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So let's talk about cues from the most novice to the most advanced Let's start with the things that work for everybody that we start You know, somebody somebody comes in from an out-of-town session and hires you like What are the main cues you're giving them on the press versus it and then we can just sort of go down the list Okay, and then we tend to see this and we'll often add this cue and we'll just does that make sense kind of So rather than it just being a hodgepodge of cues Let's go from you know wide part of the funnel and and work ourselves down So the first thing I tell everybody when I start teaching about a press is actually the press cues that occur before the press starts Which is? Close grip elbows forward wrist straight right for everybody Close grip right so for guys It's the grips going to be usually where the neural starts your index fingers will be where the neural starts You might actually be a finger width more narrow if you're a big wide guy You might be a finger width wider But even I put my grip exactly where the neural starts on the barbell Yeah, when you when you press the bar out to lock out your thumb will be right over your shoulder joint That means that little that means that thin thin ladies and Teenagers often will have two fingers or sometimes more on the smooth part of the bar on a press Yeah, what we're looking for there is a is a vertical forearm from the front if I'm looking at them from the front The forearm needs to be vertical. Yeah, and when they lock out their arms just going to be straight up now Yeah, they're also going to be vertical. That's right. Yeah, and elbows Elbows forward is the you know that people often take a grip. It's a little bit too wide. It doesn't seem like it should be that wide So they Too wide but for me it's the elbows in front of the bar is the one that I end up hammering on the most For the new person. It's often the one that the new person has never done like it feels the least natural of these You know usually you can cue wrist straight pretty quick often people will bend the wrist and they say look And by the way, I know it's not wrist exactly straight, right? But it's the bar is sitting on the radius The bar has got to be over the forearm and then the part of that elbows being for there's two things that occur there first from a safety perspective when I Abduct my elbows right and I internally rotate and abduct my elbows I can impinge the soft tissue up at the acromion. So the more my elbows flare out to the sides The better chance there is that I'm impinging soft tissue. I'm get I'm gonna have problems with the rotator cuff So one of the one of the cues of having that the elbows forward is that it helps clear the soft tissue of the rotator cuff From getting pinched between the head of the humorous the top of the humorous and the and the shoulder joint itself Right. So that's there's a safety part there There's a reason we do elbows for it. But the other reason we do elbows forward is this The angle of the forearm Tells you where the bar goes The bar is going to go the direction that the forearm is pointing So if the forearm is pointing if the bar is starting on a press in front of my body, you know Like by my throat or demo by my shoulders or just under my chin or you know, depending on how long my forearm is I Need it to go right up my face and barely miss my nose and then kind of push back a little bit to stay over the middle of my foot And if my elbows are behind my wrists and not in front of my wrists The barbell is going to go forward. It's going to go up and forward And I want it to go up and back and that's actually and if it's heavy enough You won't go anywhere you end up doing it if your elbows behind the bar You end up having to do a reverse curl curl to get in exactly right if it's heavy enough You can't even get it out of the rack with that. That's right. That's right So elbows elbows in front of the bars a bit when and then the next one I think I maybe the next one in order of difficulty or frequency. I guess maybe Tight knees tight quads. Yeah, they'll be knee-kicking it. They'll be using everybody was to push press it Automatically, they don't know better. They'll push press The other one that I'll use there before before I even get them out of the week Kind of you started to address this but I always want people to take the bar out with authority on the press More than any more than any other lift If you take the bar out of the rack soft Where there is a psychological thing that occurs and you're like, oh my god, this thing is so heavy I can't press it. So That close grip elbows forward wrist straight must occur before the bar comes out of the rack and Then hold as the bar comes out of the rack if you if your elbows are behind you started to mention this If your elbows are behind the barbell, you can't even get it out of the rack if it's heavy enough And you'll sort of create a bad motor pattern there if you do that with the empty bar and lightweight because it's just light enough to Just reverse curl it out of the rack But we can't do that when there's max effort weight on the bar when it's heavy So you've got to dip down underneath the bar and you've got to make sure your elbows are forward before you take it Out of the rack and your wrists are straight and your grip is closed You take a big breath and you stand up step back step back and here we go now We squeeze the quads tight make the knees tight so that the legs don't contribute to the lift right and Then we want to keep the bar close to our face as we press the bar up the bar has to stay close to our face I'm aiming for the tip