Latest / The Gill Athletics Track and Field Connections Podcast / #138: Gill1918 presents Vince Anderson "Acceleration Training Part 1" from Tampa Bay/USF Clinic

Transcript

#138: Gill1918 presents Vince Anderson "Acceleration Training Part 1" from Tampa Bay/USF Clinic · The Gill Athletics Track and Field Connections Podcast

• 0:00
  Welcome to the Gill 1918 Project, a podcast series by
• 0:03
  coaches for coaches powered by Gill Athletics.
• 0:06
  Think of this as the Ted Talks of track and field coaching.
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  Short, insightful, and packed with valuable strategies to help
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  you grow as a coach. We'll bring in the once a year
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  track clinic straight to your ears daily.
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  Interested in creating your own episode?
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  Everyone's welcome to participate.
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  Check out the show notes below For more information.
• 0:23
  Now let's get into today's topic all.
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  Right, for our next presentation, Vince Anderson,
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  again, you know, I don't say this lightly, might be one of
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  the top 2-3 coaches in this world, specifically about this
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  topic, about the acceleration. I'm a little disappointed he
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  titled this Teaching Acceleration progressively, but
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  he's going to talk to you about teaching acceleration
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  aggressively and that's how he teaches this.
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  And I love this. You're in for a real treat here
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  talking about the acceleration of sprints, hurdles, and
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  everything in between. They'll give it up for Vince
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  Anderson. Thank you all.
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  When I first started coaching, literally my first experience, I
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  came to coaching without any prior knowledge.
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  I was a track fan. I'd been an architect for 11
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  years and I always loved track and it was was a passionate
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  track fan and I flirted with the idea of being a a track coach
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  when I went to college because when I went to college there was
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  still a physical education major and you could actually major in
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  physical education, you know, and come out and be a high
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  school coach. But I ended up not choosing that
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  I chose something else. You know, people said that don't
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  be a coach going to profession. That sounded like a good idea,
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  but when I got laid off 3 times from my various architecture, I
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  got laid off 3 times in four years as an architect.
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  I decided I'm not going to do this anymore and I'm going to go
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  back and try to be a coach. So I knew nothing.
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  I had no coaching experience at all.
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  I just I loved and knew about track and being a fan and being
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  a coach are the direct opposites.
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  Like when you listen to sports talk radio, being a fan is the
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  direct opposite of being a coach.
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  Coaches have to be analytical composed.
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  That's why fans are watching. You know, it's 4th and goal on
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  the one with no time left and fans are freaking out and
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  yelling and screaming and the the coaches are on the sideline
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  calm as can be. So you have to be very
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  analytical and such as a coach. It's the opposite of being a
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  fan. So I'm saying that because I
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  came out and and Leroy Burrell was a freshman in college the
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  first year that I started as a volunteer assistant coach.
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  And remember, I'm coming into this with no prior knowledge.
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  I'm coming in as a complete novice and Leroy Burrell was a
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  20. He was a 10/5 sprinter in high
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  school, which is really good. And it was like a 20 and it was
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  like A25245246 long jumper, which is really, really good.
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  But, and this is true of everybody, Coach Tillis had to
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  teach him how to accelerate. And everybody that came in Coach
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  Tillis had to teach them how to accelerate.
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  I've been coaching now for 40 years.
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  I've never had a person come to me who could accelerate.
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  Not one, not one single person. And I'm not a jerk.
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  People don't know how to accelerate.
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  They have to be taught. And one of the gross assumptions
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  we make is kids come in and they come into our programs with, you
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  know, if you have a program, you have new kids coming in all the
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  time. And the assumption is these kids
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  know how to how to accelerate. They know how to come out of us.
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  They don't, they know nothing. They have to be taught.
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  And what acceleration really feels like when it's done
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  properly to the athlete is nothing like they're used to
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  feeling. So you have to breakthrough
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  their sensibilities into sort of a new idea and get them like you
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  have to to completely overlay a brand new model.
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  So acceleration has to be taught.
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  And once it's taught, you continually have to renew that
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  and practice it to keep it sharp and proper.
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  This is a thing of beauty. We're going to watch this woman
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  right here. And the number one thing in
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  acceleration, people don't try hard enough.
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  It's a huge effort problem. When people accelerate, they
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  push out like they're always used to doing.
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  It's not mindful. They're just going through the
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  motions. You cannot.
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  This is violent. She is from, she's from a
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  static, still not moving position and she's in the air.
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  That's a decision. So the first thing about
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  acceleration, she's pushing as hard as she can.
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  She's not pushing as hard as she thinks she needs to.
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  She's pushing as hard as she can.
