freedom. It's more like a Bruce Lee-esque kind of thought process. Like, he lifted, but he also did a lot of creative things.

Yeah. It's, I wonder with, I'm sure I was watching the, there was, I don't think it's So You Can Dance, it's the new version show, whatever. There's so many of them, I don't even know anymore. Yeah, there's so many of them. But, so, I saw this guy, like, he was doing, I think it was ballet, and he was doing a bunch of random stuff, which I'm like, oh, that's good, I'm not really impressed. And then he did this swan dive, like, literally in the concrete, and then turned before he hit it into a roll. And I'm like, that, I don't even know how you learn to do that, but it takes, like, fearlessness.

So, I would imagine, like, the creativity part is, like, do you have certain people who are just, like, I don't think I could do that? And if you did, then how do you coach them out of that? Because you just, you got to get them to do it at some point, right? Just commit. Yeah, that's where I think there's a lot of people that have their own unique signature moves. Because they just find that they're naturally good at something, or they find that they don't have a fear during something. They have their own movements that they can call upon, like, literally any day of the week. It's like, yeah, they can do this, you know, right out of bed, or, you know, when they're super fatigued, they can keep on going, kind of thing.

So, it gets really different. It's like, it's kind of like the, when, like, boxing first came about. Like, everybody had their own unique punch. So, that's kind of where it came from. Is that where Street Fighter became popular? When they just had their unique, like, Blanca could just, like, roll through the air? I mean, it's kind of like that. Like, you would know, you would know, it's kind of like that. In the sense that, even to the point where, if somebody's doing a move in, like, Poland, or, like, Sweden, or wherever, and then somebody, you see somebody else doing that in California also, in the world of the internet nowadays, people would be like, hey, you're biting, or you're copying these movements.

And it's like, like, if they're that exact of a movement, it would be really interesting to just see these two individuals meet on the international level, and just see how they battle it out. I can tell. Are you 35, about? No, I'm a little younger. I'm 30. Are you younger? You said bite my move, which, uh, that takes me back. I don't think I've heard it anymore. Yeah, I mean, yeah, I mean, that's, you know, like, that's, I watched all those movies back in the day, even though I didn't grow up in no window. What was your signature move, then? I didn't really have, I had, like, a couple, they call them air babies, um, where you just kind of, it's kind of like a crow pose in yoga, but you balance on one arm, and you have one knee attached to that arm, if that makes sense, if you can imagine that.

Um, so you, you would do a bunch of different spinning moves. I'll just name them out there, just, you're not going to understand unless you, like, see it. Oh, test me on this, this time, I'm going to get them. You would do, uh, well, you would do your initial top rock footwork, and then you would go into a swipe, windmill, swipe, backspin, and then try to pop up into an air baby afterwards. So, like, it would be a combo. I can get that. It's like the legs going, like, you're like a reverse Chun-Li. Yes, I'll say yes for demonstration purposes over audio. Yeah. Okay, cool. Well, I'll probably, uh, if you want to come back to, to breakdancing and the topic, you just tell me, I think I'm dragging you down the road pretty far.

No, at all times, I'll only talk about it. Um, so you, you sent me something on discovery-based learning. Um, you want to talk a little bit about that? Yeah, like, just to build off of the creativity side of things, when there's discovery-based learning, you get these concepts of uninhibited movements. Um, uninhibited movements essentially would just mean if you're standing in, like, a blank white room, like one of those, maybe not a padded room, but if you're just in a blank canvas of a room and you see a stick, there are so many things you can do with a stick. Like, you can, uh, use it as a cane.

You could use it as a walking stick. You could use it like a bo staff. You could use it for teaching or, like, I guess you could say doing RDLs, barbell deadlifts. You could use it for so many things. Um, but who initiated that? Who gave you that, uh, ability to understand what to do with a stick? And you can now understand, hopefully, that among so many cultures, something as simple as a stick can afford so many different, uh, skills and skill sets. So the, the concept of discovery learning are, if you just have, like, a thing in the room, a ball, a stick, or whatever, what are the affordances that you think can surround, uh, this object?

A stick to, you know, a wushu or shaolin individual is going to be immensely more advantageous in a fight than somebody who has no idea how to use a stick. So they've gone through these periods of understanding the weight of a stick, what the moments of inertia are, uh, how long it is. If they had their eyes closed, they could probably feel out certain areas of the room. So there'd be a lot of different sensory, uh, things going on on a haptic level. So there's a lot of things that can go on, on the discovery, uh, basis. And the thing I sent you, it's like my philosophy. If I could start every client from point zero and like, they would have either some previous, uh, work with another, another individual, or I'm like the person that they've, the first person that they've ever worked with, I would just give them a ball or I would give them whatever. And I'd say, okay, we're going to do this movement, not have a real name to it.