of my nose sometimes if somebody has bangs actually somebody like obviously I have no bangs Although I always run the bar through my beard always I can feel it run through my whiskers So if somebody has whiskers sometimes I'll use that if somebody has some bangs I'll tell them to brush their bangs on the way up Actually touch their hair like you you don't have much hair like me your hair short You're not bald here's but it's still long enough that you ought to be able to actually run the barbell through your hair a little bit By your forehead. I have been moving that cue down like oh you say it later No, like push it through your eyebrows push it through your nose hair. Oh, yeah. Yeah, because if they There's something about telling them push it through their bangs they do it too late Yeah, they'll still go around their face They'll go around their nose and then start driving it back towards their hair Yeah, you're probably telling people to like push it up their upper lip or something. I'm probably going to get it like Short if I obviously this only works for men with short beards or women with short beards too I guess like occasionally, you know, I had a I had a great aunt once that could have done this Yeah, right. What was her name? She was a chain smoker sounded like Marge Simpson's sisters, right? So Anyway, she if you can run it through your whiskers works really good now You know, I've got my buddy Nate who's got a 16 inch long beard Mm-hmm. You can run it through your beard and still not have it anywhere near your midfoot So so what a lot of times we'll use those this week We've noticed you and I have noticed that we we try to cue parts of the body More often than we cue the barbell itself. Yeah, is people have a hard time with understanding where the barbell is You know, sometimes they've got really good kinesthetic awareness that they were an athlete or they were You know did gymnastics a ton as a kid or whatever then they can do that But most people have a hard time really figuring out where the barbell is but they know where their nose is They know where their beard is where their hairline is where their chest is, you know, things like that Because of that place in the bar, I have a really hard time putting the bar Like if I'm thinking about what the bar where the bar is, yeah, I'm in trouble. Yeah, typically Yeah, so for years I have used and I'll still use it I don't like it don't but I'll often say you know throw the bar back throw the bar up and back I think the bar go up and back at an angle Try to put the bar behind you and of course that that doesn't work if somebody's got incredibly mobile shoulders They'll actually put the bar behind their midfoot But I can tell you all day to put your put the bar behind you. I can tell father John floater. I can tell myself Brett McKay, I've never seen any of us ever put the bar a half inch behind midfoot because we can't because our shoulders are too Too sticky, but I have started to change that cue of throwing it back to lead with the elbows Because that is elbows to the ceiling. That's right. Lead with elbows make the elbows drive up first So it's like hip drive. It's elbow drive for the press and And that keeps the elbows in front of the wrist and keeps that forearm angle where I need it to be so that the bar drives up and back And I tend to like that better or I'll say keep the elbows close together for as long as possible I want the elbows to flare to the sides late. I don't want to flare early So the elbows stay forward drive the elbows up drive the elbows up and they'll naturally you're gonna naturally internally rotate as you get to the top of the To the top of the movement, but I really don't want that internal rotation to occur until the bar is well above the head Right, and then they should shrug shrug at the end Yeah, and then the cue shrug and then on the way down. I tell them bend the bar in your hands Because I want to control the eccentric. Yeah, but I want that internal rotation And then I want the elbows to back in front So if they think of bending that thing into a hoop above their head as it comes down, right? They'll put their elbow in the right spot it causes them to pull their chest up It causes them to use their lats to pull their shoulders back And it puts them exactly where they need to be to go their second rep. Yeah. Yeah, that's right Yeah, it's been your bar been the bar in your hands bench press to yeah, same thing Then we're talking about this on some previous episodes that eccentric portion Controlling that is really really important. Yeah cause on a press staying tight It's pretty easy to teach somebody how to get tight before rep one But it's a lot harder to teach them how to stay tight between rep one and rep two Yeah And that you know bending the bar in half and lowering the bar under control is something that we we really want to do Another press cue that I use a lot during the press Is to get your shoulders under the bar as quick as possible and so Especially as somebody becomes a little more advanced and they start to sort of naturally have a little bit of a layback The layback often will throw the shoulders backwards not just down But they'll go back and so it creates this big moment arm between the shoulder joint and the barbell itself Right, and that's okay because they're sort of playing the physics game Of getting the elbows to extend Without the bar having to go up right you can get the elbows to extend by making the shoulders go down And back But you have to be able to control that moment arm And so as soon as the elbows get ready to lock out or as they start to lock out I've got to move the shoulders back underneath the bar