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  So one thing I asked new athletes is I'll say, you know,
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  when we're introducing this concept and talking about
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  pushing, I'll say, are you pushing as hard as you can or
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  are you pushing as hard as you are used to doing?
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  And like, there was half the time they don't even understand
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  what I'm saying. There was this one guy I had in
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  extreme condition. I'd ask him that every year.
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  And finally his fourth year in college, one day in practice,
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  I'm like, are you pushing as hard as you can or as hard as
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  you always have? Or are you pushing as hard as
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  you can? Or is he pushing as hard as you
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  think you need to? And he snapped and he goes,
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  well, no, I'm not pushing as hard as I can.
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  I want you to push as hard as you can.
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  Like, that's a very simple idea. Not so the main thing in
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  acceleration, people don't work hard enough at it.
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  Jenna Batarmo, who ran 1125 in high school, which is
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  outrageously fast, she could not push to save her life.
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  And I knew, of course, when she learned to push, she would be a
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  world beater, which she eventually became.
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  She could not accelerate for two years.
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  And we kept asking more and more and more of her to push, push,
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  push, push. Finally one day in practice, she
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  hit 1. And I said, that's it, how do
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  you feel? And she goes, coach, I'm
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  exhausted. Damn right you haven't been
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  hitting it hard enough. You're not doing that.
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  So that's the number one thing you have to breakthrough because
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  none of your athletes and none of my athletes are doing this.
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  She didn't. She didn't know how to do that.
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  Someone taught her that. That's learned skill.
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  If you look at Bolts 958, which I've looked at about 500 times,
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  it is a breathtaking study in violence.
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  He's pushing the whole way. I'm going to introduce an
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  important idea. There is no such thing as the
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  drive phase. The entire race is the drive
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  phase. You push violently for 100
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  meters. That's what Bolt is doing.
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  That's what Carl Lewis does. They're pushing violently for
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  100 meters. So this idea that the drive
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  phase is a little thing, a little part of the race, is a
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  completely corrupt, wrong idea. Bolt pushes violently for 100
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  meters. The direction of the violence
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  changes, but the violence never lets up.
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  They don't know that you have to teach them.
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  And when you see someone, and I suggest to you that you just
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  watch Bolts 958 again and again and again and again.
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  Watch it 500 times. You know, they always say I
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  can't Unsee that talking about something ugly, you know, like
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  a, a fat guy in his speedos or something.
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  Well, I, I like to use I can't Unsee that for beauty.
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  Like if you look at bolts 958 and you watch it over and over
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  and over again, you can't Unsee it.
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  And that's what you have to teach your athletes to do, and
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  you have to ask that of them and they'll give it to you because
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  the the poetic beauty of that effort cannot be underestimated.
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  So the first thing you're doing is coaching to your what you see
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  and what you know and what you know has to be true.
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  So this is what you're trying to get out of every one of your
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  athletes. And you don't have to be
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  talented. Obviously if you throw at the
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  World Championships, this woman is talented, but you don't have
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  to be talented or gifted or strong to try as hard as you
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  can. This is essentially an effort
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  decision. So even if I have a little frail
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  8 year old kid, I'm getting that 8 year old kid to push as hard
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  as he can to give every little bit that his body will give at
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  that stage of development. So you have to reframe the
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  problem. That's what we're going after.
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  That's that's what it's all about South to teach this.
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  It's best taught without starting blocks.
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  So teach accelerate. So what we do is we teach
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  acceleration, or if everybody's returning, we review
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  acceleration progressively. Because I'm telling you,
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  athletes cannot think in the presence of starting blocks.
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  If I bring a pair of starting blocks to practice and we're
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  having a great practice and I just put the starting blocks
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  right next to us, the brain shuts off.
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  Like as one of my fellow coaching associates said, blocks
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  is to sprinters as kryptonite is to Superman.
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  They cannot function. I had AI, had a group at
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  Tennessee one time. I was lucky.
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  I had the NCAA champion at 100. I had the NCAA champion at the
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  62 different people. And I had a freshman who was
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  fourth in NCAA in the 100. So at first outdoor 103rd, sorry
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  first outdoor 104th outdoor 100 NCA champ at 60 and they we had
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  a fall where we were having incredible acceleration
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  practice. They were, it was tremendous.
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  Then the first day I brought blocks out, they started getting
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  small and quick and pity Pat with everything they did.
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  And I'm like guys, what the hell?
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  Like keep doing what we've been doing all fall.
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  And they just kept doing it. I kept getting more and more
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  upset. I said listen, stop, come over
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  here, I'm going to take the blocks away if you can't get it
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  together. And so we did another start and
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  it was terrible. And I said, OK, be honest with
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  me. I know what the answer is, so
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  don't bullshit me. I knew what the answer was.
