#transition jump to kip on high bar

[mygymnasticsstuff]

12.4.2018.

[weapvnized]

*falls out of the dumpster behind your local Denny’s* Howdy, everyone! I’m Kip and we’re just not going to talk about how late I am to the party and just jump right into my intro that definitely got out of hand because yours truly is way to excited for this rp!

What’s that scent? The smell of BLOOD SPILT AGAINST COLD METAL, which would explain the appearance of JAVIER CRUZ. Continental records indicate they are  known as PHANTOM, a THIRTY year old SPECIALIST. They have the unique ability of INTANGIBILITY.  They were specifically selected for enrollment for the ASSASSINATION OF GRANT ANDERSON, where they ASSASSNITED A HIGH RANKING PUBLIC OFFICIAL IN A SUPPOSED SECURE LOCATION WITHOUT ANY SIGNS OF FORCED ENTRY, LEAVING MOST OF THE PUBLIC TO BUY INTO THE CONSPIRACY OF IT BEING AN INSIDE JOB. They can be VOLATILE and CYNICAL, but also ADAPTABLE and DAUNTLESS. We wish them well in their business to come.

BACKSTORY ! (death tw, murder tw, & car accident tw)

The first six years of Javier’s life were about as close to perfect as life could get — raised in a warm home by two doting parents that provided their son with all the love and care in the world. It’s clear his life would’ve been completely different had tragedy not struck. While at home, safe and sound, going on make believe adventures with his babysitter, his parents were killed in a car accident.

With no one to take him in and no place to stay after that night, Javier was placed into foster care. Still trying to process and understand his own grief, he found the transition difficult and behavioral issues began to arise in the young boy. Soon after his behavioral problems popped up, he found himself getting bounced from home to home — never finding the perfect fit. 

Unsure of what else to do with him, Javier was moved into a group home when he was fourteen. He initially hated it there, but his opinion changed ever so slightly when he started to bond with two other boys there. As it turned out, the trio had a few similarities to bond over  — all three were superhumans that had been juggled and mismanaged in the system from their early childhoods due to behavioral issues and all three of them were overall fed up with it.

Despite trouble brewing, the staff didn’t see Javier bonding with the other two as problematic. In fact, it looked like an improvement for him —like he was finally coming out of his shell and forming meaningful connections for the first time since his parents’ deaths. They didn’t overhear the lengthy conversations where the boys expressed their dissatisfaction with their lives in comparison to the well-off and completely intolerable peers they had at school. And they certainly weren’t aware that Javier was beginning to use his intangibility to sneak the three of them out at night.

Their night’s spent out started as a way to blow off steam — damage a little public property and run off laughing into the night. Slowly, Dustin — the eldest of the trio and unofficial leader of the group — came to the conclusion that there was so much more the boys could do with their powers. It all started with pure intentions — steal from businesses that could afford it and stage the stolen items as anonymous and generous gifts made to the group home. Naturally things started to escalate and they found themselves stealing from wealthy individuals as well — acting as a modern version of Robinhood and his band of merry men. 

With the exception of a few close calls, their actions went largely unnoticed until one fateful night. Unbeknownst to the trio, the owner of the estate they were robbing was home and quietly watching the amateur heist take place. Impressed with how well they worked together and used their abilities, the man didn’t report them to the police and instead made plans to adopt the two that hadn’t aged out of the system yet. 

Javier and the boy closer to his age were soon adopted seemingly out of nowhere and Dustin was even offered a place to stay with them by the man they stole from. Perhaps this should’ve raised some sort of alarms, but all three were all too delighted to have a place where it felt like they were finally wanted and cared for to pay attention to any red flags.

Shortly after, they started training more rigorously and eventually started participating in more largescale crimes. All the while they were treated like family — never suspecting that they were really nothing more than tools to the person who took them in. It wasn’t until later when Javier was injured in a training mishap and pushed to continue, that Dustin became suspicious of why they were really there.