as quickly as I can so it's a combination of Making the barbell go backwards not throwing the bar forwards away from midfoot, but keeping the bar Over midfoot and we know at some point the shoulders drive behind midfoot the faster that I can get my shoulders back to the midfoot spot While keeping the bar in place the faster that thing will lock out. Here's the problem that you'll see sometimes Sometimes as the shoulders move forward it'll push the bar forward Yep, the bar will go forward when the shoulders go forward. You have to shrug pretty carefully at the same time to keep that from happening That's exactly right. Yeah. Yeah Um, you know, you were talking about in order of I don't know difficulty from you know novice to more dance This sort of get under the bar get your shoulders forward thing. That's something that happens That's a problem later typically actually definitely later So I'll tell them get your shoulders forward another one. I'll say is get your ass back at the top When yeah, when you shrug if they could get their butt back. Oh, yeah, yeah, because you're actually wanting to get their shoulders forward too Yeah, yeah, because sometimes you don't want to the people will end the press You know, I won't mention anybody specifically but definitely Scott hamberg does this all the time The top of your press just looks like the top of an incline bench press Yeah That floater does this too and I'm like dude stand there for a second Stand up tall shrug back and stick your ass out Yeah, so that you're actually in a straight line because you'll end up looking at yourself and your torso Is angled back at 60 degree angle and your arms are angled forward at a 60 degree angle And so the bar stays over your midfoot, but like the rest of your body is not in line Yeah, I I can't snatch I can't get my thumb behind my midline. Yeah, right and um Thank you kyphosis. Yeah Older guys with shoulder pathology guys with the kyphosis the hump on their back They have a really hard time getting their head forward their shoulders for their rump back and their hands back over the midline I can definitely do a better job of it when I'm thinking of it and if I'm being unconscious of it But man, you know me just standing up and having a nice vertical line from bar to toe with my shoulder and my hip on that line is Yeah, but but if I think my butt back that helps me. Yeah, that's good as a coach I I I want guys like you and and floater and Brett and guys like that to To spend an extra second or two at the top of each rep To really get a good shrug and stretch that out and especially on the last rep of every set That we're doing sets of five that fifth rep man I want you to hold it for three seconds four seconds and just shrug the work's done Yeah, I'm not gonna do that. I know I know you want to go at you all the time Hanging before I press helps. Yeah me too. Yeah. Yeah. And so what do you think is tight there? Let's talk about that for a second. Dude. My spine is pointing forward. That's true. That's true So you may be different. You're yours is actually you've got a major kyphosis. Yeah, my thoracic spine is permitted forward. Yeah So I have the same problem with getting the bar back over the midline But I don't have the kyphosis. So the question is what is in the way for me? Do you have any theories? Um, I don't know. Is it is it all the scar tissue from all your torn pecs? No, it could be. I mean, it's really tight I've actually thought through this a lot. I think it's my lats I think my lats are too tight. They grab that humorous. They just will not Let the humorous go straight up When I figure this out because your your lats extend the humerus. I hate that this is extension I do too. I hate that. I want it to be flexion, but it's you know, so If you're going to take your palm for our listeners, you can't see take your palm You put your thumb touch your thigh with your thumb And then push your palm back behind you Right, that's extension of the humerus. That's right now If you just raise your hand like you need to get attention in class Don't try to take your hand and go behind your midline. Yeah, that's flexion. But it feels like it's an extension, but whatever So the so the the action of the lats are the thing that I think keeps me from fully Finishing I won't say extending fully finishing the press And shrugging up. I can shrug I can get actually a pretty good shrug, but I never there's always some hold and remember I've torn my right lat And I and and that's it was the problem. I can feel the pull back there That's if I'm thinking to myself like what is the thing that's inhibiting The lockout of the press for me. It's a really really tight lat. So that's why I think things like hanging from a pull up bar Or doing chins, uh, or if you actually have a nice lat pull down Um machine high cable machine and you can you can do like an underhanded lat pull down bar You can get a nice big stretch at the top to me That's the best part about a lat pull down machine. Yep is when they're tall enough You can really get a good stretch in there And then you get to you get still get to do the good lat work, but you really can kind of get that I just man, I think that I've had a hard time for years I think all my years of competitive powerlifting Before I was a strongman when I converted over to strongman strongman don't bench they press right competitively And I had a really hard time Locking out presses after having never pressed for 10 years Um and also never doing chin ups, you know, like all the heavy back work I did as a powerlifter were like rows So I never got an actual, you know, my my arm would come straight out Um at that angle perpendicular