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  I just it was a matter of would they tell me the truth or not?
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  And I'm like, don't get, don't bullshit me.
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  Tell me what the hell is going on because I am pissed and you
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  look like shit. What is going on?
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  And Sean Lambert goes, coach, you brought the blocks out, we
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  had to go. I said that's exactly right, and
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  that kind of crap will get your ass beat because it ain't.
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  We brought the blocks out. We had to go.
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  There's a way to accelerate. You can't get small and quick.
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  You can't pity Pat up the track. You can't try to race each other
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  to the 10. There's more to it than that.
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  This is a violent unfolding of a poetic activity exercised over
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  100 meters in which you are violent and never losing
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  concentration the whole way. So, and the reason we don't
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  start with blocks is because we don't want to start teaching
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  acceleration under all the weight of all that garbage that
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  they come to you with. You didn't produce all that
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  garbage. They come to you with it already
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  fully formed and we have to eliminate it.
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  So we start teaching, we cleanse them and we try to do this in a
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  way. Look, acceleration is
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  acceleration is acceleration. It feels a particular way.
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  You have to do particular things, so on.
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  So before we accelerate on the first day of practice, and I'm a
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  big acceleration development guy, so the first practice of
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  every season is acceleration development.
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  I speak these words. I tell them, OK, what we're
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  about to work on here is how to run the first half of the 100m
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  race. I speak these words to them.
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  And some of these people have heard me like they're back for
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  their 6th or 7th year, so they're hearing this for the 6th
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  or 7th time. You know, John Wooden, who's my
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  favorite American coach, his first lecture of every season
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  was, you know, how to put on your socks.
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  So his seniors had to endure that lecture 4 times.
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  You know, it's OK if it's the truth and it's fundamental.
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  An annual review. That's not a bad thing, that's a
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  good thing. So I give them a quick review, 5
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  minutes of on your Marks and set position because you can't
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  accelerate properly if you're not in a proper set position.
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  One of the big impediments to bad acceleration is people
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  aren't don't even have their blocks set properly.
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  So we're not going to make that mistake from the very first day.
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  We're going to get in a proper stance.
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  It's a proper spacing. We're going to look right.
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  We're going to do it right because there's a way to do it.
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  People way smarter than track coaches figure it out, figured
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  it out. So we're going, we're going to
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  do that. So from the set positions, we're
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  going to push into the ground with both feet.
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  And the purpose of the start is to aggressively push oneself
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  into a tall Sprint posture. Most when you ask your
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  sprinters, this is very important.
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  And because they'll give you the same answer they gave me,
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  because they all will, doesn't matter if you're in Florida or
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  Illinois or Texas, are all going to give you the same answer if
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  they're being honest. I asked my sprinters, my 21 year
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  olds said what's the purpose of the start and what did they say
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  to get out? That's exactly right.
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  And that's not it. That's not an adult definition.
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  An adult definition is the purpose of the start is to
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  violently push yourself into a tall running posture.
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  So what we know is if you don't achieve that posture, you have
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  abjectly failed in the purpose of the start.
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  The purpose of the start is to aggressively push yourself into
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  a tall sprinting posture. They don't know that.
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  You have to tell them they've never heard that before.
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  This is why you teach and you give them a simple 100m race
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  plan. Push violently for 100 meters
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  and before every Rep. Even if I'm doing a 10m Rep, I
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  put a cone at 100 meters. And even if we're running a 10,
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  I tell them before you engage this 10m Rep, make sure that you
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  look to the 100 and understand that you're running 100 here,
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  even though you're only going 10 meters of it.
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  Because if you don't, they will think 10s are realities unto
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  themselves and they're not. Why do we even run 10s?
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  Because we can get a lot of reps in and it's helpful.
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  I can't run 51 hundreds in practice, you can't do that.
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  Usain Bolt can't. So if I'm going to express the
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  violence that I need to, the intensities that I need to, we
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  need to, at the beginning, at least build up into smaller
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  chunks. But they never have.
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  They are never able to forget that even if we're running a
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  10A20 or a 30, I'm really running 100 and I'm taking that
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  all the way out every Rep. And when you run a 60, you're
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  taking it all the way out to 100.
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  And when you run an 80, you're taking it all the way out to
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  100. When a run is 25, I'm taking it
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  doesn't matter that idea that the cone is at 100 and before
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  you start any Rep of acceleration, you're
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  understanding you're running 100.