There was little time to process all this though, as they were quickly dispatched to take care of a job for a “trusted contact.” It was, of course, a setup to get rid of the boys who would become a problem should they turn against the man that took them in. In all the chaos, betrayal, and confusion that came with this job, Dustin was killed while the other two were able to make it back home — only to face more betrayal. The pair managed to escape death for the second time that night, but not without Javier taking a bullet to his shoulder from his adoptive father.

After getting Javier proper medical attention, the pair decided it was for the best that they part ways in hopes that it’d make them harder to track down. Once he fully recovered, he went back to criminal work, this time working independently as a hitman in hopes to better hone his skills so he can absolutely wreck his adoptive father’s shit one day 😌

HEADCANONS !

Forgive and forget? Absolutely not! Javier is very much the resent and remember type. Screw him over at any point and he’ll be hellbent on getting even. Like even over little things — he can be extremely petty.

Very hotheaded — it doesn’t take a lot to get under his skin. And while it is something he’s sort of working on...it’s not uncommon to find him in the middle of a heated argument over something stupid or caught up in a bar brawl.

Is the type to take jobs very seriously and expects the people working with him to do the same. While he’s not going to call you out right then and there for a mistake, you can bet your ass he’ll have a lot to say once the job is over and will be brutally honest about it. 

Teamwork is really hit or miss with him. He has experience at working well as a team and should in theory be better at it because of it, but his general distrust for others can get in the way and make things not go quite as smooth as they need to. Despite all his distrust, he is someone who can be relied on in the field and does make it a priority to make sure everyone involved gets out in one piece so there’s that.

Generally prefers to work alone or at least in some sort of leadership role, but he can adapt and take direction well if need be. And while he would prefer missions to go exactly as planned, realistically he knows that’s probably not going to happen and can quickly adjust.

It’s not easy to gain his trust or friendship, but once you do he’s very ride or die (unless you epically screw up and manage to lose his trust). 

Not to call him out or anything, but he’s had very few meaningful or significant relationships of any type with other people so he’s lowkey lonely. Of course, he’d never admit it, but yeah definitely lonely.

His sense of humor, when present, is usually sarcastic and dry.

Can frequently be seen rolling his eyes, facepalming, and sporting an annoyed expression.

Immediate death glare to anyone who calls him Javi (if they’re not close).

The first vine that pops into my head when I think about Javier is the one where the dude is hanging off his bed and goes, “Alright, let’s tell each other a secret about ourselves. I’m going to go first, I hate you.”

EXTRAS !

Wanted Connections/Plot Ideas || Stats || Powers Page || Playlist || Pinterest (blood & images of weapons tw in the aesthetic section!!)

[vaultscoring]

BEAMSCORING’S CODE OF POINTS - BARS

Hello everyone! I go back to work in two days so I figured I might get this done a bit faster now. Next up is bars, which is the event I think I have the most different ideas - at least, I have never seen some of the things I am proposing being mentioned elsewhere before. Specially since bars is the event where the current Code of Points is the least problematic, please let me know if I am too out there. My main goal with my ideas across all events would be to give more opportunities for mid-level gymnasts to increase their difficulty.

If you missed it: FLOOR and VAULT

CV:

If 1st element is flight OR 2nd element is the dismount: 0.1 for C+D, 0.2 for D+E

If both elements are same-bar releases, or a same-bar release and the dismount: 0.2 for C+D

If 1st element is a circle: 0.1 for C+E and D+D, 0.2 for E+E and D+F

Mounts are eligible for connections; some of them are classified as flight and some as circles [Commentary: currently, mounts do not count as flight elements, even though most of the hard ones... obviously should? Distinguishing those from mounts without flight action becomes relevant]

To be eligible for CV, an element must present flight, at least 1/2 turn, or reverse/L-grip in a non-giant circle shape (includes all german giant circle elements)

Example: endo circle + jaeger piked = endo presents reverse grip in straddle (stalder) shape, jaeger presents flight = eligible for CV; 1st element is a circle, C+E = 0.1 CV