to my torso rather than With my parallel to my torso and so that created some problems. So yeah, those are all really important I've got another so as we walk down through The advancement level so we've got the I think we're ahead a little bit. Yeah, so I was going to back up I was going to back up. I was going to so I was going to so Tight quad dot abs. Yeah. So in the beginning, we've got the cues of the close grip elbows forward wrist straight Before you take it out of the out of the rack We've got take it out of the rack with authority And then as you walk back, that's right tight knees or quads tight core tight abs, right not Not sucked in a good solid valve salva We I think we talked about this before I think a belt helps the press more than it helps any other lift I like a thicker belt here I like a four inch belt Because I don't want any I don't want any loss and I want any energy loss in my torso and my torso is not doing anything But transmitting force. I like a four inch belt because a 12 inch belt is illegal That's right. If there was a 12 inch belt would be if that was legal. I would use that on a press Yeah, even even if you have trouble with a third, you know You need a three inch belt with the squat and the deadlift you're not bending over You don't need it. You just want to put yourself in a sleeve here a torso sleeve So get your four inch belt for your big presses cast the torso brush the nose Lead with the elbows Throw it back the lead with elbows throw it back or the same cue, right What else do you have before we go advanced? Well, you got to have the tight quads You got to have the tight abs against that belt to get the bounce From the hip throw and the hip in the press 2.0. Okay. And so if if you're not getting that bounce the chances are is one abs and quads aren't tight enough Um, the the the hip throw I'm making the air quotes thing here Yeah, the throw isn't sharp enough. Yeah, if they're not getting the bounce those are the things I typically I'm looking to see and there's there are other things that can cause that but those are the main ones I think yeah, so I see that a lot with um, I tend to see that more with females and I do guys they get um Wiggly in their pelvis and abs when they're trying to push their hips forward So you just rather than by the way and I I think this hip throw is is it will work for novices who are Who have some kinesthetic awareness, but for people who really struggle with kinesthetic awareness I'll just I'll just have them strict What we call military press first and once they kind of get that motor pattern down I'll start to add that hip movement a little bit So that when the hips push forward What are you thinking about I get this question all the time you think about like squeezing the glutes No, I don't think about I don't think anything about the glutes. I think push the hips forward. I I'll perform a tight val salva I tense up against the belt And I literally just push my hips. I squeeze my quads. I think about my quads a lot And I just push my hips forward. Well, do you want to push or throw? I tell them to throw the belt buckle Yeah, that's fine because you're and that's the way that it's really taught I have man the more and more I do this I default to a slower hip I do too I don't I don't like a throw as much as I like a push because I think it's for the same reason that we Control the eccentric portion of the of the movement. So, you know a press doesn't start with an eccentric It starts with a it's a it's like a deadlift it starts from a dead stop At the first rep and so I I liked my version of the eccentric being able to control the thing that happens right before the concentric I really like a slower push. I've I've moved more towards a slow push I think they can control the bar path better Then with throwing the thing now if they can throw it forward and control the bar path That's probably better because the rebound is better But my experience has been that the control of the bar ends up Working better with a slow push forward. So two things one if you're if you're a a lifter And rather than just pushing everything forward, you're another sometimes the pushing the hips forward Throw somebody off and I might tell them push their belly button forward push their right push your belly button for because You can't wiggle your belly button But you can wiggle your pelvis you can wiggle your hips. So somebody's wiggling like they're actually They're rotating anterior posterior pelvic like they're actually in the middle of the kind of like do a quick like pelvic Wiggle like forward back, right? I'm like, no, no, no, that's not what it is like make all that tight Squeeze your quads and just shove your belly button forward There's nothing to turn that's all use that as a as a cue a lot of times and then here's the key as the hips go forward The bar goes down Not back It's the number one problem I see with this hip throw Whether it's a slow hip or a fast hip But the hips go forward the the bar goes back backwards. Well that the backwards movement of the bar doesn't lead the upward movement of the bar For every action there's an equal and opposite reaction The backwards movement of the bar rebounds the bar forward and it makes it go the wrong direction I'll even when the hips go forward the shoulders have to go down I'll tell people to pull the bar down me too. I actually wrote it down pull the bar down So crazy keeping the elbows up I say try to make it touch the shoulders clavicle chest depending on what they're that's so interesting Keep the elbows up pull the bar down I haven't coached somebody in the same room with you or seen you coach somebody in the same room