The Brain, Breath and Body Connection with Brooke McPoyle

Episode Transcript
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SPEAKER_02 (00:00):
The circulation of those tissues requires the
breath.
But when we start to experiencehow when the tissues are open
and flowing, when the nerves arefiring, when the breath is slow,
the biofield, like what our whatour body is actually emitting
out and around us, becomesstronger.
And when it becomes stronger, Ithink we have an opportunity to

(00:22):
really see how much interactionis happening with our loved ones
without words.

SPEAKER_01 (00:33):
Hey friends, welcome back to the Raising Wild Hearts
podcast.
That was Brooke McBoyle, founderof Musical Breath Work.
I am so excited to introduceBrooke to you today.
She has come across my path afew different times.
And now finally she is on thepodcast, and we are talking

(00:55):
about so much.
We're talking about brainwavesand breath and stress and
fascia.
If you don't know what fasciais, you're about to find out.
And this conversation has suchdepth and meaning.
Brooke really shows through herwork in the world that yes,
everything from our bodies toour families to the bigger meta

(01:17):
picture is, and I don't meanmeta like Facebook, that
everything is really connected.
And I can't wait for you guys tohear her wisdom.
So Brooke developed a uniquemethod that uses fascia release,
breath science, and frequency tohelp individuals regulate their
bodies.
Her brain breath equation isutilized by professionals and

(01:41):
high performers to managestress, enhance flow, and
stimulate gamma brain waves.
Through her mighty breath andfascia flow techniques, she aims
to foster resilience and rhythmin her clients.
If you are not following alongyet in this journey, hit follow
wherever you're listening,whether it's on Apple or Spotify

(02:01):
or wherever you listen to yourpodcasts.
I can't wait to show up hereevery week with these amazing
interviews.
I am truly learning alongside ofyou, and it is the ride of my
life.
The whole entire premise of theshow is that we can change the
world by starting at home.
So somehow, some way, everysingle person I'm talking to on

(02:22):
the show is bringing it back tothat.
And it's funny because it's beenvery organic, like we land the
plane in this episode thatyou're about to hear.
So if you're not following me onInstagram, go ahead and do it.
If you haven't signed up for myemail list, become an insider at
raisingwildhearts.com slashbooks.
I am so excited to welcome youin to my community to show you

(02:44):
what's going on behind thescenes, to talk about different
events I have coming up and waysto work with me outside of just
this podcast.
So without further ado, let'sget into my conversation today
with the brilliant BrookeMcPoyle.
Brooke, welcome to the RaisingWild Arts Podcast.

SPEAKER_02 (03:02):
What an honor to be here, Ryan.
Thanks for having me.

SPEAKER_01 (03:04):
Oh my gosh, you're so welcome.
I am so flipping excited.
I heard you first on Alex Zach'spodcast, The Way Forward.
And then we met in January, andI didn't even know it was you.
And then we met at the podcaststudio that I do some consulting
at.
And I was like, God, how do Iknow you, Brooke?
And I noticed the little uhskeleton foot that you had
hanging out of your bag.

(03:25):
And I was like, oh my gosh,you're the fascia woman.
I don't, and I so all theseconnections, it all came full
circle.
And I cannot wait to dive intoeverything with you today.
But I want to start withbreathing in for seven seconds,
breathing out for eight, likegetting your heart rate to a
slower pace to stay calm, bepresent.

(03:49):
Uh, you will phrase it the waythat you want to phrase it.
But so I'm doing it this morningas I'm getting my kids ready for
school and I'm like, get yoursocks on.
Okay, wait, I gotta breathe.
Okay, seven and eight out.
And I like kept forgetting.
I was like, how much am Iforgetting like to do this in
like a you know, 45-minute timeframe?
And I felt, you know, busy and Ifelt a little frantic and I felt

(04:11):
a little pressurized.
My husband's out of town, and soI'm juggling all the things and
all the children by myself, andthere's various tantrums and
arguments and all the thingsgoing on at one time.
And I'm just like, breathe inseven, breathe out eight, and
you won't lose your shit.
And so, speaking from thecontext of a busy ass parent

(04:33):
who's just trying their best tobe present for their kids, to
also get done the things thatneed to get done and like
logistically be on top ofthings, but still be like calm,
present, loving mama.
How would you say that we shouldbe breathing?
Is the seven in, eight out goodfor that, that context, or is it
something different that Ishould have been doing?

SPEAKER_02 (04:54):
No, it's a beautiful context.
And, you know, we're a bitcontrolled by time.
Kronos is the god that we allfollow.
So those numbers that I give,those second counts, are really
just a barometer for somebody onthe outside.
But on the inside, the way thatI really like to teach the
breath is a shaping of thebreath so that we don't have to
count.
We don't have to keep our mindbusy doing something.

(05:16):
It's more of drawing theawareness back internal.
And that's the whole point ofthe breath is to slow down the
present moment.
So our nervous system isoperating at 268 miles an hour,
which divides itself into eightseconds or eight times per
second, we're moving internallyto externally, just like your
kids are.
So your kids are hearing mama,but they're also having this

(05:39):
entire internal visceralexperience of, you know, getting
their shoes on.
So we might be frantic, butanytime that we have frantic
energy, the the kids, and I'mnot a mom, so I get to
experience this as an ant.
Um so I, you know, I want tojust make that as a key
indicator, do as I theorizebecause I'm I'm not in that yet,

(06:00):
right?
Um, but the goal of breathing tothat count is really just about
getting into the breath.
So if if you can do thisexercise with me, this is
actually, I think, a morefoundational way to experience
that slow breath rate.
If you slow motion swallow andlock the back third of your
tongue into the back part ofyour throat, often when we think

(06:20):
of tongue position, we can beaware of the tip of our tongue,
but I want you to bring yourawareness to the back third of
your tongue and then just slowmotion swallow.
And I want you to feel how thattongue kind of sticks to the
roof of your mouth.
And then do it one more time andthen hold, if you can, the back
third of your tongue against theroof of the mouth, inhale slowly
through the nose and fill up thelow belly.

(06:44):
When we're slowing the breathrate, you have a choice to
count.
And that's how a lot of breathteachers teach.
The Boudicco teachers teach.
For me, it's about a shape.
So, again, if we kind of likelift that the back third of the
tongue against the roof of themouth, and then we inhale slowly
and we fill the nose and thendraw the breath all the way into
your belly, pushing the bellyout.

(07:04):
When the belly gets full, inhalemore and move the air to the
back of the back belly.
Then inhale more through theside of your body and your back.
Then inhale more into yourchest.
This should feel like you're atmaximum capacity of air.
Then as you exhale, I want youto be as slow as you can, and I

(07:24):
want you to push the air down asif you're releasing the chest
first, then the sides, then theback, and then at the very end
the belly.
And we're emptying until wetouch that space of like empty,
empty, and then inhale againslow.
So when we make it less aboutaccount and more about the
feelings, we start to pull ourawareness back into the body,

(07:47):
and that's where the freedom isgonna be.
So I like to say breathing atthis rate for four minutes is
what really pulls us backbecause four minutes is what our
body needs to rev down.
We can rev up in a half asecond, an explosion goes off
outside, and you have no controlover the biology that is going

(08:08):
to answer to danger.
And stress is gonna trigger thatsame danger response.
So often we have to recalibratewhat we call danger.
So anytime we get in the car,you know, we're gonna be a
little bit more on alert.
And then if somebody cuts usoff, that's full danger.
So our nervous system is alwaysgonna be in this state of

(08:31):
stress.
Stress is needed for us to grow.
It's a matter of how quickly wecan recover from that stress.
And it's all about the breath.
So, so many anti-stress rituals,you know, that people have that
are bad habits, like drinking orsmoking, um, those often all do
the same thing.
They slow your breath rate down.
And you can see a smoker,they'll pull a cigarette out,

(08:54):
and even before the first drag,you can see them take a deep
sigh.
And it's because that ritual hasbecome paired with something
that's going to relax them.
But all of the relaxing ritualscalm our breath.
Taking a bubble bath, lighting acandle, and sitting on your
favorite chair in your slippers.
You know, there's so many thingsthat we can do to create that

(09:15):
sense of ease, but it's allfound within the body in that
slowness.
So instead of counting, there'sa number of things we can do.
We can hum.
If you have young kids that arekind of frantic, and emotion is
something that needs to come outof the body.
And I fear that we have beengroomed to repress, repress,
repress.

(09:35):
Totally.
So when a kid has a tantrum to,you know, have them vocalize,
like, why are you mad at mommy?
Are you mad that mommy turnedoff the show?
Okay, do you want to stomp itout for a few minutes?
We can stomp.
Stomping's a healthy way to getthe energy out.
Do you want to yell for asecond?
If yelling's okay in your house,I know it's not okay in

(09:57):
everybody's.

SPEAKER_00 (09:57):
It is.

SPEAKER_02 (09:58):
Right?
So having that expression, thenonce the expression comes out,
it's like, okay, are you readyto shift now?
Because we can do what you wanton and at another time.
Can you say thank you for theexperience that you had?
So I even feel like when we getupset and frustrated in our
nervous system, if we kind ofbash ourselves with the nervous
system tools, we don't also giveus that opportunity to breathe

(10:22):
into the stress and to just feelit, you know, because some
stress is there for us to belike, okay, you know what?
Let's not do this again.

SPEAKER_00 (10:29):
Yeah.

SPEAKER_02 (10:30):
This is something that I don't want to do.
And maybe I need to just sitwith how uncomfortable this is
and organize the fact that thisis a boundary I'm not willing to
have anymore.
So instead of just reorientingthe feelings so quickly, I think
even just talking to a kid inthe discomfort and teaching them
how to vocalize.
I think so many of um, you know,40-year-old men are starting to

(10:55):
vocalize things that they haverepressed.
And it comes from how we wereraised in our childhood, you
know.
I was told, you know, yourfeelings don't matter and you
can cry all you want, but youremotions, you know, need to be
shoved in a corner.
And any great athlete will tellyou that, you know, you the form
of discipline you have to beamazing is by putting your

(11:16):
feelings in the corner.
So there is a give and takethere, but learning how to at
least vocalize them and thencome back into the steadiness of
our body, I think is part of uslearning how to resonate
cleaner.