And then we would just work through that. It would be super like movement. Uh, it would be, I was about to say move Miyagi. It would be like Mr. Miyagi. Movement Miyagi might be a good, uh, good, uh, mascot for you. Well, that, that's, that's Sean Miska. That's that he got in my head for a second. He's another individual. Um, we'll talk about him in a minute, but he, Mr. Miyagi is like the thing that, uh, you know, I aspire to be in terms of like doing the movements, but not really telling you what you're doing until you need it because it's subconsciously built in is really where I'm coming from.

Yeah, no, it's good. I think, uh, it's interesting that you're not giving a name to it because I know a lot of people that have asked me, at least with rehab, they'll say I have them do a carry, you know, and they're like, well, what is this working? I'm like, don't worry what it's working. I'm like, what do you feel? And they're like, well, I feel this, this, that I'm like, okay, great. That's what you're feeling. That's what we're working. But they, they seem to want to categorize it. Um, so that when you're doing stuff with like, say the sticker, uh, do you say sticker ball? I kept imagining a ball.

I said both. I did both. Okay, good. So then do you guide them on this, uh, journey for discovery? Definitely. Definitely. Um, I, I, I might like push on the stick. I might like move the ball while they're holding it in a different position because the, the mapping is really where I'm coming from. Say you're holding the stick right in front of you, um, or a ball in front of you. We'll use in this case, you have a 10 pound ball in front of you. Your weight's going to move forward. If you put the ball to your side, it's going to move to your left. It's going to move to your right. So you're going to get better cognition, whether or not you're aware of it. You're just going to feel like, wow, I'm moving more to my side. I'm moving more to my other side. I'm moving more, backwards, whatever it is. So you're getting better mapping of what's going on and you can't really label it because I didn't give you anything to label it with. Yeah. That makes sense. That lays, that lays a bigger foundation. So when you go back into like doing that again, do you say, we're going to do that ball thing? Exactly. Yeah. I even use those, those, like I might've said that kind of exact phrase, we're going to do that ball thing. Uh, and we're going to do it on one leg instead of two legs. So it's, it doesn't give like, okay, like in, if in the formal sports world, strength conditioning world, I would say I've done a, uh, a hip hinge with a ball, like kind of reaching forward. That's a super easy task that people have done for sure. It's like, okay, we're going to do that same hip hinge, but on one leg now. And we're reaching the ball forward. Like those are some really easy cues that the person can now understand, but I won't even use those words formally, hip hinge, RDL, that kind of thing. I'll just say, we're going to do that ball thing, that balancing thing, because they understand what balance is more than what RDL means, which they have no concepts. Yeah. It's funny. I was talking soon recently about, uh, we're talking about dance. So I went to go see the nutcracker this year. Right. And I was watching them do all this stuff. Right. And, um, I thought, I'm like, how many times have you guys seen the nutcracker? And like, all of them are like, dude, I've been, I've been with the nutcracker for, I've seen this 60 times. Right. Like, like so much that they would get depressed. They're going to another nutcracker. And they, uh, I'm like, I'm like, well, how do you learn to do the nutcracker?

Is there like a script? Is there, you know, like, is there, it's the same music. Right. So you'd think there's some type of flow with it. And I'm like, well, eventually we got into the point where it's like, well, how do you learn dance? And they said, you just watch someone move and you copy it, you know? And, but there's a couple of like focal points, like arabesque and say splits and, you know, uh, point things like that. But it's funny, like within, within move, within training and, and rehab, it's like, everyone wants to know the specific little tiny bits of it, you know? And, uh, I know that I've, I created, uh, I've created videos for people of how to do an RDL and they're like, well, maybe if you did this on like a word document, it'd be easier for me. And I'm like, okay, here's a word document. And they're like, they're like, well, maybe post-it notes, but at some point it's just kind of experience it. Right. And that's kind of what you're taking them through with this, uh, ball drill, the mapping.

Yeah. And you know, it's really interesting that you brought that up. Like what's the difference between the video that you did? So there's three things that you just brought up the video, the, the, the actual experience that they did. And then the, the words that are written down on either typing or piece of paper, whatever it is. Like those are three different experiences that they can draw upon. Now the video is something that they're watching that they know happened in the past. The in, in person experience is something that they are experiencing the moment. The words on a piece of paper are representative of what happened in the past or, or just another experience that they're trying to draw upon. If that scenario was given to me and I said to them, what I'm trying to do for you is give you the sensory experience without any words so that you can remember the sensations, not remember the exact words, because you can recite the dictionary to me, but you can't tell me what any of these things feel like. I like that. And that has to do with the, the recall aspects of memory.

So if you're reading it, you're going to like, forget about it because it's super short term. If you have it on video, you're going to see the video and you're going to say, okay, I understand this. You see the video and you don't think about your internal body because you're watching it while it's outside your body versus if I say, I want you to feel this area, this region in the moment. And I really drive that point home for like, that might be the first session. Like I spent half an hour or two, like maybe more on just a one movement because now that foundation has been built and then they can like use that for everything that they're doing for like the next 10 sessions. It's not just a one session thing. And then the next session, something else, it's, it's a layering foundation.

