WEBVTT
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Hi, This is Dwayne Dusky from Portland, Oregon, and I
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play at Glenn Deevere East and West Courses in Portland.
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This is Golf Smarter number.
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Four hundred and eighty six, published on April twenty eight,
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twenty fifteen.
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Welcome to golf Smarter Mulligans, your second chance to gain
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insight and advice from the best instructors featured on the
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Golf Smarter podcast. Great Golf Instruction Never gets old. Our
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interview library features hundreds of hours of game improvement conversations
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like this that are no longer available in any podcast app.
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If we're talking a distance wedge, which will I define
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us between forty yards and maybe your full swing of
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your pitching wage. So let's say one twenty five or whatever.
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You don't want a bigger gap than about twenty yards
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in there. So if I hit my pitching wedge to
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one twenty five, the next club I need to hit
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at least ninety five yards And if I can get
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those nice even spread like that, you can really learn
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to cover any yardage with appropriate spin in trajectory. The
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second would be the bounce options and the soul grind.
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The shape of the wedge you want to have a
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sand wedge with a lot of bounce on it. Bounce
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is the difference between the bottom back of the club
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and the soul to the leading edge, and degrees good
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sand wedge might have between ten and fourteen or fifteen
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degrees of bounce on it. If you have a more
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lofted club, like a fifty eight to fifty nine or sixty,
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you want that one to be low and bounced, so
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probably between four and seven, depending once again on your
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standard technique. With the techniques that I try to get
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people to use, you don't need much bounce because the
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swing's very shallow and you use it as you swing.
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If that's the case, and you have a high bounced
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sand wedge and a low bounce lob wedge, then you're
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really prepared for any turf condition because when the sand
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or grass is soft, the ball comes out slow and
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more bounce is better than less, so you can always
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use your sandwich. If, on the other hand, you're playing
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kind of tight, firm turf, you need more loft and
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less bounce, so you always have a choice. If you
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had that set.
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Makeup your short game solution. Mastering the Short Game from
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one hundred and twenty yards and in with James Siekman.
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This is Golf Smarter Premium. Here's your host, Fred Green.
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Welcome to the Golf Smarter Podcast.
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James. Hey, Fred, thanks for having me on. Appreciate it.
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It's my pleasure because you've got a brand new book
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out just came out last Month's available on Amazon called
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Your Short Game Solution, Mastering the finesse game from one
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hundred and twenty yards and in a favorite topic of
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the Golf Smarter Podcast.
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Oh, I think hopefully a favorite topic of anybody that
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wants to shoot a good score.
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And isn't that the case though? I mean, it really is.
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And I discovered I'm not a PGA professional. I just
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have the right equipment to do these recordings. And I
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love playing golf, but I'm a weekend player and don't
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have a ton of time to practice. But I recently
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discovered in the last year or so, how important the
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short game is. You discovered this a long time.
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Ago, Well, I did, because I mean I played professionally
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and I hit the ball beautifully, and you know, it
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just was a huge competitive disadvantage when I couldn't get
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the ball up and end couldn't kind of keep my
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momentum going in the round. And if you look at
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the short game is so important for a lot of reasons.
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But if you look at just look at statistically, the
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best players make the most birdies and so you think about, well,
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that means all of the best ball strikers then would
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be the best players. But you got to think about
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where you make your birdies percentage wise, and typically you're
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not making them on a two hundred and fifteen yard
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part three. You're not making on a four hundred and
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eighty five yard part four. You know you do that
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one in a while, but it's a bit of an outlier.
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The reality is you make your birdies on the par
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fives that you can't reach. You make them on the
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par fives that you can reach. You make them on
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the short part fours where you can happen to get
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the ball up there seventy yards from the green, And
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so that type of shot called a distance wedge is
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critical for making birdies, and making birdies is critical to
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being a good player. And of course if you make birdies.
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Another way to make birdies is to feel like you
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can shoot at pins. And if you have no confidence
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in your finesse, game around the greens, and you find
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yourself playing in the middle of the green and you know,
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having good shots that end up thirty feet or so.
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So it really is feeds on itself in so many
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different ways as far as just keeping momentum, being able
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to attack, take any advantage of the easy holes. And
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if you're not tidy with your wedge game from one
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hundred and twenty yards at end, you really do not
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have a chance to compete.
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Right book, I loved the story on how you started
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figuring this out with your brother and being on tour
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and started videotaping on your own. Why did you give
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us a little history of your own game and how
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you got to understanding and becoming the guru that you
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are to seventy players.