SPEAKER_01 (11:27):
Yeah.
So one of the things that amazesme about you is that you've
taken all of these seeminglydifferent or separate ideas, and
you've figured out a way to putthem all together.
Like from the experience in yourlife to the fashion, the brain,
and the breath, and everythingthat you talk about, it amazes

(11:49):
me.
It was one of the things thatwhen I was like really amping up
to talk to you, I was like, ohmy God, she's like taken D1
athletics with, you know, thisand paired it with this.
And you found this likeconnection between everything.
And it takes this kind of newagey, you know, thing that we
say of like, we're all one.
Like, you know, we we say thatin some people say that,

(12:13):
whatever, but you make it in apractical and tangible way.
And the thing I could think ofwhen I was like really listening
to your work was it's allrelated.
The way we're showing up for ourkids, the way we're breathing,
the way that they are coming atus, the way that we're all like
cohabitating in this littlehouse of ours, like, you know,

(12:34):
just to keep it in the familycontext, like it's all one and
it's all related.
Somebody has a meltdown, the theripples of like this kind of
frustration start to like spreadin the house.
How do we receive that, processthat, and then you know, come
back to center multiple dozens,hundreds of times a day, right?

(12:56):
So, how did you in your lifelike figure out that all these
things are related?
Has this always been you, orhave you just like had an
epiphany where you brought allthese things together?

SPEAKER_02 (13:08):
Uh, lots of failure.
You know, I wanted to be a rockstar.
And so like I learnedinstruments when I was like 16.
Um and learning guitar wasfascinating for your brain
because you have to become likeyou have to build your
dexterity.
And I remember havingconversations with my pinky,

(13:29):
like, come on, baby, move.
Yeah, push a little harder.
It's just a pinky.
Um, and you know, learning howto classically sing when I was a
young age, that is core memoriesfor me for sure.
Learning how to resonate off ofum other people that are
singing, and then you know,moving from alto to soprano.
And I really think that ifsomebody's interested in singing

(13:51):
at a young age, joining a choiris a beautiful way to not have
too much pressure on your voiceand learn how to sing with a
group of people.
And I really don't recommendvoice lessons to kids younger
than 12 because there's so muchchanging in the voice.
You really don't want to havelike a lot of hyper training as
the body and the tissues arestill opening.

(14:11):
You just want to haveexploration and curiosity.
Um, and then when I learned howto play golf, I took it way too
seriously because my dad'samazing, and my brother's my
brother is amazing.
Um, my dad has shot 62 twice,and any golfer would know that's
you know so good.

SPEAKER_01 (14:27):
I'm a golfer, I'm not a golfer like you, but I'm a
golfer.
So I get that.

SPEAKER_02 (14:32):
It's uh to be raised around that, my dad had
definitely a different uh way oflooking at sports psychology and
putting and um, in a sense, alittle bit of telepathy
controlling something outside ofyour body.
And because of all of the sportspsychology books that I read,
and then with music in my body,I always saw the golf ball as

(14:55):
this like trajectory, as thisthing that you were controlling
through space and time, a lotlike your voice, because a voice
has to be blasted, you know, ina similar way to a golf shot.
It's a full body thing.
And um a foot injury in my late20s after I had run a
chiropractic clinic, run acouple skincare offices, uh,

(15:15):
really the foot injury blendedall of these things I had
learned over the last 15 years.
And um, I really woke up twoyears ago trying to fix my own
problem and ended up fixing away bigger problem.
And when I tied that with thebreath sequence that I had been
teaching for a decade, um, therewas a brainwave shift that I

(15:36):
noticed in my clients.
So when I added my new fasciaflow sequence that I built to
heal my body, to heal my footinjury and my hip injury, when
that worked for me, I introducedit to my parents and both of
their knee pain went away withina couple weeks, and I was like,
all right, I'm on to something.
So I introduced it to mybreathwork clients.
And at the end of my breath worksession, about 50% of people

(16:00):
would always get to that close,like theta delta state, which is
my goal.
Um, you know, clean the tissue,double the lung capacity, and
then drop the brainwaves thatway we can leave in a state of
peace.
But I always had like a 50%.
You know, 50% of my clientswould get there.
The other 50% were still kind ofin their head, they'd be a
little itchy, they'd be alittle, you know, moving.
When I added the fascia flow, itwas like 100% after that.

(16:23):
And it still is.
And it blows my mind because I,you know, teaching breath work
for 10 years, you can see thepattern.
You can see that, like, okay,statistically, 50% of people are
gonna get into this relaxedstate by the time we're done.
So to have it be a hundredpercent of people, I was like,
wow, the fascia is holding a lotmore nervous tension than we

(16:43):
previously thought.
And as cool as the results havebeen on joints, I am still kind
of blown away at this brainbreath fascia connection that we
can train.
I mean, the two biggest inputsfor stress is your heart rate
and your brain wave tension.
And those two are controlled byyour fascia tension and your

(17:04):
breath rate.
So by training the two outerinputs, we can change how the
inside is coping with everythingthat life throws at us.
And as a professional athlete,um, I don't gamble as much as I
used to anymore.
But after uh playing D1 golf, II turned pro and um I gambled

(17:24):
heavily because that's how youpretend you're in tournament.
You know, you create pressureby, you know, putting money on
the line that you really don'twant to lose.
And um through error, throughreally caving to adrenaline, I
learned how, you know, the yawnswould come and then there'd be
this like pop of you know,everything in your body would

(17:46):
dilate, and then you'd have tolearn how to play with that
adrenaline.
And in golf, you actuallymeasure it.
Like when the adrenaline dumphits, you go up two clubs
because everything is flowingfaster.
So it becomes very sequential.
And then um, you know, after Iquit the game and I started
working again, and I was just,you know, I started a band, and
then I'd get on stage and I'dhave this same adrenaline dump.

(18:10):
And I could converse with it alittle differently because of
golf, I had metriced how my bodyhandled the norepinephrine and
and how it would hit my systemand you know, this process that
I would go through.
Um, and learning the fascia flowand the mighty breath, when I
started teaching that to theclients, I could see it was

(18:30):
creating a sports performancepsychology.
So my you know, professionalspeaker clients, we could come
up with a sequence for thembefore they would hit the mic,
you know, about an hour beforethis is what they would do, 15
minutes before this is what theywould do, and then 30 seconds
before this is how you groundback into your feet.
Drop into that slow breath rateso that when you step up on

(18:51):
stage, you are in your fullpower instead of frozen in that
fear.

SPEAKER_01 (18:57):
Yeah.
Wow.
So you said music is your soulspeaking and a chance to hear
what's on your mind and heart.
And I was just like, whoa, yousaid something like you just
it's an exploration, like it'skind of hearing, feeling,

(19:19):
sensing.
And I look at my kids when theydo music, and one of them plays
the violin, they're juststarting to do kind of like the
flute thing, one of them has akeyboard, and one of them in
particular is just very musical.
She always wants music on, she'salways singing, humming, kind of
like making a tune.

(19:40):
And I am dancing this linebetween like, let's get her into
classes and get her seriousabout this and that, and like
let's just let her bang aroundon her keyboard and come up with
some sounds, right?
And I'm always really mindfulnot to say, like, oh, that

(20:02):
sounds so good.
Because to me, is that soundinggood?
Like, what's what's it soundinglike to her versus to me?
Is it sounding the same in herlittle mind?
Or is it sounding like you knowwhat I'm saying?
And so I'm really trying not toput her in a box.
So, what would you tell somebodywhose kid or who's who their

(20:22):
cell like themselves isinterested in music, but they
don't want to put themselves ina box?
Do they take classes or do theyjust have fun?
Like, how do you actually learnhow to do it as an adult and as
a kid?

SPEAKER_02 (20:33):
Well, to learn how to do it takes it takes a bit of
consistency because you'relearning patterns.
So just like when we learn howto draw or write for the first
time, we have to, you know, ifif you want to get better at
drawing, what I was taught wasyou draw a hundred circles the
same exact size and a hundredtriangles the same exact size
and a hundred squares.
And then you get better at therepet repeating pattern.

(20:55):
Um, if I wanted to restartlearning instruments, I would
start with the piano.
Um, the piano to me is is themost it's the most friendly
instrument to learn from becauseeverything is kind of binary and
it's right in front of you.
You can learn a chordprogression in like 20 minutes.
Um, but I actually painted mypiano a few years ago.

(21:17):
And I made like all the C's areyellow, you know, you can do
whatever order for me.
This was the order that feltright.
So I started A red and then um Bis orange, C is yellow, G is
blue, then I got a couplevariants of blues, and then I
end on purple.
Um, purple is G.
And every musician that sitsdown converts chord progressions

(21:38):
into colors, and they're like,oh, I'm gonna play the yellow
chord.
And I'm like, I know exactlywhat you mean.
And I think that there'ssomething about taking a piano
and making it colorful thatmakes everybody a little more
privy to play because chords arejust, you know, you're placing
your hands in a similar patternover the color progression.

(21:58):
Um, when we get into strings,you know, you have to be willing
to sit for 10 minutes, five daysa week, to teach your body how
to hold it.
Violin's the toughest instrumentI've ever picked up.
I make it sound like a dyingcat.
So good on you for strugglingthrough those sounds.
It's the school.
Oh, yes, I am listening.
I am having to listen to it.

SPEAKER_00 (22:16):
That's intense.

SPEAKER_02 (22:17):
Yeah, it is.
It is.
I I think learning instrumentscan be started at any age, and
it's just a matter of keepingthe kids' joy in it because a
lot of people will learn aninstrument young and then they
quit when they're an adult.
So I feel like um for me, when Ilearned how to play guitar and I
learned on this brutal squirewith like no action, so like my

(22:38):
fingers would bleed, and my dadsaid if I wanted a teacher, I
had to practice five days a weekfor at least 45 minutes from a
book.
And I thought that was reallygood because it proved to me how
much I actually wanted to play.
Yeah.
And it also proved to my parentsthat I had the discipline to
learn.
And so I learned from a book.
And the book actually, when bythe time I got my teacher, I had

(23:02):
actually known a little bit ofthe basics.
So we had we were able to kindof skip the first four lessons
because I had proven myself tothat point.
But then the minutiae and thenuance of learning to
transition, I was able to havesomeone there.
So um, I have a personal goal oflearning learning a new
instrument each year.
By the time I'm 80, I'd like toplay 80, 80 instruments, and

(23:22):
there's so many pattern overlapsthat when you learn one, like if
you learned piano, it's wayeasier to pick up a ukulele, you
know, or if you love Indianinstruments, you can go piano to
harmonium very easily.
Um, once you have ukulele, it'svery easy to transition to
guitar.
It's it's not as simple.

(23:42):
Um, but ukulele to me is a loteasier to start on because it's
nylon strings, there's only fourpatterns.
Um, and then you know, once youhave guitar and your blood, you
know, transitioning to like atampora or a harp becomes a lot
easier or a bass, you know, likethose things kind of feed on top
of each other.