with me in 18 months. Yeah. Yeah, it's fun. Interesting. Say it all the time. I say pull the bar down Right pull it down now. Don't pull it down and drop your elbows if you pull it down and drop your elbows Nothing got tighter But if you think about compressing the spring as I compress right into the circle of tightness of the spring It builds up all this potential Wham and then it opens up I can do the same thing. So as I push my hips forward I'm keeping my elbows up and I'm pulling the bar down But if my elbows drop everything's loose. I don't ever want to do on any of these movements I don't want to go where it's comfortable Right. I want to go where it's tight Yes, those are two different things bending the bar pulling the bar down and bending it. Hmm. Yeah. Yeah. Yeah What's next? I've got one that's the big that's the big deal for me going into Intermediate and then and then from there you can start to move into more advanced sort of stuff I start people I start people without the hip throw I start without it strict press strict press strict press and then later on I'll have them start You know doing something with their hips, whether it's the slow movement or if I figure out that they're fairly explosive They can actually get a real bounce Uh, and then I'll have to start that I start with certain people Teaching them a double a back Yeah, and which is tough Really tough But I'll tell them The the main thing that I do that seems to help is I tell them when it gets above your hairline and look at the bar Okay So it's a strict press you throw your hips, but it's a strict press until it gets over your head And then I want you to look at it And then that that can often that can often help help them figure out the timing in getting that second layback I hope you're enjoying this episode in the technique series of the barba logic podcast You know at barba logic We believe that barbell based strength training is literally for everyone And that the only thing holding most people back from all the incredible benefits that come from it is good technique Inconsistency and we can help with that too and whether you're just getting started or you've been lifting for a while It's difficult to know if you're performing the lifts correctly Or if there's anything you can do to make your lifting better We have tons of free resources online from basic how-to videos It'll get you lifting safely and efficiently right away The podcasts articles and videos that will help you troubleshoot common errors All you have to do is visit barbell logic.com slash Technique to see our best technique focused content in one place And while you're at it you can sign up for a consultation with a barbell logic coach This is a free form check and a chance to ask an expert all your training related questions There's no reason you should be struggling to get started or to make progress Check out barbell logic.com slash technique for more information and sign up for the barbell logic experience again It's a hundred percent free There's nothing better for your training than knowing you're lifting safely training efficiently and on the right track All right, let's get back to the show Yeah, the layback is interesting because it often creates cadence problems between The throw the layback and the lockout. It's really three different movements Right. It's the hip throw And so one of the keys on if you're going to lay back is you You set yourself up for success the higher you can throw the bar. Yep. It's like an it's a it's an explosive movement It's like a clean or a snatch the higher you can pull the bar on a cleaner a snatch the easier it is to get under the bar On a press it's the same thing the higher I can throw the bar before I have to start laying back The more extended my elbows will be as I lay back Which means the goal is just to throw it as high as I can lay back a little bit Elbows lock out and then I just stand up with the thing But what tends to happen is I throw the bar or or a client or lifter throws the bar And they start to lay back early. They lay back when the bar is at their eyeballs And they lay back and the bar just totally stops moving or even goes down an inch or two Until they can recontrol the bar lay back lay back lay back lay back. Okay, here we go Now the bar starts coming back up again. It's a very inefficient that we we gain no efficiency on the lift We just got fast at the lay back. So it's I would equate it if we keep it with the Olympic weightlifting process It's like somebody bailing on the pull the second pull early To dive into the full the full clean to dive into the the rack where they're They're dropping into the bottom of the front squat, but they never finish the pull You have to finish the throw Yeah, that's where you lay back. That's why I'm telling them to look at the bar once it gets Above your head over their head or above their hairline And it depends on how long their forearms are and by the way the double lay back You already laid back once that's right. They have to throw their hips to even get it That's exactly right the reason you're throwing your hips a lot of times There's a piece of this we haven't talked about the simple part of it is like We know you're throwing your hips because it gets tight and get some rebound You get all these things but gets your face out of the way Yeah, so it gets everything out of the way so the bar can actually be thrown in a straight line If you if you really press strictly if you teach somebody a strict press with no hips The bar has to go around their face a little bit Yeah, it either has to start slightly in front of the midfoot And go back over the midfoot or it starts over the