Circle/Transition Restriction: connections between two circles or two transitions cannot be awarded consecutively, and the second connection in a row would not be awarded CV; the mount and same-bar releases are exempt from the restriction

example: maloney + pak + van leeuwen = pak + van leeuwen is not awarded CV; tkatchev + pak + van leeuwen = all connections are awarded CV

CR and Routine Composition:

Routines count the 8 most difficult elements for the D-score and must fulfill composition requirements, which are worth 0.5 D each

CR 1: one high-to-low transition element and one low-to-high transition element

CR 2: one circle element with 1/1 turn

CR 3: one same-bar release element

CR 4: elements showing the giant root shape and two different non-giant root shapes

not showing one element in reverse or L-grip is a 0.3 D penalty

the dismount is always one of the eight counting elements in routine composition regardless of its value

Rules and Observations

Root Shape Groups: the root shapes have been slightly regrouped: they are now 1) casts and giant circles, 2) hip circles (clear-hips), 3) straddle circles (stalders), 4) seat circles (inbars and german giant-type elements) and 5) sole circles (toe-ons)

Explaining the changes: casts are now grouped with giants rather than with clear-hips; inbars are now their own category rather than being scattered across the stalder and toe-on categories; german giants are grouped with inbars rather than with toe-ons

Root Shape Restriction: different direction no longer counts as a different root shape for elements for purposes of CR 4 and the limit of three counting elements of one non-giant root shape per routine

example: endo and stalder are now the same root shape

Handstand deductions: it would be harsher on casts and more lenient on circle elements, specially forward ones; this table shows how the deductions would work

[Commentary: in my view, this is the biggest composition changer I came up with across 4 events, rather than any change to how D-score is counted. Currently, you need to miss a cast to handstand by more than 30° to even get a -0.1 deduction. In here, missing a cast to handstand the same way gets you -0.5. Very harsh, but routine composition would become all about avoiding casts to handstand, which would make for more dynamic routines. Lower level gymnasts would have the same incentive to avoid casts, as will be seen in the element section.]

LB Composition: Not performing at least two elements (except for casts and cast 1/2s) on the low bar is a -0.3 composition deduction [Commentary: It’s been said that every CoP has an anti-China rule. I love Chinese gymnastics, but this is my anti-China rule. The low bar exists, China!!]

It is again allowed to perform a kip after a Shaposhnikova-type element

Removal of the E cap on the DV of transition and circle elements

Pirouette Cap: Circle elements have a turning maximum of 2/1 turns and any extra turning will not be recognized as a different skill

Layout cast upgrades: all casts performed with hips extended and legs together are worth one tenth more than its straddled version, but this is not a distinct element from the straddled cast, except for the basic cast with no turn, which are already two distinct elements in the code depending on shape

Element Upgrades, Downgrades, Removals and (Re)introductions

Circles

giant backward from B to A

one-arm giant backward from B to C

one-arm giant forward from B to C

li li I from C to D

toe-on forward circle (and 1/2) from C to D

toe-on forward circle 1/1 from D to E

giant 2/1 from D to E

L-grip toe-on forward circle (and 1/2) from C to E

inbar forward circle (and 1/2) from D to E

L-grip toe-on forward circle 1/1 from D to F

inbar forward circle 1/1 from E to F

huang (L-grip endo 1/1 in one arm to reverse grip, or: ono in endo shape) from E to F