(24:02):
Violin, I think, is kind of thenext level.
Yeah.
Because it's a bowedinstruments, but it's
microtonal, so there's no fretsthere for you.
And that's the amazing thingabout exotic instruments, is you
realize that us Americans areare teaching in a very small
octave pattern.
So our ear is capable ofperceiving almost 1400 tones,
but we're only like a classicalpiano only has 78 keys.

(24:26):
Um so our ear is incrediblybored, and particularly in the
compressed music that we listento, I mean, we're listening to
three octaves a day.

SPEAKER_00 (24:34):
Right.

SPEAKER_02 (24:34):
You know, between the bass and the high notes, and
like occasionally if you listento like somebody that hits
whistle notes, you know, good onyou, you're in a five-octave
range, but it's a fraction ofwhat our ear is actually capable
of doing.
And the cool thing about thevoice is the voice is
microtonal.
So I'm always really big onlisten to everything.

(24:55):
Yeah.
You know, uh West Indian music,Turkish music, Bulgarian music,
weird gu chang, Chinese lullabymusic.
The Gu Chang is that horizontalharp.
Um, very easy to play if youplay the harp, actually.
The pattern's almost set up thesame.
Um, so the Chinese gu chang isit's just different sounds and
frequencies, you know, Celticmusic um with you know, the

(25:18):
Greek bazookie.
It's all of those things cankind of pepper our brain with
more information.
And so, like if I had a kid, Iwould definitely have a piano in
my house with painted keys thatthey could hit up on, and I
would really insist no controluntil they want they express
desire to get lessons.
Lessons are amazing.

(25:39):
I really feel like progressingwith a coach happens a hundred
times more than progressing byyourself.

SPEAKER_03 (25:44):
Yeah.

SPEAKER_02 (25:45):
Um, because you get to learn how map like the the
nuance of posture and the nuanceof breathing, the nuance of
feeling.
Um, but it's it's really aboutsound.
If sound is important to you, ifyou're around live music, like I
really love an upright piano waymore than a keyboard because
it's a harp and it plays thefrequencies back to you.

(26:08):
And um, I'm a kind of astickler.
I'm on my third upright piano,and they're very affordable
locally because most peoplecan't move them.
Right.
So you can get like a spinsterfor free and it's 125 bucks to
tune it if you shop around.
Um, as long as it, you know, Ican help you like shop for a
month because if you buy onewhen the harp is cracked, you
know, you're kind of screwed.

(26:29):
But um, I really think thathaving real instruments around
that are tuned is like uh theway for someone to really
experience, you know, is is theartist alive in them?
And art is something that we cankeep with us forever.
Yeah.
I I hate um singing like coversongs.
So when I say like music is I'mmore of a bard.

(26:50):
I like to make up songs.
I'm like a queen of, you know,that's just pick a chord
progression, go around the roomand make up something that feels
real.
Because to me, that's realmusic.
It's when it lives and die inthat moment, just like a you
know, piece of food or a pieceof, you know, you hit a golf
shot, it lives and dies then.
You know, you can't capture thator redo it.
You can never hit the same shottwice.
I think music has lost thatmagic because they're so much

(27:13):
recorded.
So um having that in somebody'sfield, I think is kind of
important.

SPEAKER_01 (27:19):
Yeah.
I don't consider myself amusical person, but the fact
that my kids are really into it,I'm like, okay, well, I want to
keep that door open for themwithout like shoving them into a
box.
And that's what they do.
They go around making up stuffall day long.
I'll make up little silly songs,like about everything.
Like there's like everything canbe a song.

(27:39):
I'm like good with words.
So I just like all of a suddenI'll start like rapping or just
like making up a little tune tolike get our shoes on or
whatever.
Um, and so I do that, but theyreally like are making like
these different sounds withthese different instruments.
Some of them are just homemadeinstruments, some of them are
actually instruments that wehave, you know, like these

(28:01):
little wooden things with the uhbells and the drums and you
know, the keyboard and whatever.
But so yeah, I was reallycurious about that.
Are you really good at math?
And how did you get soambitious?
Like you strike me as somebodywho is like, I see something
that I want, I'm gonna get that,and I'm gonna do it to like a

(28:22):
thousand percent of my ability.

SPEAKER_02 (28:24):
Um, I I think I came out that way.

SPEAKER_01 (28:27):
Yeah.

SPEAKER_02 (28:28):
I um I definitely was I had a younger brother.
A lot of us mistaken us astwins.
He's three years younger thanme.
So there was a definitely acompetitive nature that was bred
in my family.
My dad's a a a CEO, my mom's aCEO.
They both played college sports.
Um my dad was quite a pro.

(28:49):
Um, he went, he turned pro whenI was a kid again and then like
came back to be a businessmanagain.
And so I think my brother, mydad always instilled competition
between me and my brother forthe little things.

SPEAKER_00 (29:01):
Uh-huh.

SPEAKER_02 (29:01):
Um, but also I'm just so small that I think I was
so used to people telling methat I can't do things because
I'm a girl and I'm, you know,too little.
Um, so I I think part of mealways pushed back it, like back
on, you know, I am a woman, butI am mighty.
Yeah.
You know, I was the shortestperson on my team by like a

(29:22):
foot.
It's a bunch of like six-footEuropean women.
Wow.

SPEAKER_00 (29:26):
Um I can't do it.
Like, watch me.
Yeah.

SPEAKER_02 (29:30):
I could hit the ball as far as them.
Um so I think that part of mejust, you know, I think I came
in a little bit of a spitfire.

SPEAKER_00 (29:39):
Yeah.

SPEAKER_02 (29:40):
And the ambition um probably was nurtured at a young
age.
And I I, you know, I was theleader of me and my cousin.
So like I remember trompingalong the garden and like I was
the one making up the games, andyeah, we're gonna balance on the
fence because the floor is lava.

SPEAKER_00 (29:57):
Yeah, so fun.
That's amazing.

SPEAKER_01 (30:01):
I have one of those.
Our oldest is the leader of fivecousins.
And then also her threesiblings.
And she's a Capricorn.
And so she's just very like myway or the highway.
And everybody's like, okay.
Mostly.
There's some pushback though,you know, naturally.
But I think birth order has alot to do with it too.

(30:22):
You're older, there's a youngerboy who like you're now
competing with because you'relike, I can do this.
So like I think that's a reallycool spin on like sibling
relationships, how to like levelup with each other and how to
like really because sometimes Iview competition as bad, but you
know, of like, oh, we can'tcompare our kids to each other.
We don't want them competing.

(30:42):
But there is that element oflike that it's healthy.

SPEAKER_02 (30:45):
We were okay.
So like here's some things thatmy dad would do at a young age.
My brother and I, we neverwanted to clean dishes, but it
was our job to clean dishes.
And my dad would set up a glasslike eight feet away from us,
like a tiny, just a drinkingglass, whatever he was drinking
water out of.
And we would get two shots andwe'd have to curl up our napkin
and then try to throw it.

(31:06):
And if we made it into theglass, we were, we did not have
to do the dishes.
Oh my god.
Um, another thing my dad did forlike jump training, I don't know
when he started this, he gluedor like taped a dollar bill, or
it was a dollar, I think it waslike wasn't even a lot of dollar
to um like our highest pointthat we could jump in the

(31:27):
hallway.
Uh-huh.
And so every time we would likewalk through the hallway, we
would, you know, lift off to tryto hit it.
Yep.
Um things like throwing afootball at us um when we were
jumping into the pool.
I was I was quarter, I wasquarterback for the powder puff
team in high school.
Like I actually had a prettywicked arm.
And my mom was a softball playerum in college.

(31:48):
So I I don't know.
I think that they did a lot ofstuff for us where we had to
throw and we had to like kind ofprecision throw.
They made all of these littleexercise games.
Like I could throw a rocketbaseball by the time I was nine
because my mom was determinedthat like I could throw a you
know a 60-yard pitch or like Icould wing a frisbee.

(32:11):
Um, so there was always thesegames that my parents set up for
us to compete against each otherwhere it was a playful reward.
It wasn't, you know, somethingridiculous or we couldn't hold
it over each other's head, butit was something that encouraged
greatness.
My dad talked about greatness alot and how greatness is your
ability to kind of distill yourconsciousness into a moment.

SPEAKER_00 (32:32):
Yeah.

SPEAKER_02 (32:32):
So um, you know, growing up watching golf, you
would see these greattournaments come down to a
four-foot putt.
And you're, you know, here's aman that's hit a million
four-footers.
Is he gonna make it with a halfmillion dollars on the line?
And so we would watch thesethings with my dad and the
sports psychology of, you know,you've hit this putt 10,000

(32:53):
times and you've made it.
Can you do it actually underpressure?

SPEAKER_01 (32:57):
Did you see the ending of the US Open?
You know what?
I did not.
My I was actually on a boat.
Oh, okay.

SPEAKER_02 (33:04):
Well, that sounds lovely.
My dad like it totally gave me ahard time.
He was like, This is the bestone ever.
None of my kids were here.
My brother was at Bonneroo.
It was Father's Day.

unknown (33:12):
That's hilarious.

SPEAKER_00 (33:14):
Yes, it was it was a great ending.
It was really good.
And um, yeah, that made me thinkof that.

SPEAKER_02 (33:20):
Yeah, the sports psychology of golf is is kind of
on ending, you know.
It is when you learn it withyour kids, you know, you teach
your kids what's the differencebetween making a three-footer
under pressure and missing athree-footer under pressure.
Yeah, there's a lot to unboxjust in that psychology alone.

SPEAKER_01 (33:35):
A ton.
That's so cool.
Okay, so you said fascia, andfor those of us who don't know
what fascia is yet, I know alittle bit because I've learned
from you.
But can you tell somebody who'slike complete brand new
beginner, going, like, what thehell is fascia?
And do I even have that?

SPEAKER_02 (33:54):
Yeah, okay, so we can picture the skeleton, right?
We can picture our organs, wecan picture our muscles, but
what is the webbing that holdsthat all in place?
Because none of our bonesactually touch each other, none
of the muscles actually touchthe bone.
So everything is being heldtogether by fascia, and it's a
triple helix collagen fibernetwork.