midfoot goes around the face and then locks out over the midfoot Well, that's a there's an inefficiency there Which reminds me of a cue that we should have mentioned earlier You've got to keep it close to your face on the way down and that's a that's oh, that's exactly right Yeah, I forgot that same bar often Yeah, people might be able to press it out vertically and over their foot And then they'll bring it around their head on the way down and then they're wrecked when they think you bring it around Your elbows will be behind the bar if you bring it around your face You're in trouble. You're going to be in the wrong position at the bottom You've got to get your elbows in front of it as early as you can on the way down And then get your head out of the way try to keep it close on the way down Well, think about think about a squat. We we talk about the master cue being bar over the midfoot on the squat We're not just talking about the concentric phase of the squat What happens if you lower a squat with the barbell? If you descend in the squat with the barbell four inches in front of midfoot You're done full gen half. You don't get back up A press is the same way the reason we don't think about it that way is because the press starts with the concentric portion And ends with the eccentric So we start with the concentric you press in a straight line Then often people bring it down way out in front of their midfoot and they try to catch it And they're like, oh god, now I don't have any tightness. Well, even if you don't bail on the barbell Even if you don't lose the barbell forward, it's really hard to get back into a tight position to start the next rep How often do you cue midfoot on press? I do quite a bit on the Push I do I just say keep it close on the way down. I really say midfoot on the eccentric portion Will you say it on both? I say it on both my older guys with their beat up shoulders They've got to lower that bar fairly slowly just to then hammer their shoulder at the bottom And and since they're lowering it I mean you're talking about being at lockout and the lowering it's going to be a one two Three often like it's pretty slow for these older guys They have an opportunity to actually they don't have to think about where the bar is they can think about midfoot Just like a squat. Yeah, they don't have to think that is slow enough to matter. Yeah, that makes sense man throw in the hips More about shoulder throwing the hips and getting like the the regular press 2.0 just hammers my shoulders, man I can't do it very often Hurt where does it hurt? Right on top and it's in the bottom. Boom That when it right at the bottom, it's not it's not when it starts to move. It's like right as I throw the hip It's man hurts It's uh, you know, you're talking about teaching somebody how to how to lay back I mean, I think the best example we have of that is your wife your wife is Is one of the best pressers in the country what she pressed Day four yesterday she pressed 147 and a half just jacking around in the print in the gym Yeah, and then what was her work sets were ridiculous like one foot was like 140 for eight two or something or 142 And she hit for reps like for like for like eight. I think It was yeah, it was crazy. Was it that many? No, I mean she did I think she did a bunch of sets So she did like 142 and a half for like five sets of three or something right something dumb um But she for a long time was just the strictest presser you ever saw. I mean she just strict Everything. Yeah, no hip throw to start no lay back to finish and self-righteous about it Yeah, right It just wouldn't be like she's like but i'm a better presser than everybody else because i'm strict right right It's like the it's like in the 2004 when some of the people started lifting raw and powerlifting like yeah All the rest you guys are using bench shirts and cheating right she's like i'm the only non-cheater there is And I said yeah, you can be a non-cheater all you want or We can be the biggest presser in the country which one you want to be and she was like, okay So we we taught her the hip throw which still isn't she doesn't do a lot of hip throw But she does she's perfected the lay back And it took her a while to learn it but she she got it. She's great. So yeah, she's you know, she's a She's a 150 presser at this point for a female. She's crazy And she's and she's looking at the bar. She is consciously looking at the bar to get that lay back Right, that's right. Yeah. Yeah. Yeah, that's interesting. That's interesting Yeah, and you don't look at it the whole darn time No set the back angle in the double in the second lay back You look at it to do that and then you get your eye gaze back forward and then it's stand up with it Yeah, yeah, that's good. That's good. Yeah, and then you'll see you'll see like one of the things that charity is so good at Is she's she's been able to perfect that Get her shoulders back under the bar as quickly as possible. So she she has a big throw She lays back until her elbows nearly lock or lock and then very quickly She moves her shoulders forward and gets them back under the bar and because she's doing that She has to be actively pushing the barbell backwards Or she's not the barbell will just keep going forward as her shoulders come forward And she's figured out the cadence there man. She can just she throws the bar. She lays back It gets right to lock out and she immediately moves her shoulders underneath the bar while shoving the barbell back So everything comes in line We talk about that everything sort of gets a little bit away from the gravity vector Especially in the shoulders on the shoulder side and then as it comes