jam (L-grip inbar forward circle, and 1/2) from E to F

healy 1/2 from E to F

ono or ling 1/2 from E to F

Transitions

glide or straddle kip to bounce to HB added as A

bail to hang added as B

straddle back to hang added as B

inbar shoot to HB from B to C

alt schleudern from C to D

straddle back to handstand from C to D

clear-hip hecht 1/2 to HB from C to D

inbar hecht to HB from C to D

yezhova from D to E

radochla roll from D to E

teza pak from D to E

teza bail handstand from D to E

bhardwaj from E to F

strong (bail 1.5 to hang) from E to F

komova I (inbar shaposh 1/2) from E to F

seitz (toe-on shaposh 1/1) from E to F

Same-Bar Releases

tkatchev tucked back as same element as tkatchev straddled in all root shapes

jaeger tucked from C to D

li li II from D to E

tweddle (toe-on tkatchev straddled 1/2) from F to E

li ya (jaeger straddled 1/2) from E to F

counter-kim from F to G

toe-on counter-kim from F to G

mo salto from G to H

def from G to H

caslavska and comaneci same-bar releases would have the preceding kip included in their element description; however, they would be ineligible as the second same-bar release for the 0.2 CV for connecting two same-bar releases

Mounts

assume an upgrade for all mounts that aren't a kip or a jump to HB; the only harder mounts that didn't go at least one letter higher are the round-off to back handspring to LB and jump to clear-hip on HB, both staying at D

[Commentary: I have an Excel with all of the elements in the code with my changes, so I know what each bars mount would be worth in my code, but since nobody does bars mounts right now, I figured it would be irrelevant to you guys to list all of them here. If you are curious about an specific mount I can say what value I have for it lol]

Dismounts

clear-hip tuck/pike from C to B

plichta (stalder tuck/pike) from C to B

double pike from C to B

fan (1/2 twist to double tuck) from D to C

double layout from D to C

double tuck 1/1 from D to C

double pike 1/1 removed from code

1/2 twist to double pike added as D

back layout 1/1 to pike added as D

front 2/1 from C to D

toe-on tuck 1/1 from C to D

toe-on tuck 1.5 from D to E

inbar layout 1/2 from D to E

tucked double arabian from D to E

piked double arabian from E to F

back layout 1/2 to front layout from E to F

triple tuck from G to H

underswing dismounts that have the same amount of saltos and twists in the same root and direction (example: toe-on front tuck 1/2 and toe-on 1/2 back tuck) are now merged into the same element

[tomhasatransblog]

Muscle up progress 💪

Had 5 days off for covid. Saw a reddit post of a guy's muscle up progression and read something in the comments that really hit me: "the transition from back to chest is really hard". It really is. I'm certain I've got the strength, I'm just lacking technique.

Today I was really visualising how I have to throw my chest over the bar and then switch to push from pull, at the same time as rotating my wrists forwards. And it really helped. And I could really tell that having a tired chest and triceps from the day before was making it waaay harder

I also watched some videos about doing high pullups. I can explode for two or three reps at a time and shove my upper chest into the bar.

Then finally I did my kipping/swing pullups and actually tried to pull myself into the bar at the top, when my chest was level with the bar. Usually I'd just go back down and repeat. I think if my chest hadn't been knackered, I may have been able to push myself up and actually do a muscle up. It definitely felt like the closest I've come without a band or jumping into it. Like so close.

It'll then be way more work again to do it without the swing, but my god if I could just get one unassisted muscle up that would be such a win.

[say-duhnelle]

Principles of good gymnastics routine composition

This is something people like me bitch about a lot, and if you’re not the kind of person who’s been eye-deep in this sport for over a decade you may have zero idea what we’re even talking about. So here’s a little crash course in factors that contribute to good routine composition. Obviously, not every one of these is super essential, and even the more hard-and-fast rules have their exceptions. It’s also possible for a routine to satisfy most of these and still not be particularly special. But, they’re a good benchmark. (Also note that many of these principles have evolved as gymnastics has evolved, so using them to pass judgment on a much older routine may not be warranted.)

On all events (except vault):

Skill choice should play to a gymnast’s individual strengths within the rules and guidelines set out by the FIG.

If an entire gym, or an entire country (looking at you, Italy UB ca. 2012), has nearly the exact same routine, the coach is probably not devoting enough energy to exploring his/her gymnasts’ abilities.

