And it's like, oh, where do I even start? And how do I prioritize these things? And what's the pecking order of knowing what's really downstream versus what's upstream and in trying to prioritize all this? Because if you try to assess all of it, you know, no, no patient or client's going to sit through a six hour assessment to get, you know, down to a 10 minute program.

Got it.

And that's a challenge we've had for years.

What's interesting for the first, I'd say 38 years of my career from a what I would call a global human movement assessment, I claimed you couldn't do it.

I was quite adamant because of just what you just said.

There's so much to look at that, you know, eight hours later, I'm going to have so much minutiae and I won't know how to put it together that I'm going to waste my time and I'm wasting their time.

And the reason you assess people is to know what to do next.

Um, it's a nonprofit you created using movement to change the lives of children and tell us what kind of what the inspiration was behind that.

Let's say the top three.

All right.

I like that better.

Well, interesting.

I'm loving listening to you talk.

You are able to summarize things very well.

So I think Dave and I just need to be quiet and have you kind of, because I think you could probably answer the questions better than us.

What's stopping us from just saying like, okay, why don't we just replace that? And we don't have to have super detailed questions, but maybe a board exam question might be, hey, what are the three planes of motion? And where is the elbow moving in conjunction to the shoulder when you're doing this activity? Do y'all have an answer for that?

Hopefully, they can just fill in the gaps in playing the sport, if that makes sense.

Yeah.

No, it makes perfect sense.

Um, and, and that's the thing that another weak link that I have.

I, I, I think we underestimate the body's to fill-- body's ability to fill in gaps.

Um, so sometimes I, I, I think I give myself too much credit for developing an environment for a certain exercise, and then all of a sudden the athlete does something, I get a smile on my face and go on, "Hey, you know, I think I had something to do with that." Well, if I listen to the proprioceptors inside that person's body, they might say, "Well, I hate to tell you, Gary, but you were doing everything to makeIt worse.

Uh, and so, but we filled in the gaps because God gave us an innate ability to, like you say, even at two, to walk pretty good.

May it's not even a sideways A skip, but something, there should be something there on the most basic root level that you can hopefully do all these things.

I'd like to know how someone goes from being a drummer to doing post-production, because it doesn't seem like a natural progression somehow.

Yeah, interesting.

So I, you know, I grew up in Cleveland, and, uh, I was playing drums from a very young age and winning these, like, state competitions on snare drum and studying with different teachers and then I...

We had a piano at home, and that's really what did it.

So, uh, this piano was just collecting dust for a while, and then my, my mother was translating Czechoslovakian lyrics to one of our neighbors who sang with this great tenor voice, and he'd come over, and for his church, he had a choir of, like, this tenor choir, this Czechoslovakian tenor choir, and he would play these recordings, and then he'd say, uh, "Marge," that was my mom's name, "I need to translate these, these, these hymns." And so they would sit for hours.

I'm getting chills now just talking about it.

They would sit for hours, and they would...

[laughs]