(34:17):
That's a long word forconnective tissue.
And I was taught never aboutfascia as an athlete, which is
wild because in golf I've nowrealized that your your fascia's
ability to glide is what givesyou counter rotation.
And um, it's wild to me thatwe're not training it even in

(34:38):
high-end athletics because it iswhat's gonna allow the muscles
to fire in complex movements.
So, unless you're classicalweightlifting, where you're, you
know, picking up heavy moves andyou're trying to get into
perfect positions, every othersport is a full body mechanism.
You're pushing off of your toesin order to guide your hips
somewhere, and then you'rerotating the upper body off of

(35:01):
that.
So fascia is the orchestratingmechanism that holds everything
in place.
So if we picture it like asponge, it's my favorite.
The way that a lot of diagramsum teach it, and a lot of the
textbook teaches it, we look atit like sheets of paper or
plastic because it's asheer-like material.

(35:21):
And in some areas of the body,it's very thin.
So if you put your tongue on theside of your mouth here, like on
the inside of your cheek,there's a muscle in there, but
it's actually mostly collagenthat's holding.
We have 44 muscles in the face,and what's holding those muscles
to our skull plates is thefascia, right?
And the fascia itself, becauseit's sponge-like, there's areas

(35:43):
where it's a little shallow,like our cheek.
We can kind of like, you know,blow our cheeks out and suck our
cheeks in.
And then there's areas where thefascia is braided together with
other fascia bands and becomes alot more rigid, like a rubber
band.
And if you touch the bottom ofyour foot, that is the planter
fascia.
That's what's holding up thearch.
That's what's holding the foottogether.

(36:04):
Well, the planter fascia is oneof the densest fascia bands in
the body.
And we actually have eight majorfascia bands that are like this
rubber band.
I call it the industrialstrength rubber band because
it's really, really strong, butthere's a viscoelastic property
to it, right?
And our skeleton is supported bythese eight major fascia bands,

(36:26):
but the tension on one leg canbe a little bit different than
the tension on the other leg.
And what I have found, likepeople, you know, they'll be
like, my right, I have a badright knee or I have a bad, you
know, left hip or something.
And why is it that our jointsare wearing out at different
differently from the left to theright, even though we're doing
the same exact training orrunning the same exact miles on

(36:48):
both legs?
Well, what I found was duringcollege, I had had three um like
kind of serious scar tissueissues on my right hand side.
And after training on top ofthose tears, like because I
didn't know how to recover itproperly, I just followed what
every PT says, you know, ice,rest, take anti-inflammatories,

(37:10):
you know, be respectful to thepain.
Um, and then I wouldn't thinkanything about it.
So, you know, scar tissue or noscar tissue, I'm just gonna keep
training as soon as the PTs giveme instruction to do so.
But after three seriousinjuries, I had a chronic hip
tilt.
And no matter how much I saw thechiropractor, as soon as I would
get back up and walk around fora month, that hip tilt would

(37:33):
come back and it would createinflammation in my right side.
So I had found a way through alot of reading and a lot of
experimentation to reset thetension in the major fascia
bands, which are to me, all ofthe fascia in the body is a
concern.
We have horizontal bands thathold our eyes and our brain in

(37:53):
place, all of it needs flow.
But the ones that I'm the mostconcerned about, the ones that I
made the course for, is ourskeletal fascia bands.
So if we were to look at thecross section of like a loofah,
right?
So if uh a sponge is a coolmaterial to think of for the
fascia because it holds water,it um it changes, if it

(38:13):
dehydrates, it's like brittleand dry and stiff, just like how
we feel, you know, after a nightof drinking, if somebody wakes
up and they're like, ah,everything in their body feels
like dry, stiff, and creaky.
I like to imagine that as thefascia in your body is a
dehydrated sponge because youpoured alcohol into it.
And like our urine comes fromour blood, right?

(38:36):
So, like whatever we're puttingin our body goes through the
intestinal tract and then it'sabsorbed into the bloodstream.
And then depending on thequality of fluids that we have
within the body, our blood isgonna be kind of like clean and
like light, or it's gonna bekind of like full of sediment
and a little more cruddy.
And our fascia is the one that'sgoing to tell us if we're dry

(38:56):
and stiff or if we're reallyhydrated and feeling clean.
The confusing part about fasciaand why medical doctors are
terrified to talk about itstill, and I completely
understand, and I'm like, I'mhappy to be an athlete, you
know, because I'm just I likefeel like I'm here reporting
information.
Like, here's the new stuff onthe fascia.
Right.

(39:16):
The issue about it is inside ofthe fascia, right?
So we know that the fascia isthe sponge, we know it holds
things in place.
There's a liquid outside of thefascia called hyaluronic acid
that we're familiar with becauseit's in a lot of skincare
products.
But our body makes hyaluronicacid.
It's in our tears and our salivaand the fluid that comes out of

(39:37):
us when we're turned on.
It's inside of our joints, whatwe call synovial joint fluid.
It's super dense within ourjoints.
But our body makes it.
And there's a cell hidden withinthe deep fascia called a
fibrocyte.
We didn't discover it till 2018.
And we used to say, like, oh,your collagen is just gonna
deplete after you're 30.

(39:58):
And the discovery of this cellmade me like, whoa, this means
hold on, guys, hold on,everybody pump the brakes.
Because like, if we can makemore of this stuff internally,
we just change the game onrecovery.
So we know all of that aboutfascia, right?
And my fascia flow course isbuilt to activate these
fibrocytes.

(40:18):
That's the whole point of what Ibuilt is like, how do we turn on
these little cells that arehidden within the deep fascia in
order to remake this acid?
What we don't know about fasciais that inside of these little
triple helix structures, insideof the collagen itself, there is
a fluid that's beingtransmitted.
It's a plasmatic fluid that iscarrying electrons, that is

(40:43):
emulating properties that wedon't quite understand.
And I'm gonna try to justexplain it in the best way that
I know how of.
Um, depending on the literaturethat you read, some around the
world, people are saying it'slymphatic tissue, some people
are saying it is um fourth phasewater, some people are saying
it's life force energy.

(41:04):
Whatever it is, it's prettybioluminescent.
It's pretty plans plasmatic.
And when I sit with doctors whohave opened a lot of bodies and
opened the brains, like theneuroscientists are just like,
man, people are gonna realizehere soon that it's all
connected, it's all one.
That's actually something thatDr.
Zapatera said to me, likerepetitively.

(41:24):
He's like, when we start to getinto the fascia, it's really
hard to see the beginning andend of things.
There are structures made ofcartilage, but the body is it's
polymorphic, viscoelastic, it'sit's metaphasic, it's
piezoelectric.
This fluid that's being housedinside of the fascia can change
from solid to liquid.
And I think that it's easiest tosee that in children.

(41:46):
When children fall, there's thislike almost, you know, they look
like a rubber ball, like theyjust kind of like bounce off the
ground and they get up and theygiggle, and you're like, wow,
that would almost been adisaster.
Yeah.
Um, and it's this if you thinkof a sponge, you know, that's
fully hydrated, and you know, ithas this ability to kind of be a
watery form, that's the part ofthe fascia that's confusing

(42:10):
doctors.
Um, but I mean, it it's allgonna start coming out here.
The pathologists, pathologistsare doctors that look at tissue
slide samples.
So they're the ones that see,you know, the breast tissue
sample, the liver samples, thegallbladder samples, say, oh,
you know, there's cancer inhere, whatever.
The pathologists have seen nowuh there's something that they
call artifact, and it's when youput the glass slide slider on

(42:34):
top of the tissue sample,there's a little bit of a break
in the tissue.
That's what they've calledartifact for all these years.
And there's these people thatare coming forward, and they're
like, you guys, we thought thiswas artifact, and it's fascia.
The fascia is not only likemyofascia massage is some a word
that a lot of people arefamiliar with.
Myofascia just means the fasciaoutside of the muscle.

(42:56):
That's that was the firstcontext I heard it in.

SPEAKER_01 (42:59):
It was like myofascial release.

SPEAKER_02 (43:01):
Yes.

SPEAKER_01 (43:01):
Okay.

SPEAKER_02 (43:02):
And um, that is often like a pretty lightweight
massage, and they just kind oflike move the skin around on top
of the muscle, which doesnothing for a performance
athlete that has like, you know,torn a couple things at the same
time.

SPEAKER_01 (43:16):
It's like putting balm on like a third-degree burn
or something.

SPEAKER_02 (43:22):
It could help some people, it's not gonna help, you
know, people that have you knowripped their hamstring apart.
Um what we have found is thatthese pathologists, it's not
just fascia outside of themuscle, it's fascia between
every single muscle fiber.
And then it's fascia in betweenthe cells, and then the fascia
is going into the cells throughsomething called integrins,

(43:44):
wrapping around themitochondria, which is why, you
know, when we do certainwellness and biohacking things,
our mitochondria and our abilityto burn energy changes.
Like cold plunging is so popularright now because you can
increase your mitochondria, yourbrown fat, which is just a count
of how much mitochondria youhave.
Um, but the reason whymitochondria could split,

(44:06):
divide, and move outside of thecell is because of the fascia.
So a lot in medical scienceliterally has to be rethought
about because of this plasmatic,basically fourth state of matter
that is existing within usthat's constantly in flux based
on how we're training it.

(44:26):
Um so, with all of that kind ofwatery, wishy-washy stuff, what
we do know about fascia is thatit's responsible for the tensile
strength, balance, and symmetrywithin the body.
And, you know, what I'm morefocused on with people is that's
get the skeletal part of ourmajor fascia bands balanced and

(44:47):
symmetrical so that our jointpain goes away and our skeleton
can rebalance from the groundup.
But I'm so excited to see whatis all gonna come from this
because it's incrediblymeditative.
When we start to think about thebody as a river of waters that
is being pumped by the breathrate, and this cerebral spinal

(45:10):
fluid that we have today couldbe from the lymphatic fluid that
existed in our toes two daysago, it creates more of a
holistic dialogue with howeverything is interconnecting.
Does that make sense?
Yeah, totally.

SPEAKER_01 (45:26):
So wow, that's a lot, very science-y, but I'm I'm
following.
I I'm mostly following.
And I'm just curious because Ifeel like the question that
people are thinking was is like,okay, well, how do I take care
of my fascia then?
Like, what do I do?
And so what are some things wecan do at home to take care of

(45:46):
our fascia?

SPEAKER_02 (45:47):
Well, I think the first step is seeing ourselves
more like a sponge, is a reallygood kind of like mental concept
because if you think of a moldysponge that's full of stagnant
water, right?
Bad things are gonna happeninside of that moldy sponge.

SPEAKER_03 (46:02):
Yes.