I think you just found your, uh, your 30 second intro clip. That was good. Yeah. Um, yeah, I'll probably use that then. That's it. So I always, I always fight with people about it a little bit. Like I'll, I'll, I'll, I'll, I'll do all those parts for them. Cause I like creating stuff, but at the same time, it's just like, um, just, just do it. What do you feel? You know? And it's like, let's do it. There, there, there, there is one guy that comes in actually that, that he's come in like three times and probably the first two times, like I eviled him and like, I have a fairly good idea. A couple of theories of what's going on.

And, uh, but I want to, I need to test the theory. So I want to see if this works or that works, that works. And so he likes to talk about it. And the first couple of times I'm like, dude, we literally did nothing. Like we couldn't even test the theory. Just, just do it. Just get on the ground, do it. That's it. And, uh, after he started, yeah, I got you. He started submitting to it, but it, it was tough. It was tough to get, it's a conversation to get them there, you know, man. Yeah, that's tough. Yeah. The, uh, one, one thing you brought up with just the, the overall, um, non-confining aspect of just the ball and stick experience was that, um, I've talked to people about movement variability before for sure. And, and, uh, they seem to not understand exactly what to do because there's no guidance really given. It's just like, go out and do something. They're like, well, what do you mean? So walk in the woods or like, yeah, I go play with a dog or chase a bird. So I like yours. It just, at least we can do that. What was that? I'm sorry. Oh, I like, I like, I like yours. Just, just take it, take a stick, go in a white room and just move around and see what happens.

Well, I mean, that would be like the ideal, maybe not a white room necessarily, but you'd have different things to look at different, different environments to be in that kind of thing. Like maybe the, maybe this would be like a Dragon Ball Z-esque thing where like the room changes every once in a while, or, you know, you're in a different environment being challenged to do different things. Like how cool would it be to have like, you know, whatever clinic space you have, whether or not it's like 10 by 10 or a thousand by a thousand, like the environment would change every, every time you're, your athletes or whoever come in and they would have to adapt around it. That'd be super cool.

We can walk around them, I guess. And, uh, if you move that, if you hit something with that stick, like enough to bruise it, then, then you've lost. Yeah, exactly. Yeah. Yeah. That's your treatment. You're getting, you're, you're being more resilient there. Yeah. You, you did, you did touch on Dragon Ball Z, which I think is the fourth time we've talked about it. And I think there's about a, there's a 5% recurrence rate of Dragon Ball Z on the show. Just, it's just the, it's just the generational thing, man. Like that's my brand. Yeah. I never did watch it. I watched Bobby's world a little bit different.

Shit did change for Bobby too, though. Little tamer. Yeah. So, um, what do you go through on your workshops then? So I have two different workshops. I just think of it as like a long form workshop and then a really short term, uh, a shorter version rather of a workshop. Um, a more of a one day seminar is a long day. Like it's seven ish hours of me just talking about all the stuff that I just talked about right there. Um, to the nth degree, it's, it's not just like concepts, but then we'll also talk practicality of, uh, drills. And I'll even go into the concepts of what is learning and what are different ways to learn? Is learning just copying? Like we talked about earlier, or is it, uh, the uninhibited aspects of you going about your own business and then learning? Um, and there's so many ways we can change the environment. I brought that up that you can alter somebody's ability to learn based on the environment. Um, that's one way to do it. Um, so that's kind of like what I talk about and how I go about it in terms of an actual, just strengthening conditioning program. Like you can literally change how somebody moves based on, you know, adding a little bit of an elevation under their, their foot during, you know, medicine ball drills or their back foot or making them. So this is something that I've been kind of harping on. This is like a little rant, two second rant.

So many, so many facilities have brick walls. Yeah. And I don't know if you do or not, or, you know, medicine ball work, et cetera, or maybe just a wall to tap something against, but, but the wall is just so of an inanimate object. You don't need to pay attention to it. You don't need to react to it. You just say, okay, the ball's going to bounce. I'm going to, it's going to come back to me. What if there were parts of the wall that didn't have bounce? What were, if there were different parts that you had different visual depth to it? Or what if you just threw a ball against the person to a person? Because now you have a foreground and a background. There's so many things that you can do with it. That a wall is, should no longer just be a wall. It should have different textures and different objects and so on and so forth. It sounds like you can proposition this to, to perform better, but the ever changing wall. Yeah, there's so many ideas here. I don't know how much I can just like say, Hey, do this. And then I just walk away. Um, you could, you might just, you might have it created if someone's listening to like, you know what? Screw it. I don't really don't want to train people anymore. I just, I just want to create some, one thing that one wall.

