 So we're here for another episode of The Throws Show, and we're fortunate enough to have Eric Johnson and Jason Harrow, who got fourth at the Olympic Trials in 2016 in the discus, representing Aritae Throws Nation, Jason and Eric. Thanks for being here. We are happy to be here, Dan. I just want to start off with outside of the YouTube channel, which already pisses me off, that you do so much better than us. Yeah. Totally for that reason. I don't care about how good the content is, because I know it's good. Let's face it, it's gold. Yeah. Your gear is always the best. Jason's shirt is so nice. Your shirt matches. And then on top of that, you give my throwers free stuff. And then they come out, and they're wearing your shit during their training with me. And it's like, yo, like, come on. So I just wanted to put that out there that I'm already mad. By the way, I've never received a garage strength shirt, by the way. Just let me make that note. I'm too cheap to ship it. I want to go into that question, that first question, though, that we had. OK, I thought I'd throw you a ringer right off the bat. Yeah, no, I like that a lot, because I think I've got to answer that a couple of different ways. Wait, what's the question? The question is, Dan, why don't you teach a left arm block at the finish? OK, so why don't I teach a left arm block at the finish? I think to start, I hate the word block, because what I feel like the way that the left side in my mind should be working is that, and let me go through this, I think of it more almost like a trebuchet on a catapult. So in my mind, the left side is creating energy, and it's helping you transfer that energy forward. And when I hear the term block, I think about something stopping that energy, which I do. It is going to happen to an extent. But I don't want, I look at it as like all energy stops. Whereas if it's a trebuchet, I like to think about the left arm opening, and I prefer that that left arm is wider, similar to Harding, similar to Canner. And I do teach that, and I would actually argue, I mean, Trevor might argue this, that I tend to overteach it. And I'll say that I like to use it where it's a guide so that when the right gets to the middle and the left's moving around that right side, the left arm holds for a split second. Similar to Harding. And I'm talking specifically about the discus right here. And that will hold for a brief moment. And then just prior to the left grounding, the left arm will open wide. And that's where I believe it acts more as the traction arm on a trebuchet. So that's actually, to me, the better term is that I believe it's the traction arm. And I know that that's just not as catchy, and it's never going to catch on in the throwing world. But I believe that a traction arm is the best description of the left side as opposed to the block. So when people say you don't teach the block, I would say I don't use that term. And I've done close to 3,000 technical analysis if you look at the YouTube or on Instagram. And I doubt I've ever used the term block. But I think that that also just stems back to Dr. B's influence on me. But mainly, I do not like that term. But I think when I watch some of your stuff, Eric, I understand what you're saying. I'm not saying you're wrong. I'm just saying I don't like that terminology. And Trevor and I have talked about this before. And I've even met with my brother, who's an engineering mechanic slash aerospace engineer slash. Also has a degree in physics. And he doesn't like that term either. And he thinks of it more as almost a piston or a traction arm on a catapult or a trebuchet. So I think that that would be my, yeah, in the beginning, I didn't use the right verbage even in the beginning. I say traction arm of a trebuchet. So that traction arm on a trebuchet is what makes that more precise as a weapon versus a catapult that doesn't have the traction arm. I don't know if that is too, was I clear at all? Yeah, I mean, and I think also I feel like in the people I've come in contact with is they'll use the term block and be referring to the exact same thing that I'm talking about. And I'm just not using the term. And there's kind of two schools. So there's kind of that group that use the term block and mean the same thing I do when I talk about the dynamic action of the left arm. But then there's also a group of people that I feel like do actually attempt to completely stop the left side kind of like a catapult. And that's where I think, and I think that's where the term block probably stems from. And that's where I would say is incorrect. And if I could just, I want to keep going on this. I feel like I know your side fairly well. And I think the problem I have is without that, the elect the left arm, the downfall, I think, is something like that is I don't like, and dude, I think elect is probably one of the best technical models. He'd probably be top three technical model that I would use, Harding, him, Kanner. Some things that Kanner does I really, really like. But I don't like what Electna's left arm does