Additionally, the skills chosen should not be way too hard or way too easy for the gymnast - something slightly challenging or a moment of rest in a routine is fine, but someone like Simone doing routines with only B & C skills or a gymnast performing a skill she cannot land in training are both inappropriate choices.

Skill choice should be interesting and unique, presenting a variety of the different movements possible on the apparatus.

Skills shouldn’t be repetitive, or if they are it should be to form a unique combination. Three unconnected tkatchevs in a row on UB is inappropriate, as is performing a jump out of every floor pass.

This is related to, but not quite the same as the last principle: it’s also best not to do too many of the same sort of skills in a row - for example, a beam/FX routine should not be all the dance skills, then all the acro skills, and a bar routine should not have five transitions in a row. Alternating between the different sorts of skills (not as a strict A B A B A B - just... vary it) is a better choice.

Unique choices of skills to connect is often a better decision than taking the simplest possible way to satisfy the CB requirement that 90% of the world’s top gymnasts are using (eg. the nearly compulsory BHS-LOSO-front tuck flight series on beam from 2012)

in general, if so many people are doing it you feel like it’s tempting the FIG for a rule change, maybe try something else

Difficulty should be evenly balanced across the exercise - all of the most difficult skills/connections should not occur in one or two isolated parts of the routine

this does not mean every skill in a routine has to be around the same level of difficulty

but it does mean you shouldn’t do an E+ mount, a .2 connection, six A-B skills in a row, and then an E+ dismount

Connections should allow one element to flow naturally into the next, or they will look stilted. Connections that make it nearly impossible to perform one of the skills correctly are particularly discouraged.

Unique and original skills and connections are often a good choice, particularly if they also look spectacular (this can be as complicated as a Podkopayeva tumble or as simple as a Valdez on beam). This particularly applies to mounts on beam and bars - basically anything besides a jump to kip on bars and a simple leap, stoop/squat through or stoop/thief vault onto the beam is appreciated at this point.

Speaking very generally, any choice that makes a routine very unattractive or a good performance unattainable is probably bad composition.

Bars:

Do real work on the low bar - not just transition down, immediate transition back up; an actual skill or two between transitions is better.

Avoid skills that result in automatic empty swings. (I would love to see someone connect a Gaylord/Mo to like a straddle back or an Ezhova sometime, though.)

Try to construct the routine to minimize the number of kip-cast handstands necessary. Each of these breaks the rhythm so much it almost feels like a restart to the routine. If you can do a connection or an uprise instead, it will usually be a better, more natural-feeling choice.

Changing the direction your body is facing multiple times during the routine (ie. doing skills both inside and outside the bars) isn’t imperative, but it adds a nice touch

The FIG (well, Bruno Grandi anyway) is of the view that most current bar routines are too long; I personally don’t really agree, but your routine should use time wisely so you’re not on the bars longer than you’re conditioned to handle.

by the way, there was nothing wrong with jams to high bar (admittedly rough example here) from a composition standpoint, and I resent the fact that they were outlawed under the “support of feet/legs on bar” rule as if they were the same thing as a toe circle jump hb ngl

Beam:

The biggest rule here that isn’t covered in the general rules (and gets broken all the time) is actually work the beam in both directions. Face one way, do some skills, do a half (or 1.5) pirouette when you get to the end, and work back the other way. Modern beam work tends to be forward pass - backward pass - forward pass - backward pass and... ugh, yawn. Mariya Livchikova is a good example of what a beam routine can be when it breaks out of that rut. (Why did she have to get injured so much? The fact that she had to retire without ever having competed at a WC or OG is absolutely tragic.)

Timing and rhythm are very important on beam - long empty pauses and rushing from skill to skill are both discouraged. This is as much on the performer as the choreographer, though.

Floor:

The entirety of the floor area should be used, not just for choreography but for skills with difficulty (ie. leap passes, turns, etc. should not just be done down diagonals and in corners, and in a routine with four passes, they should start out of at least three different corners. I like to see all four, but that is really rare.)

get your random trash aerial off my lawn (i.e. even in the new Code, front/side and back tumbling requirements should ideally both be satisfied with a skill that will actually be used for DV, not just an afterthought A-value connection randomly thrown in there.)