That'd be really fun. It'd be like a rock climbing wall. Essentially you just throw stuff at, yeah. Um, that would be sick. It would hit a nub if you threw a ball and it would just go to, um, then the, the shorter term or the shorter version, uh, clinics are just, uh, I want to form them into more of a, bring a client and we'll work some things out. Cause a lot of people will just try to like work things out and they keep on doing the same things over and over, but I'm trying to put out information that's inherently different so that they, you know, whether or not you use information from Instagram, Twitter, whatever it is, a video, you see my stuff online. And then you have a different sensation that you bring to your client. Like if you're from Kansas or Tennessee, like you're talking about, like you come to my short clinic of like, you know, two hours and change, you bring them and then we'll do something different. And that'll help you with the rest of your clients. So it's, it's a little, I don't know what the words are, but I'm just like trying to form it and have it be a little bit different than what I previously did of just me just talking for two hours. Yeah. The other thing is application. And like, so with, with our profession, we have case studies. Um, those are always really nice just to see the, you get the information first, then you apply it to the person and you're like, well shit, that didn't work. So then we try something else. Yeah. And, and I'm always in that experimenting mode. Like that's something that I found that I'm a lot different than other practitioners. Like if something doesn't work, I'm not stuck on that. I'm like, all right, let's move on to something else. Like, like that really quick.

Mm-hmm. What, uh, it sounds like you created a lot of your stuff based upon the dynamic system theory. Is that sound, that was the beginnings of it. And then I kind of spiraled into some crazy rabbit holes. What was the rabbit holes? Carl Newell's information, uh, nonlinear pedagogy, um, nonlinear pedagogy is essentially like when you learn something, you usually think you got to have X amount of hours and X amount of time and X amount of repetitions. If that makes sense, it's kind of like the 10,000 hour rule. Um, just like once you get 10,000 hours, it's like, oh, you're an expert. But in reality, the, you know, the real research and real things that people have said, it's like, well, some, some people have reached grandmaster at chess at like 3000 hours, which is pretty interesting because that means some of your information or some of your repetitions and some of your playings, uh, like, how did you get that? Like, it was just so nonlinear. Like it wasn't just a straight line this way, the whole way.

It was like, you kind of maybe stalled a little bit. You might've failed, which not many people talk about how they fail. And then you kind of skyrocketed and then you kind of dipped and then you skyrocketed again. And then you got it in 3000 hours instead of 10, um, constraints led approach, changing the environment, changing the emotions of something to give a different context for how things can come about. Um, I always give the easy concept. It's a new England, I'm living in Boston. It's super, it is cold ish. Um, right now it's not as cold as it was last year. That's why cold ish last year.

I remember it was like a couple of zero degree days, like literally not fun. Um, a lot of people do single leg work and single leg training, which is great. Do it. Um, but there's no like emotional context. Like what happens when you have to walk across a room full of like, I see what not a room, but I see sidewalk, for example, and you have to carry groceries or something. It's like, you're going to change how you move based on that simple idea. And you're probably gonna have different emotions. If you're a 20 year old individual coming home from class or a 65 year old individual who recently broke her hip, like you're going to probably be scared.

Well, that's interesting stuff. The, uh, there's a lot of tangents to provide in there. Yeah. I just kind of went off. Yeah. The, the one thing I can think of though, is that the, uh, so the last one, I actually, I wouldn't recently went to Utah and, um, I was walking up this coffee shop with confidence because I was excited to take a coffee. It's hard to find it there. And, uh, there was a patch of ice on the ground and, uh, I, I stepped over it, not because I tried, but because just that was the step that was the cadence. Yeah. Um, and then I realized that I need to scuffle. Yeah. I need to scuffle and look down.

Yeah, exactly. Yeah. And it's really going to change. What's that? Yeah. It changes how you move. Yeah. And it's really going to change when there was hot coffee in my hand too. Oh yeah. Oh yeah. So yeah, this is the environmental stuff is, uh, I don't know. I always, I always tell people just go for a hike and shit. Like, I know we don't have any like real ice and stuff out here, but like go walk over rivers on slippery rocks and stuff like that, you know, like carry a backpack. Um, God, there's so many things to try. Um, Well, I mean, you could, you could get like a, you have slide boards. I mean, you can just put on the socks and you just walk on the slide board because what it does is it changes your center of balance. If you're taking a super long stride, either up towards the step or across a sidewalk that's icy or slippery, whatever, like you're in a, uh, you know, a grocery store and just, you know, those, uh, aisle markers, whatever, caution sign, caution signs.

Yeah. I just usually don't pay attention. So I thought you were going to tell me to tell everyone to go into the grocery store, find caution signs and start walking across them. It might help. It might help your, uh, your moving variability. Yeah. Um, so, so it changes your center of balance because like you just said, you go from a long stride to a shuffle or a scuffle and not a scuffle, that's a fight, a shuffling movement. Um, that'll change how you move fundamentally. You're still using the same muscles, uh, but you're not going as fast and you're not moving through the environment as quick.

Mm-hmm. So how would, how did, uh, how do you, how do you cater that to, to dancing? Actually, if you're on your hand, you just put them in. Oh my gosh. There's so many things you can do. It's so mind blowing. I've, I literally like, I sleep and think about these things. There's so many, so it has to do with the floors, so many venues and jams, and they think they have the best floor. But if you've ever been on a, like behind the stages or anything like that, like actually on, uh, uh, an actual like Broadway or whatever it is, they have Marley floors, uh, Marley, it doesn't slide as well. Well, guess what? When you're trying to spin on your head and do all these different movements with your hands, Marley floor is not going to be the best because they use that for friction purposes. You want to catch yourself while you're doing these different movements in contemporary and traditional dance versus in the other way around, you have friction that you don't want to worry about.