back in boom It comes into a nice tight vertical line Everything directly over midfoot work. Sure. Well, I just remembered Yeah, so she did a heavy single and then she had to do she did like 147 and then I think you had to do like Five at 135 and then she did eight at 125 Right, right, right, right, right ridiculous really strong really strong So those are those are the big cues where where your belts Where your wrist wraps and keep the bar in close. That's yeah, keep it in tight It's a dance move, you know, there's so many timing elements and there's so many elements of control It's a lot like the squat in that respect, you know, yeah, it's just it's just about control We talked about the momentum in the squat a couple episodes ago Like controlling the downward momentum of the bar and how it can make people bend over too much If you don't control the downward momentum in the press your elbow will get behind the bar And then you will shove the bar away from your face in your second rep So you got to control that thing keep the elbows in front and tight quads and you'll probably be okay And then you got to do a whole bunch of it Your press isn't going to get giant doing three sets of five and five sets of three forever You kind of just push that volume up and push it up push it up and uh, yeah The press seems to respond really well from that combo of like heavy Heavy singles to get used to lifting heavy and then the back offsets for the volume that you need to really like build the muscle And get the work in you've got to keep pushing that work So it's it's one of those ones that I think probably benefits first from that combination we talk about, you know the Arguing between what comes first with the chicken or the egg is it volume intensity volume intensity whatever I think pretty quick the press is the first one that moves to Both both you hit your intensity You hit your you hit your single or your several singles in a row or your top set of triple And then back offsets to get the work in there's not enough muscle mass to like You know if you're an old guy with like just kaji shoulders just jacked up shoulders Like you might not be able to do the volume But if your shoulders are decently healthy like I don't think you scott can do six sets of six work sets of press I don't think your shoulders can handle it But I think for most people if you got healthy shoulders Then you can you can get that work in after the heavy singles and it doesn't seem to beat you up too bad And I have to the heavy singles. They're so shocking and so stressful. Yeah, if I don't regularly do them I can't do them because they're just too they just look like they're getting hit in the face. They're so bad Yeah, I agree. I agree. I hate it Yeah, mine's headed back up. I think I've got a a bench press in a press PR Yeah, you're pressing 200 again on the near horizon the squatting the deadlifter a mystery to me right now, but that's fine But it's a bench press and the press just keep you say this about the deadlift But like it's weird you're just your squatting deadlifter just inconsistent You'll have like one of the best days of your life And then three days later four days later, you're like stapled to the floor. Yeah, like what's How could it have been that easy three days ago? Stupid, so you know, it's not a strength issue It's it's it's like between your ears or it's fatigue or something. But yeah, it's not it's not strength So good. Did you did you enjoy my videos the other day where I pressed a squatted in overalls? I've just gotten used to that. Yeah, you and your wife both You guys just train in like normal clothes at this point and my normal clothes. I mean Oklahoma clothes Right normal clothes. I mean dust bowl, you know, 1923 All right, good. That's press cues guys. So that's all the ones I know No, I'm sure I've used a few more, but I don't use a few more Those are the main ones I use those the big ones, right? Like I mean, look you're you're pulling part of the deal as you pull out of a toolbox And and just like in any toolbox you open up the top of that toolbox, right? You got your screwdrivers. You got your hammer. You got your socket set And as you keep going down in you get deeper and deeper and deeper You start to get to these weird tools You only use like once a decade, right? And it's the same thing here like you know What we gave you on this episode were the cues we use every day all the time with all their clients There's some stuff I do that I didn't mention. I use all the time I grab their elbows when they're locked out and show them how to shrug do that all their time Me too just not on online coaching is right do that I'm telling people to get under the bar when they lock out I'll put my hand on their on their their belt buckle and my other hand on their back And show them how I want them to not what it's super heavy. You don't want to do that But if it's like the bar, you know, I'll put their hip and their shoulder where I want it to be I like that. I'm gonna have I'm gonna have charity or Todd do that to you Make you actually stand up tall my shoulder will just go click and my arm will break And we'll all die So I lay hands on them a lot Yeah, of course, but my hand out there and I'm like throw your hips out here hit my hand Um that that kind of stuff, but uh, yeah, I think we've I think we've covered it all God, I just give us that review share this episode with your buddy who's pressed sucks Um and tell them that they need to be listening to barbell logic And see if we can be able to help to them and get that help them get those press numbers up Anything else uncle matt? Nope, it's good. All right. We'll talk to you guys soon