Choreography is a part of composition; it should be unique, interpret the music well, and look natural for the gymnast. Tumbling runs and dance elements should be blended seamlessly with choreography - no long pauses to set up, no awkward walking from the end of the choreography to the start of the tumbling line or vice-versa.

Skills (jumps, punch fronts, etc.) should only be connected out of tumbling passes if they can be truly rebounded and performed well.

The end of a routine should still be decently difficult relative to the beginning. If a gymnast who starts with an F/G/H/I level skill struggles to finish with a simple tucked or piked double back, something is wrong with the way she is being conditioned.

[reynoldslevi10-blog]

5 CrossFit Moves That Are Actually Easier to Master Than You Think

With its slew of insider-only lingo, intriguingly bare-boned training spaces, and celeb backing (Jessica Biel, Channing Tatum, and Vanessa Hudgens, to name a few), CrossFit has inspired an almost fanatical devotion from its followers.

In addition to being the ultimate (and 4-million-strong) #fitfam, this is likely because the workout program works. Research by the University of Wisconsin-La Crosse's exercise physiology program found that women who performed two different WODs (that's "workout of the day" in CrossFit speak) burned over 12 calories per minute and maintained an elevated heart rate throughout the entire workout. Translation: These women were torching calories, building muscle, and improving their cardiovascular endurance in as little as five to eight minutes.

Trouble is, walk into a CrossFit box (or simply scroll through a CrossFitter's Instagram) and you'll see someone attempting and banging out reps of brag-worthy, tough-looking moves, which can feel pretty exclusive. “A lot of CrossFit moves look super-intimidating,” says level two certified CrossFit trainer Emmy Simpkins, owner of CrossFit Speakeasy and a CrossFit Regionals athlete. “But once you have the strength and skill to complete them, they're not as tough as they look.”

Whether you're a WOD-loving CrossFitter or not, you'll realize that the below five exercises from CrossFit only look tough, after Simpkins and doctor of physical therapy Grayson Wickham, CSCS and founder of Movement Vault, break them down step-by-step.

RELATED: 5 Full-Body Moves to Do When You're Sick of Burpees

Front Squat

Equipment: Kettlebell or barbell

How to do it: Hold one kettlebell in both hands at chest level and stand with your feet hip-width to shoulder-width apart. Stand tall and brace your core, then drop your butt back and down as you keep your chest up, sitting back onto your heels. Driving through your heels, come back up to standing and give your glutes a squeeze. That's one rep. Aim for four sets of eight to 12 reps.

Once you can comfortably complete the above with a 44-pound kettlebell, transition to a barbell front squat. Here, you'll hold the barbell in a front rack position. “Start out with just an empty barbell, and rock out reps with the barbell. Then, slowly add weight as you feel comfortable,” Wickham suggests.

Why it works: “Any squat variation is going to work the lower body, but because the weight is front-loaded for the front squat, your torso has to be more upright. This front-loaded position makes the movement quad-, glute-, and abdominal-dominant,” Wickham says. Because the rest of your body has to work to stabilize the load of the barbell, this is actually a full-body move, he adds.

Single-Arm Dumbbell Snatch

Equipment: Dumbbell

How to do it: Pick a weight that you can easily hold overhead for 20 seconds, like a 15- or 20-pound dumbbell to start. To begin, stand with feet hip-width apart, knees slightly bent, hips shifted back. Using an overhead position (palm facing down), grab the dumbbell with your left hand. Bring the weight in between your legs, pointing your right arm straight in front of you for balance. Explosively drive your hips forward as you raise your left elbow up and back, bringing the weight overhead with a straight arm. Stabilize the weight overhead, then release the weight back between your legs to return to the starting position. That's one rep. Do four sets of 10 reps per side.