So like the bait, the basketball gymnasiums are like usually the most ideal. They have like a cushion and they can spin a lot, that kind of thing. So, so those floors are two vastly different environments that you can now dance in, no, let alone, you know, Tennessee, New York, LA, you know, you have concrete, you have, you know, different environments there. So, so it has to do with the physical environment that you're working in. Um, so you need to either overpower, which is means like you're just literally muscling through movements, uh, or you're just, you just need to hit a certain timing of a movement as you spin. So I'm thinking windmills, when you go, you're on your shoulder and you're going to your other shoulder, you might need to really whip your legs if you're not on a, a very, uh, smooth surface, but you need to literally just pull, push and pull as hard as you can. Versus if you're on like a basketball gymnasium, like it's just very straightforward. You just, what if you're on concrete and it was like a, like a gritty surface, very tough. Usually most people have linoleum, but they put it on top of the concrete, which means like you have like a millimeter of space, you're smooth, but it's still super hard. So you have to watch how hard you contact the ground when you hit.

So there's a lot of, yeah. I remember people in high school doing, they would bring cardboard boxes, but then it, but then it's corrugated, or you just crush those and become smooth after you spin a couple of times. Yeah, yeah, exactly. Yeah. It's like a little bit of a cushion, but then it's like, you know. So I was wondering actually this recently with, um, say dancers, right? Um, like dancers of different types, or for some reason, when I think of you, I think of on your back, on your side dancer versus ballet on your, uh, on your feet dancer. Sure. Um, right. So when you're, when you're trying to improve someone's ability to like, so we're our decelerators, our braking system, um, uh, would you want to train them in all these different environments or, and would it carry over to like, say Marley floors or do you just train on Marley floors and then get really good at Marley floors and that's it, you know? I see what you're saying. Yeah. Like, like you're saying, like the, the Marley floor would just have more resistance. So like when you go to a regular gymnasium floor, it's just easy. Right. Well, I want to like, cause, cause on the thought of dynamic, dynamic system theory and changing the environment and everything, it's like, we'll, we'll get ourselves to become better athletes and better humans and blah, blah, blah. But like, let's just say we went and took, had them do it like a, uh, had them do like a move on a BOSU ball. Like, is there, is there carry over there or is it just for novelty? Well, one, I wouldn't do anything on a BOSU ball for a dancer. I know. Let's say yoga block. In gymnastics though, they do things on like, I think they call them mushrooms, if I'm correct for flares, which is one specific movement from the gymnastics world to teach hand placement. So I will say that if you have a constraint, uh, constraint, meaning like an, a physical barrier on where your body can go in space, perhaps that can be something of value because if you would, you know, give you a small constraint, either on a Marley floor. Now you're spinning sometimes initially in the beginning stages of learning, we'll just call it a windmill. For example, the windmill space that you'll envelop, you're going to go like all over the place because you don't know how to control it versus some individuals. They stay in place while they do it. So for individuals like that might change your approach. Basically, basically what I'm saying is you might do the Marley floor and you might have to do windmills all over the place versus if you're on the gymnasium floor, you could just go in place forever. Um, because that's how friction will help you or lack of friction, excuse me. So, um, to answer your question about dynamic systems theory and, you know, going into the concepts of, uh, will, will just only a Marley floor help? I'd say yes, but then you won't be able to learn what it means to do the thing on a frictionless or, or lesser friction environment. Right. Yeah. They'll become specialists at that one flooring, but they'll be really good at that flooring.

Yeah. And, and the, no, it's the ability, maybe not specialists, but the ability to adapt will be less. Hmm. Okay. What, what percentage of the time do you think they should spend time? Let's just say if you're, if you're doing windmills typically on a basketball court as a profession, what percent of the time should you expose yourself to other things? So there's two ends to it. There's ideal and the actual thing that happens. I'll go into the ideal first of, um, whether or not you're, we can even talk about just sports in general. The ideal aspect here would be always having the ability to change, but this quickly turns into how many venues can you get yourself into just to practice for me when I was at temple in Philadelphia, we only had like a hallway. Um, we just got into, and then, and now I hopefully that they are doing more than that. I helped set up the, uh, the club there, but hopefully now they have more abilities to get into different venues as in like different areas and different floorings.

So the ability to change venues is dictated on what kind of access you have, especially in breakdancing. I mean, you're going to have access to like nothing if you first start out and you have, you have nothing. Like it comes from a culture of where nothing, making something out of nothing. If, if you have access, then yes, go to like a gymnastics gym or one of those, uh, one of those, uh, parkour esque gyms where they have bouncy floors, go to those, then go to like a basketball gymnasium, then go to like regular practice at your boy's house, whatever it is, just so you can have different things there. The pragmatic side of it is, um, most dancers are not going to have that just because it's like, you don't have access to those things. Um, from a sports perspective, uh, the realities of it, and just going to some really quick philosophy on these things. If you have a certain movement pattern that starts to plateau, that is the way that, you know, you need to change something.