SPEAKER_02 (46:03):
So often when I see people, um the first thing that
I say to do is like, you know,what kind of water are you
drinking?
And that's increase the qualityof that water.
Um, if you know they're drinkingtap water, let's let's filter
it, let's do that.
Um, ideally, the the highestquality water if somebody really
wanted to change their fascia isspring water that's only touched

(46:25):
glass, ceramic, or steel.
Um there's a lot of likeMountain Valley, yeah.

SPEAKER_01 (46:30):
I mean Yes.

SPEAKER_02 (46:31):
Mountain Valley is honestly the um for Florida,
unfortunately, we have to shipit so far, but all of our
crystal rivers down here arebottled in plastic.
Plastic.
Yep.
Yep.
So there's also a Canadiancompany I found called uh Vicus
Water.
I really like their product, andthey've found a way to stabilize
the structure of water by theythrow it through this um

(46:52):
instrument, this crystalinstrument that hums.
Wow.
And the water is holdingstructure.
So um, first it's it's realizingthe importance of water and
hydration.
Then it's really allowing us tosweat.
Because if we think about, youknow, if somebody has drank soda
a whole bunch, when I tell themto go and do a sauna, they're so

(47:15):
stiff the next day.
Yeah.
It's like, okay, we need to A,we need to get all of that
stiffness out by replenishing itwith hydration.
And then we need to get all ofthat old stagnant water um
removed from the body.
Sweating is the easiest way, andit could be a hot bath.
Yeah, you know, a sauna, asweat.
Um, sitting outside in thesunshine.

SPEAKER_01 (47:36):
Walk outside right now in Florida, it's freaking 95
degrees with 101% humidity.

SPEAKER_02 (47:42):
And um, that is a really good, like, two-step
thing that we can do to start toreally clean the periphery of
the body.

SPEAKER_01 (47:51):
Okay.

SPEAKER_02 (47:52):
Um, but I mean, I always in my course that I built
is for everybody.
It's exactly what I did to rehabmy fascia.
Um, and what we use is eightrules.
The first one is hydration.
Um, and then the second one isthere's a warm-up sequence, and
we start with our feet.
And I think a lot of people cankind of tell their health of
their fascia by looking at theirfeet.

(48:12):
Yeah.
So if somebody tries to spreadtheir toes and they can't move
their pinky toes, I already knowthat structurally there's an
imbalance in the outside lateralband, and there's probably some
more tension on that one sidecompared to the other.

SPEAKER_01 (48:25):
Everybody's trying to move their pinky toe right
now.
I'm trying to I'm I'm movingthem, they're moving back and
forth, like in and out.
So that's good, right?

SPEAKER_02 (48:34):
Yes.
We want um, we want the toes tobe as open as possible.
Now, this would be the nextquestion is if you stand up,
it's a little bit easier.
But if you put your toes on theground, okay, spread them out
all the way, and then keepingyour baby toes on the ground,
just lift your big toe.
Wow.
Okay.
Something to learn.

(48:54):
Okay.

SPEAKER_01 (48:55):
I can do it.

SPEAKER_02 (48:55):
It's okay if you have to use your hands a little
bit, but having some strengthhere is really good.
And people that have weak toes,even if they can do it, the big
toe will kind of come in towardsthe little toes.

SPEAKER_00 (49:06):
Uh-huh.

SPEAKER_02 (49:07):
And that's the beginning of like a bad walking
gait.
So, like, learning, like, I'vebeen trying to work on like
rotating my big toe a littlebit.
It's not the same joint as likethe finger, but like there's a
lot more movement and control wecan have with our toes.
And then the next one would bepeep keep your big toe on the
ground, then only lift your babytoes.

SPEAKER_01 (49:29):
Oh, that's way harder for me.
Okay.
Okay, well, it's kind of hardbecause I'm sitting down, but I
actually am doing it though.
Okay, so there's muscles on topof the footnier.

SPEAKER_02 (49:38):
The our balance, our walking gait, our junk jumping
ability, all of that is going tobe determined by how healthy and
how much feeling we have in ourfeet.
So the feet often, like ifsomebody has a wear out mark on
the outside of their shoe,that's a pretty good indicator
that like there's either a nip,a knee, or a hip problem.
Um, you know, there's there's alot of things that the feet can

(50:02):
tell us, just as simple as that.

SPEAKER_01 (50:03):
Okay, so moving around my feet right now, I'm
noticing how much I don't movearound my feet.
Like how much I don't payattention to my toes and my
feet.
Because just moving them rightnow, I'm like, I feel like I'm
like, my feet are liftingweights.
Like I feel like my feet are atthe gym, like right now.
They're like just moving themaround.
And so it's a funny thing to golike there, my feet are.

SPEAKER_02 (50:26):
When I you learn how to play an instrument, you have
these weird conversations withyour fingers, and you're like,
come on, finger move, you know?
Yeah.
And what you're doing is you'rerewiring your brain to control
your body.
Dexterity is this very, youknow, even articulation with our
tongue, learning how to speakspecifically is like it's it's a
learned technique, learning howto play an instrument.

(50:48):
Learning that our toes should beinvolved in our walking, right?
Is an unlearned thing.
In order for us to learn how towalk, we have to control our big
toe, our pelvic floor, and ourdiaphragm.
That's the only way we learn howto stand.

SPEAKER_00 (51:04):
Whoa.

SPEAKER_02 (51:04):
And then somewhere along the lines, we get in these
big fat shoes and we start toheel strike and we start feeling
separate from the ground inthese fluffy shoes because we
don't have a lot, none of ourbones are being activated,
right?
So I like to get people aoutside of the earth, get the
toes activated, and then we wakethe feet up.

(51:26):
So I use a ball in my sequences,and the first place that we
start every day is with thefeet.
And it's because that planterfascia, that major fascia band
on the bottom of the foot, is sohard to open up.
And it's the foot has beenclosed down on us since we
started wearing shoes.

SPEAKER_00 (51:43):
Yeah.

SPEAKER_02 (51:44):
So our pinky toes have gone offline.
So a lot of the issues, in myopinion, that's happening
structurally are happening fromour walking gait and from how
we've learned to use our feet.
So if somebody can't move any oftheir toes, and you know, they
barely have a little bit ofwiggle room, I would love to get
them started on the fascia flowbecause we first have to soften

(52:05):
that planetar fascia and wake upall of the nerves that are down
there.
So, like our brain is connectedto our foot by these nerves,
which are like in a fiber opticcable through the center of our
spine, then they branch out,they divide through our legs,
they go down to our feet, andthey end in four different types
of mechanoreceptors.
That's what relays informationfrom our feet back to our brain.

(52:26):
So if we step in dog poop,there's multiple
mechanoreceptors that are like,this is warm, this is slimy,
it's poop.
Oh shit.
Yes, shit, not again.
So if our foot goes offline, weend up losing all of that
awareness, all of that consciousability.
So turning the foot on, if thefoot is off, we really just we

(52:49):
need to wake that up again.
So the warm-up that I have is,you know, people take that ball
and they move in alignment withthe planter fascia for 60
seconds to wake up the bottom ofthe foot.
And then we find I have avocabulary that I define in my
course because we are going toexperience tension and we want
to map out where that tensionis, and then we want to

(53:11):
prioritize it because we'retalking about unbraiding a
spider web.
And most fascia releasetechniques, like I've studied
pretty thoroughly 28 differenttechniques.
And out of the 28, including myown, 27 of them find tension and
release tension by just rippingit apart.

(53:32):
So they find those 10 spots andthen they massage them until the
tension is gone.
And often there's, you know,there's soreness, there's a bit
of bruising.
And it doesn't work for an eliteathlete.
Like rolfers, you know, rolfingis a type of fascia release that
was invented in the early 1900sby Dr.
Ida Rolfe, and it's the mostintense deep tissue massage that

(53:52):
you can get.
And they go from the ground upand they find the densifications
and they rip them apart.
Um, the reason why it's not goodfor athletes is because you
can't train on top of ripptissue, it's not healthy.
So I wanted to find a faster wayto get the release by inciting
this acid.
So instead of ripping the fibersapart and then, you know, kind

(54:13):
of letting loose whatever fluidis in there that we don't really
know about at and like waitingfor it to reconnect, it was how
can we just spring everythingback into um into its proper
shape?
So I started treating it morelike a sponge.
Um and then by defining thesetension points, so I have five

different words (54:31):
electrical, radiating, dull, tender, and
achy.
The electrical, radiating, andthe dull spots are the ones that
are creating issues within ournerves.
The tender and achy always kindof shift in and out depending on
what you did the day before.
But if there's an electricalspot, if you roll your foot on
top of that tennis ball and youfeel something that is like a

(54:53):
little bit like lightning, thatcan lead to neuropathy.
I don't have science to provethat yet, but what I have found
with all of my clients is ifthere's an electrical issue,
usually farther down that chainor near that chain, there's the
nerves are offline.
And when the nerves go offlinein the feet, it's becomes
dangerous because we our musclesstart to atrophy, and then you
end up with drop foot.

(55:14):
And by the time people get to mewith drop foot, there's a lot of
rehab we have to do to get thosemuscles awake.

SPEAKER_01 (55:19):
Right.
Um, so this is preventative.
This is this is preventative andrepairing, yes?
Like both at the same time.

SPEAKER_02 (55:27):
For sure.
I mean, I repaired myself, so Ialways like I take in clients
that have serious issues, andyou know, they're not given a
lot of hope with the route, likesurgery.
When they find me, they're like,all I've been told is surgery,
what can I do?
And I know that for me, I wouldexercise every option before
surgery.

SPEAKER_00 (55:44):
Yeah.

SPEAKER_02 (55:45):
Um, but best if we can just teach our kids to do
this, yeah.
And then they don't have to havethat issue.
Like I at 20 from 28 to 30, Ihad such severe hip infl
inflammation that I basicallyhad to work out um with no
weights, very chill.
I was kind of doing everythingto keep my hip not spastic.

(56:07):
And then as soon as I took careof the underlying scar tissue, I
train harder than ever now.
So I was just, you know,repetitively told from 28 to 32
my only options were cortisoneor surgery.
You know, don't train too hardto inflame it.
And I know there's so manyathletes out there that resonate
with it.
You know, they're 40, they usedto be a high performer, and now

(56:27):
they're just like, what am Igonna do?
You know, I can't train like Iused to.
And for me, like to be able todo gymnastics at 34 after, you
know, four years of really notbeing able to train hard because
I was always working around aninjury, um, it feels like a
gift, like a true gift.