Why it works: “The snatch is an Olympic weightlifting move that CrossFit 'borrowed,' but the great thing about the single-arm dumbbell snatch is that anyone can do this powerful, hip-driven, lower-body-focused movement,” Simpkins says. “Single-arm dumbbell snatches are a fantastic exercise for developing core strength and stability," Wickham adds. "But they also work your lower back, hips, shoulders, traps, glutes, and even calves. They're deceptively full-body.”

Toes To Bar

Equipment: Pull-up bar

How to do it: Grip the pull-up bar so that your hands are slightly wider than shoulder-distance apart. Hang from the bar with a straight back and engaged core. Keep your legs together as you bring your knees to your elbows. Then, kick your toes and feet to the bar. (Depending on your skill level, this can be done with the help of a kipping motion for momentum.) Keep your arms straight as you bring your toes to the bar. Drop your legs back down slowly so that you are in control of the descent. That's one rep. Repeat for three to four sets of six to 10 reps with as much rest as needed between.

Why it works: “To lift your legs up while hanging from a pull-up bar, your core muscles have to be fully engaged,” Simpkins says. While the movement primarily engages the abdominal and back muscles and taxes your grip, it also targets the hamstrings, hips flexors, lats, and groin, she says.

Toes to bar is a relatively advanced exercise, explains Wickham, so those who can't yet do them should focus on knees to elbows. “For knees to elbows, the athlete should try to get their knees as high as possible while keeping their legs together,” he says.

Burpee Box Jump

Equipment: Box

How to do it: Start standing with feet hip-width apart about one to two feet from the box. Next, reach forward and drop your hands to the floor. As your hands reach for the floor, jump your feet back into a plank, and immediately lower your entire body to the floor. Release your hands and allow your body to drop to the ground. Replace your palms on the floor, push up into a plank, and hop your feet forward to your hands. That's one burpee.

Then, as you stand, without pausing, swing your arms back and jump explosively onto the box. Land as softly as possible with both feet on the box in a semi-squat. Then, jump or step off the box and back to the ground. That's one burpee box jump.

Try doing 30 at the end of your workout as fast as you can while maintaining good form. Or work up to doing 10 to 15 per minute every minute for 10 minutes for a real cardiovascular burn.

Why it works: What's so great about burpee box jumps is that they translate into strength, explosiveness, and cardiovascular endurance, Simpkins says. “Burpee box jumps are challenging because they get your heart rate up quickly and are full body, so your cardiovascular system will feel it after only a few reps,” she says.

“Box jumps use all the major muscle groups of the legs, while burpees literally work almost every muscle in your body, including your chest, triceps, and abs,” Wickham says.

If you're not quite ready for a box jump, step up onto the box instead, Simpkins suggests.

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Handstand Push-Up

Equipment: Wall and mat (optional)

How to do it: Kick or walk your feet up the wall into a handstand, so that your back is against the wall and your stomach is facing out. Keeping your legs straight, rest your heels against the wall, and brace your core, glutes, and thighs so that your body is in a relatively straight line.

Then, bending at the elbows, look between your hands and slowly lower your body until your head touches the floor or a mat. (As with the toes to bar, depending on your skill level, this can also be done with the help of a kipping motion for momentum.) Without pausing at the bottom, reverse the movement and return to the starting position by straightening your arms. That's one rep. Aim for four sets of three to four reps to start.

Why it works: This exercise is all upper-body–triceps, lats, shoulders, delts–but it's also a core movement, because in order to keep your back from arching, you need to brace your middle, Simpkins says.

Note: This is an advanced movement. The handstand push-up requires the muscles in your upper body to work much harder than standard push-ups because you're pushing a larger percentage of your bodyweight (a.k.a. all of it). It's best reserved for people who can do at least 10 standard push-ups and who can hold themselves in a handstand for 30 seconds.