Not really sure what, you know, I can't really say like, you need to do this because it's super nonspecific right now. But if you, for example, are doing windmills and you can't get better out of it, you can't get more jump out of it. You're trying to do things, you know, a little bit more dynamically. You need to go to a different environment where you need to challenge yourself to stay within a closer constraint or whatever it is. So instead of going all around the room with your windmills, you just try to stay within like a five by five taped off area and just try to really stay in that area if that makes sense. So you have to challenge yourself physically in that way.

Interesting. I was just thinking about the, the, the come from nowhere thing is can, can, could they just do something like have a cardboard flooring and then flip it over and have a linoleum flooring and then have like a gym flooring. Yeah. I mean, that'd be really, I'd be the best. And they have a three by three now. Yeah, exactly. They get to transport it. Yeah, that's exactly it. Cool. Yeah. That's, that's good. That's good information actually. Is there anything you want to talk about actually that I've been guiding this conversation a little bit, but I know that you sent me a couple of things that were, they look good. Yeah. We just haven't talked about it. That's cool. Yeah. The, the couple of things I did send you and that, uh, it has some elements that the example I just talked about has some elements with like a tractor wells and a tractor states for behaviors. Um, the plateauing idea, if I can just use that as a tangent thing, uh, to segue into the next thing for like one or two minutes, if you change how individuals move, well, how does that happen? Do you just tell them and then something happens? This is even going back to the discovery side of things, because if you move in a certain way on a Marley floor, your discovery of how you move on a basketball gymnasium floor is going to be vastly different, but nobody told you that it's going to be different. You discovered it on your own. You slipped while you tried to do the thing, because it was so slick of a, of an environment. You didn't need explicit instructions. So then sensation was different. For example, if you're trying to do a lunge, um, on a regular gym floor, rubber mat, and then we put both socks from a slide board on, and then we have you do a slide board lunge. Are you going to be as successful? And then we have to question yes or no. Um, so not saying we need to change how you move, but we need to change your behavior based on what you think the environment is giving you. Um, so, so there's different states of behavior that we can kind of look at and to go to the sports performance side of things. If you're throwing a baseball, for example, uh, an interesting idea is if you're stuck at a certain miles per hour, which everybody always says, I need to get, you know, five more, five more miles per hour.

Mm-hmm. There always need five more. One, two, three, you know, whatever it is. I just need to get to 92, whatever arbitrary number. If you're stuck at 90 and you're doing the same things over and over, well, guess what? You need to do something differently. But how? There's no real like handbook on saying, now you can do this. Well, what I'm saying is you need to alter your extension or your stepping distance. You might need to change, uh, which direction you throw. You might need to learn how to group, like in terms of accuracy and precision, you might need to group differently. You might need to intentionally learn how to throw, uh, outside plate all the time. You might need to learn how to intentionally throw like literally all over the map, not just in the strike zone, because by getting a greater grouping or mapping, now you're going to understand where, how your body feels and then the outcome of where you throw. So there's like this gapping or just this temporal gap of like, I did the thing, I felt the thing and then I threw high. So let me change how I feel to maybe throw lower. It's, it's kind of as easy as that because the, the behavior will change based on the sensations.

It sounds like then a lot of things, although we've talked about flooring a lot, it's just exposure to a variety of things and feelings with movements and then the outcomes and then realizing that's the desired or non-desired effect. Right. And then, but you have the exposure. Exactly. And, uh, I know a lot of people probably like say with throwing, they would jump to a heavy ball or like, so they'll change the implement versus the different of step and just the exposure to the, I guess, less efficient movements. Yeah, exactly. Like something I've intentionally done with pitchers, medicine ball throws. I intentionally have people like, I want you to throw to my foot. I want you to throw to over here just to change the, the way that they perform their movements. And then I asked them how they feel.

Initially, I don't tell them that, or at all, rather, I don't tell them this is right. This is wrong. I just want them to experience the concept of throwing again. Mm-hmm. Yeah. I like that. Um, well, shit. I don't even know where to go from there. Cause that is good. Um, let's, let's, let's give an example of, uh, give me an example with you were to give me a lunge. You gave me a baseball. We talked about, uh, floor work with, uh, dancing. Um, give me an example of jumping maybe. How can we expose someone to something like jumping? Even jumping. You can change how somebody, how somebody experiences the concept of jumping.