SPEAKER_01 (56:47):
Yeah.
So that's amazing.
Thank you so much for explainingto us what fascia is.
I have a question personally.
How do I, as a podcaster,optimize my voice and my breath?
I was recording something theother day, and I was noticing I
was kind of like getting to theend of a sentence and kind of

(57:09):
getting out of breath.
And I was like, oh my gosh, thisis so funny.
And I've done breath work andI'm pretty aware, I mean, pretty
aware, like as in not completelyunaware of my breath.
And so, but what could somebodylike me who talks a lot do?

SPEAKER_02 (57:24):
I actually love this one uh vocal warm-up routine.
It's called the Mickey Mouseroutine.
Um, Melissa Cross, who's like ametal metal teacher, she's
actually like the biggest metalsinger coach in the world.
Um like heavy metal?
Yeah, like to teach you how tofry like that weird metal scream
without blowing your vocal cordsout.

(57:45):
Like she's she's that girl.
Cool.
Okay.
She's got like fire red hair,and I think she's in our like uh
early 70s now.
She's oh, that's awesome.
But she teaches this um warm-upexercise for talking.
Okay.
And we're gonna do it together.
It sounds like you're gonnastart an engine.
So you start at the lowest, likemmm, me, me, me, me, me, me, me,

(58:06):
me, me.
And so when you do it, you startat your lowest range.
Yeah, yeah.
And you're trying to feel thesound right behind your nose.
So you're not like talking fromthe throat, you're talking from
inside of the middle of thehead.

SPEAKER_00 (58:19):
Yeah.

SPEAKER_02 (58:20):
So big deep breath.
So when you get a littlefamiliar with it, you go me one,
me two, and you count to ten.
Okay.
And in doing so, you're teachingyourself how to hold the tone in
the back of your skull.

(58:41):
So I'll do it and then I'll makeyou do it.
I feel it right back here.
Yes.
So in often when we over speak,we start to pull from our
throat.
We start to use our throatmuscles instead of the bottom of
our body to just throw the airthrough it.
Yep.
So the bigger the breath is,more relaxed the throat is.

(59:12):
I'm like losing it when I'msaying the word.
So I have to like kind of comeback to that guttural space.

SPEAKER_00 (59:20):
Okay, I have to take another breath.
Okay.

SPEAKER_01 (59:32):
Yeah, I'm already at two at my throat.

SPEAKER_02 (59:35):
Okay, so that's just something to kind of calibrate.

SPEAKER_01 (59:38):
Okay.
So it's supposed to be up here,like nose, like nasal talking.

SPEAKER_02 (59:43):
When we're talking, we particularly actually like if
you're yelling at your kidsacross a soccer field, yeah.
Like being a little nasallyactually helps project.

SPEAKER_01 (59:54):
Uh huh.
Uh okay.

SPEAKER_02 (59:56):
That that tracks.

SPEAKER_01 (59:57):
And actually, I was screaming.
Okay, so one of My kids ishaving a meltdown yesterday and
she was screaming, and she hasthis like this, it's like
otherworldly scream.
I mean, everybody in the houseis like, ah, like it's so high
pitched.
There's something about it thatis just so powerful.
Anyway, she was screaming and Iwas like, I got out a pillow.

(01:00:18):
She was really, really mad.
Turns out there was sad underthe mad, which I knew there was.
So I was like, I gotta get herfrom the sad, from the mad to
the sad.
So I took a pillow off the couchand I was like holding the
pillow.
I was like, here it punch me.
And she's like, you know, kindof flipping out.
She's like, you know, so she'spushing the pillow and I'm like,
look, you can scream into it.
Because at this point I'mgetting a little frustrated too.

(01:00:39):
So I screamed into the pillow,and like an hour later, I
noticed like my throat hurt.
I was like, shit, now my throathurts.
Like it was like scratchy.
So I don't think I'm screamingright.
I I think I need to be screamingmore up here then.

SPEAKER_02 (01:00:53):
Well, okay, so let's actually talk about that.
That's a great thing youmentioned.
There is something that I thinkis incredibly powerful to teach
everybody, and it's called amonkey call.
Um, we just my opera teachernamed it a monkey call, so
that's what it is now.
Okay.
Great.
And it's all about getting yourbreath into your lumbar
position, so your low backbelly.

(01:01:14):
Okay.
The way that I like to set upfor this is I actually lean
against a wall with my hipsforward so that like my my low
back is open.
Uh-huh.
So what powers our breath is istwo muscle groups.
The diaphragm, which is aU-shaped muscle that separates
our lung field from our in ourour intestines, right?
And in order for us to take abig deep breath, this diaphragm

(01:01:34):
muscle has to come all the wayflat.
So often if we're standing andwe have like a little sway back,
we fill up our front part of thebelly, but that back part
doesn't move.
So when you lean against a wall,it's about getting that lumbar,
that mid-back kind of forwardpress so the diaphragm can drop
all the way down.
You're leaning against it onyour back.

(01:01:55):
Yeah, but like my shoulders area little forward.
It's almost like I'm a littlerounded.
Like the middle of my back ispressed against the wall.
Uh-huh.
Right?
Yep, yep.
Then you take a breath into thatspace into your belly.
So it becomes, as you start toget comfortable breathing from

(01:02:17):
there, yeah.
And it's like when I'm makingthe who's, I'm using it all from
my diaphragm, not from mythroat.
So the diaphragm, like the bellybutton is like the diaphragm's
pulling that breath.

SPEAKER_01 (01:02:31):
Is it like almost going in?
Almost like breath of fire.
Like it's almost like whippingin when you make a noise.
Yes, exactly.
Okay.

SPEAKER_02 (01:02:38):
So the more, you know, the biggest singers I've
ever been around, the biggestbelters, the biggest opera
singers, they talk about thesound being a full-body
experience.
And it's because the breath is afull body thing.
So the the deeper the breath cancome into your body, the more
space you give for it.
Uh-huh.

(01:02:59):
The voice can just project out.
It we really tax our throats andwe tax our vocal cords when
we're out of breath, or we havetaken a big breath, but we've
let it all go in our bellyinstead of pushing it down.
So that I picture the theintercostals, which are the
muscles that control the ribcage, are like an accordion.

(01:03:22):
And so if you do go and you letit all out from the belly, you
don't have any more air.
But if we learn how to push theair down during a belt, we have
a lot more that can sustain us.
So if you do those monkey callsand you set kind of a little bit
of a timer, you do a few, youget comfortable, and then you
just hit one and you clock howlong you can hold it, it will

(01:03:47):
kind of help.
You have to feel how your body'susing the air.
So you have to play.
You have to be willing to makesome ugly sounds.
I'm willing.

SPEAKER_01 (01:03:57):
Clearly, as everybody just heard.

SPEAKER_02 (01:04:00):
But it's it's about getting the belly, the
diaphragm, it's not the belly,it's the diaphragm to support
the power of the breath.
And then on your inhales, givingthe air back to the diaphragm
because you can do it right, andthen you take an inhale and you
fill up your upper chest, andyou have no power.
So it's really training thebreath shape.

SPEAKER_01 (01:04:20):
So is the diaphragm right like solar plexus height?
I'm trying to like, you know,feel it in my body of where that
is, like physically.

SPEAKER_02 (01:04:30):
We can actually burn it out right now if you want to
feel it.
We can do like a breath of fire.
I can, you know, and you canliterally, okay.
So it's gonna take 45 secondsprobably for you to feel it.
So let's go for a minute.
I'll get my timer.
And then we're gonna lock thattongue into that position again.
So slow motion swallow, liftingthe back third of the tongue
against the top of the mouth,top of the heart palate.

(01:04:52):
We're gonna inhale through thenose, fill up the belly.
Okay, and then try to stay withme.
We're gonna exhale rapidly for aminute through the nose.
Okay, you're gonna suck yourtongue in.
So I just want you to focus theinhales will be natural, the
exhales are forceful.
You're blowing out a candle atyour feet.
Ready?

(01:06:07):
Three.
Inhale, fill your belly all theway.
Fill your back, sides, andchest.
Just kind of hang out here onthe top and kind of stretch out
all of the muscles that you justworked.
And now, Ryan, tell me where didyou feel the tension build up?

SPEAKER_01 (01:06:28):
Right in that space that I was pointing to, like
right just above my solarplexus, like right below my
boobs.

SPEAKER_02 (01:06:37):
Okay.
So the diaphragm is um such aweird shape.
It's almost like our tongue andour pelvic floor.
It's a like this giant musclethat touches the lower part of
your rib cage all the way aroundand then to your spine.
And then it reaches down nearyour spine three times and hooks

(01:06:58):
into your hips.
What?

SPEAKER_01 (01:07:01):
Yeah.
So it's like this, like it'slike an upside down U?
Because you said U earlier, soit's like kind of an arch?

SPEAKER_02 (01:07:09):
It's an upside down U, and it's almost like this
bell shape.
Okay.
That is so our we have two lungsand a heart that sits behind our
rib cage.
And the lung tissue is only likean inch and a half underneath
your ribs.
So to puncture your lung, I justgotta stab you with like a
two-inch, you know, nail orwhatever.

(01:07:31):
Yeah.
Um, so it's it's very the lungtissue is right up against the
rib cage.
Uh-huh.
And when we're learning todouble our capacity, we have to
learn how to make more space forthe lungs.
The lungs are not two cutelittle symmetrical things that
open and close, they areasymmetrical and bulbous, and

(01:07:51):
they have these things that thebronchial tubes can like open
and flare out.
So the standard untrained lungcapacity is five to seven cubic
liters.
The world record holders arecloser to 22 cubic liters.
They are not built geneticallydifferent.
They have trained the ribcage toopen.
So most people have never, youknow, learned to open the side

(01:08:12):
of their rib cage and thencontract it, to open it two
inches and then contract it.
But as a singer, you learn howto use the intercostals like an
accordion.
So the diaphragm and theintercostals are the two muscle
groups that we need to controlto create more space for the
air.

SPEAKER_01 (01:08:30):
So it's pushing the ribcage out when you do like
when I'm breathing and you'resaying breathe into your belly,
it's actually like pushingagainst that rib cage and
pushing it out.

SPEAKER_02 (01:08:39):
Yeah?
Yes.
The diaphragm is pushing downand out.
It actually has three ridgesalong it, never looking a
dissection of the diaphragm.
It is is not from the threeridges on the diaphragm.
There's one that allows us topush the diaphragm on the
sternum, then there's one thatallows us to push on the lumbar,

(01:09:03):
and then there's one that allowsus to push on both of the
outside rib cage.
Belly dancers are the masters atcontrolling this.
They're not like using their absto create that flow, they are
using their diaphragm to createthat flow.