[crossfit416]

New Post has been published on CrossFit 416

17.2 - Tips and Strategy

Pep Talk

17.2 is grippy as hell!! Every movement in this workout requires you to be holding on at some point so we need to prioritize grip management. Break-up the movements from the get-go and save your forearms. You want to avoid them blowing up early in the workout!! Quick breaks will be key in continuous movement throughout this workout and minimizing forearm fatigue. We want to make EVERY REP COUNT!! The bar muscle ups will be what separates most people since they are a more technical movement and require more grip strength so we want to set ourselves up for the most success in previous rounds to have at er!

  Mobility: Internal shoulder rotation. Barbell smash, lacrosse ball smash, banded bully. Opening up and working on your internal rotation will allow for smoother transitions and more comfortable hanging positions on the bar

– Forearms lacrosse ball smash

  Grip

Poor grip leads to re-grips which taxes the forearms. So wrap your thumbs around on pull-up bar, and do not death grip the dumbbells.

  Dumbbell Walking Lunges: Must have your hands wrapped around dumbbells & bisecting your body

Grip: Loose grip, hold the back of the DB handle. Allow the dumbbells to rest on your body as much as possible.

Do not death grip, unnecessary

March: ensures consistency that you finish each rep full ROM. Slower but accurate. Keep breathing throughout each lunge and keep your torso upright, you want to keep your lungs as open as possible

Continuous: will allow for a faster completion, but make sure you fully extend your hips at the top otherwise your reps will not count.

  Toes-to-bar

Grip: Thumbs wrapped, knuckles up, outside shoulder width. Palms in contact with the bar, wear fucking tape!

Rep strategy

Complete in sets of about 30% of your max reps to save your grip

4 x 4 maybe 8 & 8 first round

180 TTB for singles to save precious time. Singles are only effective if you KEEP MOVING. Could be a good choice to save grip for upcoming BMU

Low bars are your friend. If you choose a bar that’s too high to get up to, you will expend more energy than necessary jumping up to the bar and jumping down.

Keep your kips tight, you want to minimize the distance your body has to travel

  Dumbbell Power Cleans

Muscle Clean: More efficient movement and time saver. The key is to think about using your legs!! Think kettlebell swing. Arms stay long at the bottom of the movement to relieve unnecessary tension in your arms throughout the movement

Power Clean: If the weight is a limiting factor, use a power clean and jump your feet out. Think big shrug and using your legs to get the weight up to your shoulders. Since the dumbbells aren’t a fixed object, gaining control of the weight can be tricky. Use your whole body to lift these weights

Rep Strategy: If you intend on breaking them up and weight is not an issue 7 + 1 then go straight into the next round of lunges. If weight is an issue in sets of 2 or 3, go with what is manageable without taxing your grip.

  Bar Muscle Ups

Jump into your first kip to gain some momentum. Keep your body tight during these kips.

Kip: When pulling, think hips to the bar and slightly bend your arms. Keep toes low.

Turnover: Tight body position and think fastest sit up ever! Avoid chicken wing arms by pushing down on the bar using both hands

Linking reps: rest on your belly and re-grip at the top. Momentum downwards will help propel you into your next reps.

Singles: Jump into first kip

  Kipping Pull Ups

Avoid stringing together big sets

Jump into your first kip

Body positions: squeeze your butt and lock your legs

Momentum: If you are linking reps, ensure you are pushing away at the top and are not holding at the top. Holding will tax you out more than necessary!

  Game Time Strategy:

Understand what your capabilities are and plan around it. Linking reps when fresh is incredibly different than linking reps in the middle of a workout. Think smart and set yourself up for success!

Warm-ups are incredibly important. It is getting your body primed and ready to attack this workout. Don’t skip past it, enjoy it and take advantage to get FIRED UP.

Once you’re warmed up, take 3-5 minutes to get your mind right.

No freaking out allowed

  Mental Strategy

Movements may feel easy from the get-go, but devise a plan and STICK TO IT.

Stay calm during the workout and think about the task at hand

If you miss a rep, do not freak out! Shake it off and get right back on to it. Freaking out doesn’t help anyone

MOST IMPORTANT: Your priority- HAVE FUN.