Most people, when they go through jumping one, they either already know how to jump because they played many sports that involve the concepts of jumping like basketball or volleyball or whatever, your kind of like geographical location allows you to do. Um, or on the other hand, you just haven't done anything. So you're like playing hockey or you're, you know, just doing running sports and, you know, runners just normally don't work on their vertical jumps, that kind of thing. So there's a lot of different ways that you can understand somebody's background and ask them the background because like, Hey, have you ever done a vertical jump before? And then you see the soft kind of jump where they kind of don't even extend fully. And you know, it's the heads are kind of down looking downwards and it's just like, it's not a really like intentful jump versus like the person that has dunked a basketball before and they hurt their knee and they're trying to get back. Very different individuals. So it sounds like you're just taking parts of, uh, what they have not been exposed to again, exposing them to it. And overall they should improve as an overall athlete because they've been exposed to different things or they're, I know we didn't talk about it yet. We're exposing the nervous system to, to, okay. We're not, we're not muscle based right now. Oh yeah.

Okay. Exactly. We're brain based is kind of where my brain's going. Okay. Uh, because we're talking about development. Uh, if I'm talking about a 12 year old, that's never played basketball versus, you know, uh, LeBron's kid, two very different individuals. Obviously he's not 12 anymore, but like if they were both 12 right now, two different individuals. So with, with the concept of jumping, we can change many things. Obviously we can change the loading, the sets and reps, the standard things from a muscle based perspective. That makes sense. It's like, all right, you just need to do squats and you do some jumps and box jumps and so on and so forth.

But what you can do is from either an external curing perspective, thinking Nick Winkleman and so on, you can say, push the ground away. You can say, try to tap your hand to, you know, this object that's X amount of distance away. Um, side note, early success usually leads somebody to try to keep on going. So don't have the object be a basketball rim. If they're like five, three, like me or five, four rather than me. Uh, but have it really close by and have them almost hit it. Um, so they can see like, Oh wow, I'm almost there. I'll really, I'm really close. I'm going to keep on coming back so I can try to do it again. So you develop different behaviors again. Um, so external, you know, reaching or visually seeing it that you're almost there. And then an interesting thing you could do is change the environment, say, all right, we're going to try on a trampoline now. Uh, like those little small individualized trampolines or a big trampoline, whatever it is, those fat, those fat burning trampolines. Yeah. I would love to have like 20 of those and just give them to like all the youth athletes everywhere. Um, but anyway, um, like, cause now you're going to definitely be moving differently. Um, the other side of it is it's really interesting, maybe not just vertical jumps, but broad jumps, lateral jumps, lateral bounds. The interesting side of it is how do you know you're moving forwards in a broad jumps because you can mark the distance, but now you're just looking down at the grounds as you do this. What you can do is what I've done is really interesting.

And I like to mess with people when I'm calling them on the phone and I say to them, say you're sitting down, like this is the driving example. Not really. I'll bring it back to the broad jump. You're driving and you're looking forwards. How do you know you're actually moving? Well, the environment's moving behind you. You're sitting down. So you're not really moving. You only know because the windows are telling you that you're doing that. So where I'm coming from the broad jump is how do you know you're getting from point A to point B? Well, you physically move, which makes sense. Like you're, you're on a different point A point B.

But what I also do is I want them to see the peripherals as they jump forward and see the world move around them as they do it, which is a, it takes a couple reps because they don't understand what I'm talking about all the time. But by telling them to look around while they're jumping, it gives them more access to seeing not just the focal point of the ground. Like when you're playing a sport, football, you're catching a ball, you got to jump to something. You're catching the ball. Your focus is somewhere else. Where are your feet? You got to know where you are in space, right? There's so many good, good catches this past season that this is a really good example because your body is mapping where you're, where you are in space. I'm always going back to mapping despite your focus being somewhere else.

Hmm. I feel like I want to get up right now and just go do a long, long jump and then, and then search the horizon to feel the feeling. It might, it might do something. It might make it feel easier. It might not be all the time about greater distance, but it might make the RPE easier, which is says, which says something to individuals are coming back, return to play. I'm just, I'm just thinking about, and I just probably not have any, any merit at all, but I'm thinking about the other senses. So say it's a windy day and you can feel the wind coming against you or like, say there's a motorcycle and you have a windshield, right? Right.

Would the, would the feeling of the wind moving around you help at all? I mean, it might, it very well might. That would be really, really cool. Um, I use, I mean, like thinking about it, right? Like what are the things that tell you you're moving fast? Wind moving around you as you sprint. So like that would be, I never thought about that, but that would be really cool to do because now, because it's a cup. Here's the thing. That thing is called coupling. You're coupling the sensation of moving fast with the wind moving fast. And now you think you're moving fast, whether or not you actually are. So it could be placebo.

I don't know. That'd be really cool. I got to play around with that. I got to get a huge fan now. You should probably try it out. Yeah. I wonder if I wonder if just the overall exertion that they get in the feeling of the wind moving through their hair is it, it offsets the, the, the fan actually, the wind actually pushing back and making it so you don't jump as far. Um, but I know that, uh, there's a, there's a place I run by my house that like it's, uh, so usually the wind goes certain direction almost all the time by the beach. And then on the way back, it's like dead stagnant air because you're moving the same, probably the same pace as the air.