SPEAKER_01 (01:09:17):
Really?

SPEAKER_02 (01:09:17):
Isn't that fascinating?

SPEAKER_01 (01:09:19):
So they're breathing.
How do you imagine they'rebreathing?
Like the belly dancers.
They are breathing just verydeeply.
Like they're they're likethey're holding it.

SPEAKER_02 (01:09:30):
You make me want to interview a belly dancer.
Right?
Yeah.

SPEAKER_01 (01:09:33):
Oh, that would be so good.
I'm trying to picture like howthey would be holding that
breath, you know?

SPEAKER_02 (01:09:39):
I wow, okay.
You just opened up a lot ofquestions for me.
Thanks for that inspiration.
Super welcome.

SPEAKER_01 (01:09:45):
Sounds like I need to have a conversation with a
belly dancer.
Sounds like you do.
Okay, so we're gonna start toland the plane.
I am feeling super relaxed,first of all.
Like I'm feeling in flow.
I'm feeling relaxed.
I think it's because of allthese like breath and humming
and exercises that I've beendoing.
What is, I just want to liketouch quickly on like what is

(01:10:09):
all of this doing to our brainswhen we are really focusing on
deepening that breath, likestretching our capacity, what
are we doing to the brain?

SPEAKER_02 (01:10:21):
I don't know really know an easy way to answer this,
but the brain, okay, so it'slike the whole body is a is an
instrument, right?
And the breath rate sets ourheart rate.
So, like if we just sat here andbreathed like that for two
straight minutes, thathyperventilating, we would start
to pull the body into a state ofstress.
I really only like to max out ona hyperventilation breath

(01:10:45):
pattern like that for 90 secondsbecause it's not enough to throw
us into a state.
Some people will actually havelike a little bit of a panic
just breathing like that.
Yeah.
And I always just tell them, youknow, take a break and join us
back in because that flush isreally good for detoxing.
But if there's a lot of tensionaround the low neck, it could
just be lymphatic, you know,tension that's stuck.
There's a lot of ways throughthat.

(01:11:06):
But when we breathe fast, we areelevating the brain levels.
When we breathe slow, we aretaking the brain levels down.
And that's not because of howthe breath is directly relating
to the brain, it's how thebreath relates to the heart and
how the heart relates to thenervous system, and how the
nervous system is going torelate to the brain.
So at the very bottom of ourbrain stem, we have you know the

(01:11:29):
brain stem is divided intothree: the the ponds, the mids,
and um oh my god, the other namefor it.
And at the very bottom is themedulla omligata.
There you go.
And those are repon areresponsible for a lot of
different actions within us,including our breath rate.
So when we start to tailor ourbreath rate to be slow, we are

(01:11:52):
pulling all of our systems backinto that slowness.
The the real correlation that Isee is that the standard resting
breath rate, resting, so justsitting here, is 15 to 25
breaths a minute.
And our beta wave brain pattern,so like our when we're doing
what we're doing right now,we're somewhere between 16 and

(01:12:15):
30 hertz.

SPEAKER_00 (01:12:16):
Okay.

SPEAKER_02 (01:12:16):
So there's a lot of overlap between our breath rate
and where our brain isfunctioning.
When we go to sleep and ourbreath rate drops, our brain
waves drop.
When we're in delta, we'rereally low.
I think that there is anabsolute magic sauce to be able
to hang out in something calledtheta brain waves.
Now, most meditations happen inalpha brain waves, and that's

(01:12:38):
anytime you're being instructedby someone.
So anytime you plug something inand somebody's telling you what
to think, you're in alpha brainwaves.
Alpha happens at the back of thebrain in our occipital lobe, and
we're keeping our brainwavepatterns between eight and 15
hertz.
Really good brain wave forplanning, for projecting into
the future.

(01:12:58):
Um, but it keeps our neuralpathways, like so what's already
built in our brain, we're gonnastay on the same roads and
highways, right?
Which is cool, but it's notwhere new creative thought
comes.
We're not inventive thoughts,not okay, you know, the
miraculous, you know, thing thatyou know we're looking for
that's never been invented.

SPEAKER_00 (01:13:17):
Yeah.

SPEAKER_02 (01:13:18):
But when we drop into theta brain waves, our
neurons can off-road.
It's where your children areliving, it's where we are in a
new state of mind where you knowthings can be fused separately.
And now theta brainwave patternis four to seven hertz.
So when I sit down into ameditation, or you know, even if

(01:13:40):
I'm just really stressed out andI need to just sit and
brainstorm for something, I donot want to be told by a
meditation teacher what to thinkabout.

unknown (01:13:51):
Yeah.

SPEAKER_00 (01:13:52):
Yeah.

SPEAKER_02 (01:13:52):
I want to let my brain be an etch and sketch of
nothing but, you know, geniusideas.
Yeah.
So I have found by studyinggreat adventures that there is a
bit of a sequence that theywould all follow because a lot
of them were loners and theydidn't feel seen by cohorts.
And so many of them report thesame sequence.

(01:14:15):
They would go to their favorite,like chair or you know, day bed,
whatever, and they would bringthe problem to their mind.
Okay, then they would releasethe problem.
So they weren't, they were nottrying to consciously come up
with a solution.
They were just trying to relax.
And some of them would havesomething in their hand, some of
them would tip their chair back,and they would drop themselves

(01:14:38):
into this theta brainwavepattern because they would
always say, like, I'm, you know,it's like they're trying to fall
asleep, but not quite, rightinto that in-between dream
state.
And they would have differentways of waking themselves up
from it.
So if they would drop the ball,if the chair would tip, or you
know, a lot of them have thingsabout it.
And it's in this state of thetathat our brain can bridge to the

(01:15:01):
gamma brainwaves.
And gamma is 31 to 100 hertz.
It's when our brain is operatinglike an orchestra.
So when we look at, like, in myopinion, the best thinkers in
the world and the bestmeditators of the world, it's
they're not hyperventilating toget to their creative ideas,
they're relaxing deeply.

SPEAKER_01 (01:15:23):
So like falling asleep or not quite, not quite
like just before sleep.

SPEAKER_02 (01:15:30):
It's that conscious awakeness.
It's like every all of thesystems in you are chill, like
so.
There's no input.
Like I think this is difficultto do if we're interacting
together, right?
This is more of an internalstate of mind.
Yeah.
Where you're bringing a problemto your brain, and then you are
slowing your systems down enoughwhere you're no longer in a

(01:15:54):
state of stress or tension, andyou're witnessing.
And you know, the imagination tome is the most amazing thing
about being human.
Our ability to like sing andmake all of these sounds to me
is like what makes us hu like usdifferent than most animals.
Um, but this imaginationthought, and instead of

(01:16:17):
brainstorming on a whiteboardand you know, kicking against
creative ideas, if we for 10minutes allowed ourselves to
just lay out on the grass and toslow our breath rate down, you
know, there are new ideas thatcome.
They might not be the perfectone that lands, but this is uh
the way that we can toggleswitch consciously the brain

(01:16:40):
waves into more creative spaces,which as an artist, you know, I
know that there's bajillionwriters out there that have a
very intense ritual of like youwaking up having that, you know,
cigarette and that cup ofcoffee, and then they get into
it.
But the getting into it is thisflow state of mind.
So like the best painters, um,they often say you want to paint

(01:17:02):
in the mindset of prayer.
And it's like, how do you embodyprayer during an activity?
Well, you know, you are you areconscious with every moment,
you're breathing, you'refeeling, you're listening to
you're listening to the sketch.
I I think often, you know, we'relooking for ideas in our mind,

(01:17:24):
as if ideas come from our mind.
And I think ideas are we're aradio tower for ideas.
So creating that space and thatjuncture for new things to spawn
is essential.

SPEAKER_01 (01:17:38):
Yeah, I love that.
It makes me want to lay downright now after we finish this
interview, of course, and justlike let my brain run wild
because I feel like so oftenwe're just, I can speak for
myself, we're running and we'repushing and we're going and
we're hustling and we're kind ofI've been disembodied, you know,
and kind of forgetting thebreath, forgetting to just sit,

(01:18:02):
forgetting just to be with aproblem instead of mentally
trying to solve it 65 differentways that aren't actually
helping at all.
It's just like increasing thatcortisol and that, you know,
reaction in the body that'sreally not helping anything,
which then leads to shorttemper, which then leads to, you

(01:18:23):
know, disconnectedrelationships, which then kind
of keeps this cycle back going.
So this conversation is so muchmore than like fascia and brain
and body connection.
Like it is that, and it's alsolike, how are we choosing to
live our lives?
Like, how are we choosing toshow up every single day for the
ones that we love first forourselves, though, you know, and

(01:18:45):
this is this is how we do it,and this is like this is the
start, and these are the smallthings every day we can choose
to show up the best us, youknow?

SPEAKER_02 (01:18:55):
You know, Ryan, I I really think that over the next
50 years, people are gonna startrelaxing into the idea that like
thoughts are non-local and thatour memories are non-local, that
they exist in this field aroundus, and like them the more stuff
that's coming out aboutneurology, the more kind of
questionable are the way that wethink our brain actually works.

(01:19:17):
Our our brain is potentiallymore active in this
electromagnetic field, and whenwe need creative ideas, even
just stepping outside of yournormal office and going under a
cluster of old trees, um, seeingourselves more like an antenna,

(01:19:38):
less like just the biology.
Um I it will be the future.
I know that a lot of people,it's still like, you know, we're
a body and we have tissues andthere's water in it, and like,
yeah, we should clean the water,we should make sure there's no
tension in the tissues.
And, you know, the thecirculation of those tissues
requires the breath.
But when we start to experiencehow when the tissues are open

(01:20:02):
and flowing, when the nerves arefiring, when the breath is slow,
the biofield, like what our whatour body is actually emitting
out and around us, becomesstronger.
And when it becomes stronger, Ithink we have an opportunity to
really see how much interactionis happening with our loved ones

(01:20:22):
without words, and how we canchange a field, like change a
family dynamic by staying in ourlike healthy, resonant, low
breath breath rate, lowfrequency brain waves, and then
other people tune off of youbecause I think that we are

(01:20:44):
frequencies interacting in this,you know, air, the interstitium
between us.
And if I'm jacked up andstressed, you're gonna
empathically resonate off ofthat.
And if I'm relaxed, you're gonnaempathically resonate off of
that.
But your children are the same.
You know, when your husbandcomes home from work and he's

(01:21:05):
stressed, he's gonna be hopingthat you're holding that reality
of home so that he can tune backto that.
And when we think of ourselvesmore like a tune, like a we're a
channel for something movingthrough us, I think it could
give us more responsibility forhow important our health really
is.
Because our health is thatcenter column of everything that

(01:21:27):
emits from us.
So the stronger we are in ourown health, the more mighty is
the word I love.
Because health oscillates, youknow what I mean, all the time.
Our health is you're gonna be alittle taxed, it's gonna be
really great, it's never, youknow, it's never solid.
Um, but our feeling ofmightiness, that awareness of
consciousness that we can pullback into ourselves and then

(01:21:49):
admit to others, I think is it'sthe real concern.
The real priority.