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Yeah, it's kind of an interesting tale, you know. I
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played in college, I played nicely, turned pro afterwards and
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played those days. There was no such thing as a
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web dot com tour or a hoving tour. It was
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get all the way through tour school or play overseas
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or many tour events. So I went overseas and I
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played in Asian South America and did that for about
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five years, traveling around the world playing great experience, but
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it became very clear to me that everything that I
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was working hard on to improve was actually making me
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much worse. And I had a great touch around the
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green when I was a kid, but I had no
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thoughts either. I just kind of did it. And then
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as I started to get formal coaching, you know, I
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got much much worse. I quit, got married, and took
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a job working for Dave Hills, who's kind of a
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famous short game coach. After two or three years there,
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having an opportunity to kind of learn from him and
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dabbling a little bit more specifically in short game coaching,
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and an opportunity to start my own business. And one
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thing was very clear at that point, even after working
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teaching short game schools for three years, I had no
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clue what good technique was. I didn't know what worked
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and why. I just knew that the things that I
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was teaching in those schools and the things that I
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was taught when I was going through college and as
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a pro were not working. And they were not only
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not working for me, but they weren't helping for the
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people I was seeing. So I decided I need to
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go on a little bit of a journey or quest
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to try and figure this out, since I was just
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getting ready to open my own academy and my oldest brother,
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Tom's a PGA tour player before I was on tour
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for eleven years and was close friends with Seve among
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a lot of great players, and asked me to come
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caddy for him at the Players Championship. So I had
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a a kind of a unique opportunity to be around
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the best wedge player in the on the planet, as
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well as many others like Raymond Floyd and Corey Pavin,
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and I had a huge need to try and figure
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out what the heck, you know, what worked and why,
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because at this point I only knew what didn't work,
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And uh, you know, I went and took video and
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I studied it just like a football coach would study
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a film of a of a of a game, and
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you know, kind of wiped the slate clean and just
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started my own my own theory. Since I didn't know
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what to teach, I thought the most logical thing would
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would be to study what they'd do and atually just
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teach what they do. And I found it to be
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amazingly opposite and completely different than anything I'd ever heard.
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That's what I found so fascinating is the epiphany that
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you had when you were doing this What was it
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that you discovered? Well before I asked ask that question,
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I just want to announce to the audience that we're
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live on periscope right now, and if the people watching
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on periscope have any questions that they want to submit
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to James while we're having this conversation, please tim up
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type them up on the screen and I'll try to
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get to them as I can. I already have one
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question that came in earlier today from Twitter when I
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announced that I was going to do this interview with you.
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But tell me about you know, when you went through
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the footage, James, what was it that you found? How
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were you able to get to the place where you're saying,
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you know, this is very different than anything we're teaching.
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Yes, I mean so so. I mean it's different in
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every single facet. I mean I could run through and
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list seventy things that are completely opposite of what you
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should be doing in your full swing to generate power,
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and it just kind of just kind of came to
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the realization as the goals change and the goal becomes
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to be weak, to have a soft touch to control
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the speed instead of generated to use loft and bounce
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to the club. That the technique should change right along
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with the intent. And you know, I wasn't thinking this
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far ahead, but after a while I kind of I say, well,
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this makes sense to me. Now, why wouldn't it be different?
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But you know the first thing I noticed was that
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these great players Sebe Bellisteros, Raymond Floyd, what not, Corey
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Payment had a little reverse pivot in their backswing, which
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you know that they might start with their weight fairly even,
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which is another difference. I was taught to left and
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you put your hands ahead that they had to weight even,
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and they reversed weight shifted to add pressure in their
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left or lead leg a little bit, and the backswing,
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their head literally moved two or three inches towards the target,
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and then as they delivered the club, their head would
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stay forward. And if you think of a full swing
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or even a seventy yard shot, as you turn back
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behind the ball and swing your arms and turn your shoulders,
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you actually load pressure into your trail leg and your
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head typically moves three or four inches behind the ball
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as you deliver a lot of times to add especially
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with a driver, to hit up on it or at
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least hit a level. As you shift your weight your body,
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your upper body tilts back. So the entire motor pattern
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was different, not only with balance, but with the sequence
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of events, with the setup, with how they released the club,
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or the role of the of not the role the
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rotation of the arm movement. Everything about it was completely opposite.
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So I just started to just write down the common
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allies that Sevy had. He was my main guy that
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I studied because I had the most footage of him
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and he had the reputation of being the best. But
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Graymond Floyd and Corey Pave and my brother who was
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an amazing wedge player, and you know, I have Wayne
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Grady and Jody my lot of great players that I
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had this footage of, And I just thought, well, you
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know what, I don't know what the heck I'm doing,
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so I guess I'll just write down what they're doing,
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and that's what I'll teach.
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And it's worked for you.
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It has it's you know, it not only worked for me,
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because now all of a sudden, it's like I started
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to rediscover some of the touch and feel I had
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when I was young, and I had no thoughts, but
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the students that I began to teach once again, you know,
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when I was working for Dave pel Squad, honestly, people
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were not getting leaving those schools improved in my opinion.
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Now on my own, I really started to see some
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major growth, you know, some excited phone calls and emails
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of people telling me how much better they were doing.
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And you know, at some point you need that confirmation
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as a coach that things are working.
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I'm fascinating you said they weren't improving at schools. Is
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that the nature of the schools themselves or it was
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what was being taught, because I've talked to so many
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people who've gone to golf schools and they feel so
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great after doing a long weekend or even up to
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five days in a school, and they go home and
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without somebody there to you know, keep correcting them and stuff,
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they don't remember much and very frustrated and feel like
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they spent money that didn't really turn their game around
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at all.
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Yeah, it's a little bit of both, but I would
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say more than anything, it's just really bad information. And
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you get bad information on technique. That's bad enough, but
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Unfortunately those schools don't say this appropriately. I would say this.