And, uh, it just feels like you're just sweating to high health. Like it doesn't matter if it's a windy day or not. It's just like, you're always sweating on the way back. That's wild. That's wild. Yeah. It feels harder, but I'm probably, probably moving quicker, I guess. Yeah. Maybe the wind on your back will help you, you know, you're, you're right. You're right. At that point, the environment is definitely helping me. Um, I mean, I don't, I don't run, but I do know that if runners say the wind's helping them in their back, it's definitely gonna help them, you know, you know, I think if you just get really wide, you know, and wear a big baggy t-shirt, you can sail. Exactly. Yeah. Yeah. It'd be perfect. Um, is there anything you would like to, uh, touch on before? I think we're about to close up here on this. We did, we did a lot of talking. Yeah.

Yeah. We did a lot of talking. So we're ranch. We're around an hour here. Um, let everyone know where they can reach you at actually on all, uh, social media platforms, Twitter, Instagram. Uh, I don't think my Facebook is, is, uh, at the at handle yet, but at Miggsy Bogues, M I G G S Y B O G U E S. If you don't know who Muggsy Bogues is, well, check me out instead. Um, and my website is WW dot, and then my full name, Miguel Aragoncillo.com. I'm going to have all those on the, uh, the clickable links on the show notes. So if everyone's looking for those, uh, do you have, um, any cool videos? I know that there's a couple of things that you sent to me that I'm going to, uh, these are your tractor well and your philosophy and any other cool videos of you doing shit like breakdancing.

Yeah. I, I got injured doing it surprise, surprise. Um, and I, I did a couple of things. I did go to a parkour gym last year, did tricking slash parkour. I learned how to do it. I don't know if you know anything about any of these subcultures, some genres of movements. Actually, hashtag parkour is one of the only things I follow on Instagram. Are you serious? Yeah. I can't believe humans can move that way. It's fucking crazy. I learned how to do a B twist in like four hours. Like I taught myself so hard and I had an instructor, I had an actual instructor tell me all these things. And I practiced, I like recorded it so I could see my, my before and afters. And, um, from like five 30 to nine 30, uh, at night, I like just beat myself into an oblivion. And the next couple of days were just tough to walk for sure. Yeah. Maybe I'll send you that one. That one's a fun video to watch. Yeah. I'd love to see. I liked your, actually the creativity on the ones you put on, uh, like your, your YouTube ones. Um, yeah, yeah. Yeah. That's exciting. You do your own video editing? Yes. And it's not amazing, but I get it done. It looked like he came out of the hamper.

So I think it was pretty good. All right. Well, thanks so much for being on. Um, but, uh, yeah, hang on one sec. I'll, uh, I'll close everything out. Okay. Definitely. Thank you. Thank you again. Yeah. Hey, Miguel, thanks so much for being on that. That was great. That was great. You stumped me a couple of times though. Uh, usually I'm a little quicker on the draw, I think, but this is recorded actually the last day of my, uh, one and a half week vacation from, uh, work into the, uh, uh, just past new year. So I'm gonna start my work day tomorrow. And, uh, I think I, I think I still need to, to make sure I'm on point here. So everyone, if you're looking for McGill's or sorry for, uh, Miguel's, uh, website, that is M I G U E L last name is A R A G O N C I L L O.com. I'll put it in the show notes. You can find those show notes at p2sportscare.com and just type up the session number or just type up, um, Miguel. Why do I keep saying McGill, Miguel, uh, into the, he's the only one I've, I've, I've interviewed so far, uh, of that name. So type them into this, into the search bar and you're going to find all the notes for it. Um, if you go to his website, by the way, and in the about section, uh, I think it's a really great little story. Um, he doesn't promote that. He used to be a, um, you know, uh, an athlete for a lot of years in high school and college. And a lot of people tend to, uh, kind of throw that in their bio. He, he tells the stories of all of a lot of his failures, which I think is very nice to see because sometimes a lot of these people, you, uh, that we follow and that we look up to, you don't really see the actual story of how they came to be, how they are. So, um, he shares that and he shares, uh, some of those videos of, of his, his superb editing skills and showing how breakdancing, uh, can integrate into his gym life anyways. So, um, thanks real much for listening and everybody.

Uh, I can't tell you how grateful I am to have over a thousand people, uh, every week, listen to this podcast. Um, I, I know that I only have a certain amount of time in my week to listen to a certain podcast as well. And, uh, I'm, I'm happy that you made me one of them. So if you've enjoyed this content so far, uh, and you want to change another person's life, please send it to them too. Um, I, I, I tend to think these podcasts and a lot of the great information out there, um, all of the viral videos and all the viral articles that go out, they only become viral because of you. So you are a big part of the restoring human movement team and you are the promotional team. So I would love if you take some of that, um, excitedness you have about some of these topics and share them with someone that you think it will, will change their lives. So please do that for me. Please do that for them. Uh, you can find a little share button at the bottom.

And that's all I ask of you today. That is the one call to action. Share it with a friend or a colleague who you think it will help. Lastly, leave people better on how you found them and date and Eagle Scout. I'll see you guys next week. We have a great one to come next week. You're going to be absolutely blown away. Thank you.