in the middle. I don't like it. But I think that, and I'm not going to use the term where, oh, he can get away with it. No, he just grew up and that was specific to his movement. That was the pattern he learned. That was the pattern he was comfortable with and that was the pattern he was most consistent with. And I think that a lot of times consistency is more important than technical theory. And so that's, you know. Yeah. Jason tends to throw with that, with his left, is more similar to Electna. And I don't, you know, I'm not going to sit here and you know, he's thrown 65 meters, right? Like, yeah. So boo-hoo, you know, you have a different technical model. Doesn't mean you're a bad human being. Jason was a 138 foot high school discus star. Dude, that's so great. I love that. That's awesome. Amazing star. But Eric, you might, with that, explain your philosophy on the left side. And like, to me, I mean, just hearing that, that sort of pisses me off even further, that he was a 138 foot discus thrower in high school. Now he's a 65 meter discus thrower. And I don't even want to get into why that makes me bad. But tell me, tell me. I kind of hope it was later on. After our nationals after party, we'll talk about it. Yeah, yeah, yeah, don't. Yo, we're definitely having a party. Yeah, we're having to have that again. We're having a banger all over again. Go into the left arm. Let's not, I don't want to get too much into bangers. So left arm, mine obviously, mine is a, I look at the finish. Ours is obviously our six pillar system. We're trying to hit two positions, two positions, pillar five and six. And so pillar five is where the arm lengthens, right? To kind of kind of kind of similar to what you're talking about. And then so as you lengthen out, that's what's going to create the action to whip into it. So I do use the term block. And I do think obviously you want to, you have to have a stopping action, right? At a certain point, because that's the transfer of momentum. So that's how we're looking at, but it's, yeah, it's, we go five is where everything's lengthening and then shortening right through six, which is actually trying to consciously deliver the discus. So we're setting up that action. We're setting up the whip, right? Or kind of like you were saying, your trivichet, right? You want to create that this motion, not necessarily here, but that, you know? And create that whip reaction. And that's what we're, so probably similar just a different way of communicating it. And I consciously want to see, there's a point where kids, you know, they do the shoulders doing too much of this versus the shoulder moving and everything moving like this. And I think that's where, especially with young throwers, we get, we have some kids right now where the shoulder path is short from coming out of the middle all the way around. So they never can, they don't have a forward motion on the delivery. They're always pulling back from the delivery. So that's where we're coming out long through and forward. And that's how we break it down from like coming out of the middle pillar four, five, six. And obviously that's going to be for us predicated on what do we set up in one, two, three. So. So when you talk about the, so you do use, you do like to see the movement of the left side stop. Correct? Yeah. When that happens, is that, is it stopping like, is it still rotating around an axis or kind of stopping like linearly or rotationally, I guess would be the question. That's a good question. I think you create an axis, the left side creates an axis and that axis is going to have to be obviously, you know, planted or firm so that the right side can now rotate around the left axis. So it's almost like the third axis in the throw, right? So that's where you'd say that that because the left side is forming that axis, it is stopping, but in theory it's still kind of the, at least around that axis, it's still sort of rotating. What we say is the right side rotates around the left side at that point. So the right side is, is rotating out of the middle. There's a point where the left side then becomes the final axis where the, where everything is now rotating around the left axis through the finish. That's our pillar, you know, five, six, really. We really just, I break up the power position into the two pillars because I want specific things to lead to that pillar six finish, right? So that's, I think, I think pillar five will be still rotating off of the right axis and then going to pillar six is coming around the left. Yeah. So pillar five, right? He, like Jason just said, he's coming out of, he's coming out of the middle, right? Obviously the no support we're coming in, we touch down, that's where we start the beginning of our pillar five. As the left comes down into the ground, right? Block foot touches down in anchors, then we're going to be, you continue in the right side, then it becomes linear with the right side. That's that full motion that's rotating it around the left side to create the whipping action of the shoulder and the arm.