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  They'll begin to get the idea, but you have to breakthrough
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  because it's their lack of understanding is intense and
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  they think that the object of the 100 is to be the first one
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  to 10, and it's not, because a good way to get your ass beat in
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  100 is to try to beat everybody to the 10.
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  So my 3 attempts to explain the 100m race plan are as follows.
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  I have two really short ones and then a longer one.
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  But when you're explaining the race plan to your athletes, it
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  needs to be one of these three. Explanation A Push as hard as
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  possible for 100 meters. When vertical, step down to push
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  hard. That's that's a good definition.
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  That's a good race plan. Second race plan.
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  If you don't like that one, the entire race is the drive phase.
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  Rise hard and push, then step down hard when tall.
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  That's a great race plan right there.
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  It's that simple. 2 sentences. If you want to get a little more
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  complex, which I don't like because the more complex it is,
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  the less violent it will be. From set aggressively push back
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  and down through every posted step, pushing hard.
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  Feel each post rise hard to a tall sprinting posture.
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  When when tall, step down hard in place pushing through the
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  ground. Look sorry, lock the posture and
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  hold the rhythm to finish, coast and stop.
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  That's a much longer version. Don't like it because it's long,
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  but you get the idea. Pick your own.
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  So we give a quick intro on the first day of practice with your
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  feet on the line, hip width apart, front leg is on the line,
• 20:05
  heel toe. Kneel down back your knee
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  grounded. I'll show you.
• 20:09
  We'll go through it right here. So he splits his feet apart with
• 20:25
  his front toe on the line and that's very important.
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  We do not want him behind the start line.
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  He's starting with his front toe on the line and his shoulders
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  above his hands, rises to set and pushes out.
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  The rise to set is you only focus on your front knee joint
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  and you rise until your front knee is at 90.
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  You don't want to lock in before that.
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  You don't want to lock in after that when your front knee is at
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  90. That's how high up you go.
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  No higher, no lower, because that's what the set position is.
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  And this is the position that we're going to begin
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  acceleration from. And it's very important that
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  their foot is on the line. I don't want them doing anything
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  behind the start line because of all the kryptonite associated
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  with years of bad start. We're not, we're not starting.
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  We're simply learning how to push and accelerate.
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  Chill. Like listen to what I'm saying
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  here. Quit trying to be the first one
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  to 10. How to push?
• 21:48
  It's this you're doing. What you're doing is a vertical
• 21:50
  jump with your feet split. So everybody can do a vertical
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  jump. Now I'm doing a vertical jump
• 21:59
  with my feet split, but all I've done is taken the ground plane.
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  Now when I do introduce blocks and the ground plane isn't flat
• 22:07
  anymore, I've simply moved the ground plane up.
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  You're still jumping off the ground.
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  Is that Elijah? That's Elijah Morrow.
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  So now he's going to do a vertical jump with his feet
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  split and that's all he's doing when he pushes off the ground.
• 22:36
  But the ground plane is going to be moved up 45°, so that's all
• 22:43
  they're doing. And we're explaining this to
• 22:48
  them. You're just vertical jumping.
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  You're pushing that way and extending that way.
• 23:03
  That's where the violence comes through the full extension.
• 23:12
  So another good quick way to introduce this, and you can sort
• 23:14
  of pick and choose, ask them to lean into the wall with a tall
• 23:19
  posture and they're just just trying to push the fence over.
• 23:23
  That's all they're trying to do. It's that easy.
• 23:25
  Just push the fence over. So she's pushing down with her
• 23:29
  recovering shin to push herself up.
• 23:34
  This is a baseball player and he understands the concept really
• 23:38
  well. It's that simple.
• 23:40
  He's pushing down into the ground, trying to push the fence
• 23:43
  over, and if you put them against the wall and make them
• 23:47
  do this, it starts to breakthrough some of the
• 23:50
  garbage. It's literally this, this
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  simple, but it has to be very simple to retain the violence
• 23:58
  required. If it's complex, you won't get
• 24:01
  the violence, and we need the violence.
• 24:14
  So so to introduce this idea we have them post up and a lot of
• 24:19
  them have never felt that before.
• 24:21
  So we make them do it. A nice posted position.
• 24:33
  Then we asked them to push down from the posted position.
• 24:38
  Don't want them to jog it yet, just want them to feel what
• 24:41
  that's like to push down and try to push the wall over.
• 24:49
  Just from a walking posture. Try to push the wall over.
• 25:00
  Now push for an extended period of time and just gradually feel
• 25:08
  yourself rise as you push. She's a drama queen.
• 25:25
  You're just trying to push the wall over and in real time,
• 25:35
  that's not bad. Like that was some extended time
• 25:39
  there. You're not just in it for a
• 25:41
  second. You're becoming aware that this
• 25:44
  is a prolonged activity. Now this one, they have to do
• 25:55
  slow motion because you don't want your nose broken, but you
• 26:02
  get them in the right set position and make sure they're
• 26:04
  rising their shoulders as they push with both feet and post up.
• 26:25
  Yes. So this progression doesn't have
• 26:35
  to be your progression, but you have to breakthrough the
• 26:39
  nonsense and get them focused on what they have to do, because
• 26:45
  you have to breakthrough the noise.
• 26:46
  They're coming to you with a lot of junk.
• 26:49
  It's really misplaced and you have to get them in the right
• 26:52
  direction because they don't know how to accelerate.
• 26:55
  You have to teach them. So the footwear is not
• 27:02
  important. The sprinting surface is not
• 27:04
  important. Pushing down through the shins
• 27:06
  is important. Intensity, posture and
• 27:09
  concentration are important. You can run these barefoot, you
• 27:12
  can run them in spikes, you can run them in flats, you can run
• 27:15
  them on the grass, you can run them on the track.
• 27:17
  It doesn't matter. What matters is the quality of
• 27:20
  what you do when you do it. It has to be proper.
• 27:23
  There's an idea, something you're looking for, like that
• 27:26
  very first slide of the woman who's so violent off of her
• 27:30
  front pedal. Like that's what you're looking
• 27:32
  for. That's what matters, Not the
• 27:35
  footwear, not the surface. So we take an acceleration.
• 27:41
  So what, we're lucky we have a 42 week season.
• 27:44
  So we're going to start acceleration from day one and
• 27:48
  we're going to do it about 3 * a week every week until we get to
• 27:55
  the competitive season when we'll maybe only do it twice a
• 27:58
  week plus a competitive day, which would be the third
• 28:00
  acceleration day. But this is how we teach it.
• 28:03
  We teach it first from a Crouch start and then we go to a four
• 28:06
  point start and then we go to a three-point start and then a
• 28:10
  relay start and a rollover start and a half start and then a
• 28:14
  block start only using the front pedal, a block start using both
• 28:18
  pedals, and then finally block starts both pedals behind the
• 28:22
  line start style against somebody.
• 28:25
  So we don't just break out the blocks and start racing against
• 28:27
  each other because it will be crap.
• 28:29
  It will be coach. We just had to go because that's
• 28:32
  what they're used to. That's what blocks means to
• 28:34
  them, and you're trying to negate all that.
• 28:37
  So this is a progressive thing. And if they fail at any point,
• 28:41
  they don't get to go forward in the list.
• 28:43
  They get remediated back because you have to earn your blocks.
• 28:47
  We're not going to be out here doing crappy stuff.
• 28:53
  Now we have a 42 week season, so we can take 7 to 9 weeks.
• 28:57
  If I had a short season like high school, 12 to 14, I would
• 29:01
  still progress. This.
• 29:02
  I couldn't take 9 weeks doing it, but maybe I take 3 weeks or
• 29:06
  two weeks. But the point is I don't just
• 29:08
  bring blocks out one day and we just go because they don't know
• 29:11
  how to do it. They have to be taught.
• 29:18
  So this is what we do on day one.
• 29:20
  We're going to go notice nothing in here is accidental.
• 29:24
  She's behind the line, her front foot is forward, she's going to
• 29:28
  go from an athletic Crouch start position and she's going to
• 29:31
  accelerate as hard as she can, and that's pretty good.
• 29:42
  So the other thing I like here, notice if your left foot is
• 29:46
  forward and you're doing a standing Crouch start, your
• 29:50
  right hand is projected way out front.
• 29:53
  That really helps them learn to get the feel of a big split.
• 29:57
  This is a big, huge motion. So if your left foot forward,
• 30:01
  your right hand is way out front in a big split position because
• 30:06
  you like the big motions. So first day.
• 30:11
  Hey gang, Mike Cunningham here. Hey, I hope you enjoyed this
• 30:14
  episode of the Guild 1918 Project series.
• 30:18
  It's really my mission, my passion to bring you massive
• 30:21
  amounts of value and I hope this one hit the mark.
• 30:25
  The Guild 1918 Project is really dependent on you if for you to
• 30:29
  build your own episode, to hear your voice, to have your voice
• 30:33
  heard you have something to say and teach other coaches out
• 30:36
  there. So please get a hold of me,
• 30:38
  e-mail, text message, Twitter, smoke signals, get a hold of me
• 30:43
  and let's help create your episode of the Guild 1918
• 30:46
  Project. Hope you enjoy today, they will
• 30:48
  see you tomorrow.