SPEAKER_01 (01:21:56):
Yeah, I agree with you.
And way to bring it full circleback to everything's connected,
and you know, that we kind of wehave this choice.
And really what I'm hearing yousay, really what I'm hearing you
say is like we are this vessel,and that there is perhaps like a
collective consciousness, andthere are high vibration, you

(01:22:17):
know, things coming at us andmid coming at us and low, and
what we are tuned to is whatwill come into our fields, and
then what comes into our fieldsis what we are tuned to, and
it's like this kind of cycle.
And so if we stay tuned to ahigh vibration, which I think
people have heard that, youknow, that phrase by now.

(01:22:41):
When we stay tuned to a highvibration, that's when we are
able to feel joy.
That's when we are able to calmdown the toddler just by our
presence, yeah.

SPEAKER_02 (01:22:51):
Yeah, and it's funny because high vibration almost
comes from low frequency breast.
Is it?

SPEAKER_01 (01:22:58):
Is it isn't that funny?
Okay, so it's like right, it'skind of a misnomer.

SPEAKER_02 (01:23:02):
Well, it you want to be you want to be at a high
vibration, but do we do that bylike always being active and
always being tense, or do we dothat from um, you know, sitting
on our throne and allowing andlaughing at what is.
Yeah.
Um I've been working on my ownawareness of um my jaw tension.

(01:23:26):
I've been noticing that when I,you know, get a little intense
with something, that my jaw willclamp.
And as someone who paysattention to my tongue posture
so much, if you hold that tongueposture I I taught you against
the roof of your mouth, itactually holds tension in your
face different.
And as much as I focus on tongueposture, I'm realizing that

(01:23:48):
like, wow, the whole point is toget my chin over my sternum.
Because as I watch clients, youknow, they get the tongue
position right, but their neckis forward pressed.
It's like, oh, you actuallydon't, you know, you're not
relaxed.
Your breathing muscle, you'relike your your breathing
aperture is a littleconstricted.
So this internal awareness of amI can I I need to do this,

(01:24:09):
right?
You you know you need to dosomething.
Can I do this same thing withease and with joy?
Or do I just need to do thiswith like tension in my jaw?
And I think those conversationsI think can can change our life.
Like, okay, you have to makedinner, but you can make dinner
with jazz music on, and you canput your lipstick on and you can

(01:24:31):
make it in 45 minutes, or youcan push through it and make it
in 30, and there's no vibe, andyou're just getting something
done.
Um, you know, you can wash yourdishes and you know, practice
your tongue position and breatheand think about all of the
grateful things.
It's like we have such anopportunity to carve out our

(01:24:52):
life with our tiny habits andmaking our tiny habits
life-giving or life-depleting,depending on how we internally
feel about washing the dishesthat night.

SPEAKER_01 (01:25:04):
Yeah.
I'm gonna take that questionwith me this week.
Um can I do this with ease andjoy?
You know, it's a simple, it's asimple shift.
And it's a really good reminderfor me this week and always
really.
Um when there are a lot ofplates spinning in the air for
me, I do push through and I findmyself like, you know, in this

(01:25:26):
like, you know, frustratedmartyrdom, like this this
position that nobody needs me tobe in, including myself.
You know, it's not um definitelytension building, you know, in
the body and in the family unit.
Um, so yeah, such a greatreminder for me.

(01:25:46):
You are a gift.
We could talk for three morehours.
Um, I'm going to ask you to telleverybody where we can take your
class, where can we find you,where can we follow you?

SPEAKER_02 (01:25:57):
Um, well, my name is Brooke, and my website is
musicalbreathwork.com.
It's an education company that Ireally built sequences for, you
know, singers and artists andperforming athletes in order to,
you know, recover their bodyquick and easy in a way that
they can do it on tour or on theroad.
But I found that everybody needsthis.

(01:26:18):
Breathing in fascia recovery ispart of being a healthy human
and feeling mighty in our ownway.
So even though these are greattraining programs for people who
are experiencing adrenaline andhigh stress and ways to manage
those, these are also great forlearning efficient ways to build
the awareness within our body.

(01:26:39):
So, mighty breath is not like astandard breathwork course.
I'm not just gonna give yousomething that you do.
I'm gonna teach you about thephysiology of the body, how we
can feel our nasal glands, whatwe need to do if we wake up with
that dry, drippy feeling in theback of our throat, how to
aware, make ourselves more awareof the tension that builds up
when we travel, what we can doto clean the lung field after

(01:27:00):
you know you've smoked or beenin a smoky environment.
And the fascia flow course isfour hours.
Um, I cover the physiology offascia, the history of fascia,
and then the eight rules that weneed to do, and then I provide a
walkthrough.
Um, my initial flagship coursewith was brain and breath
connection.
I thought that was going to bemy only offering.
Um, and that's where I reallytalk about why the brain waves

(01:27:23):
are changed by the breath inputand the fascia input.
So if somebody just wanted tokind of explore that philosophy,
it's a$30 offer and it's on myum webpage as long along with a
free breath and fascia test.
So if this was just interestingto you and you kind of want to
see what your your lung capacityis and where your fascia tension

(01:27:43):
is, it's listed for free on mywebsite, musicalbreathwork.com.
Um and then I do two uhcertifications a year getting
ready for my one in fall.
And I have uh a bunch ofteachers around the world now,
which is a little trippy to say.
But I'm excited that people arelearning how to increase their
awareness of what's happeninginside of the body and finding

(01:28:05):
easy ways to you know detox thelungs to reset how our joints
are being used.
And I'm just happy to be here,Ryan, because you know, I really
think that our humanity is at acrux, um, a tipping point of
tension.
And, you know, we are womenraised in a masculine world, and
you know, we've learned a lot ofpush.

(01:28:27):
And I don't for one second thinkthat humanity needs more push.
I think we need more silence andstillness.
I think a lot of the truth thatwe already need to see is here.
I think a lot of solutionsexist, but in order to see the
solutions, we have to take astep back.
We have to stop panicking aboutwhat's outside of our control,

(01:28:49):
and we have to get back intoourselves because everything
around us is going to be shapedfrom our own relationship to
self.
So it starts within ourselves.
Um, and when we can find thatstillness and that calmness and
that freedom within ourselves, alot can change from there.
And that's where the revolutionshappen.

(01:29:09):
It, you know, it's it's allinternal.
It's us coming back to us, andthen in our relationships, we
can still maintain that peacefuledge.
And um, it's it's what we need.
And I would love to say thatthere's gonna be some easy
solution for what we're seeingin humanity, and it it's all in

(01:29:29):
the cell of a family, everythingstems from our clan.
All of government came from youknow what was originally just
clans living together and takingcare of each other.
So the solutions are gonna comefrom that.
It's gonna come from you knowthe gardens in our backyard,
it's gonna come fromconversations like this.
So thanks for the opportunity.

(01:29:50):
I appreciate it.

SPEAKER_01 (01:29:51):
I feel that so deeply.
Just what a gift, what a way toend this, and um, yeah, I'm
Gonna ask you the threequestions.
I ask everybody at the end tookay officially wrap it up.
And the first one is what'sbringing you joy today?

SPEAKER_02 (01:30:10):
Music.
Always always it's my music inmy garden and my animals.
Um those are great sources ofjoy for me.
I'm currently um obsessed withMelody Gardot's greatest hits.
Uh, she's a jazz singer, andevery time I put on her stuff, I
feel like I'm transported toParis.

(01:30:30):
And it doesn't matter what I'mdoing if I'm putting laundry
away.
I am gonna do it to the soundsof her sweetness.
Um, and with instruments, I'vejust been sitting at the piano
for 10 minutes and playingsomething that feels lovely for
me and taking that time.

SPEAKER_01 (01:30:45):
Amazing.

SPEAKER_02 (01:30:46):
What if anything are you reading?
Oh, I am reading four booksright now.
Um, Cells, Gels, and the Enginesof Life by Gerald Pollock,
blowing my mind.
Um, I just finished reading TheDescent of the Goddess.
I'm actually excited you askedthat because um that has to do
with being a female and beingraised in a man's world, um,

(01:31:08):
particularly for women who areraised uh with you know close
relationships to their father.
Um, I think there's a lot ofconfusion about what it means to
be a woman in today's age.
And this speaks to like theJungian analysis of the
archetypal strong woman and howwe can seek balance between our
female counterparts and our malecounterparts.

(01:31:30):
And that book, it's you know, ahundred and it's a hundred
pages, but it was a goodreminder of the how the feminine
is so wild and how the feminineneeds um particular balances in
order to kind of come back topeace.
Um, and then the other one I'mreading is Simon Sinek's Eater's
Lee Eat Last.
He has like a neurosciencesection about dopamine.

(01:31:52):
Um, and it's just such a goodbook as a as a business owner
and to realize like what makesme a best leader is by caring
about my people.
It's just like such a goodreminder.
Like, it's important to knowyour employees, like their kids'
names and you know, when theirbirthdays are and what's
stressing them out and um givingthem the half day when they need

(01:32:14):
it, and you know, the fact thatthey're reset the next day when
they show up for work.
I I think that book has been umvery helpful.
And then the last one, um Idon't remember right now, but
I'm I got I got a three by abit.

SPEAKER_01 (01:32:29):
Three's good.
I'm not surprised that you're athree at a time book kind of
girl.
Like I, you know, you've got alot going on in that brain of
yours and that mind and thatheart.
So that's amazing.
Those are three greatrecommendations.
And then the last question Ihave for you is who or what has
taught you the most?

SPEAKER_02 (01:32:48):
Ooh, um, I think pain.
I think, you know, like I I loveboth of my parents, I love the
medicine men that I've been ableto interact with, I love my
coaches, but pain has beingconscious of pain and not
numbing it, working with it,listening to it, allowing it to

(01:33:10):
dive me into the subjectsmatters.
And like my ex-husband was anupper cervical chiropractor, and
what brought me to him was pain.
You know, like all of thesethings that I've learned through
the way was me just trying tosolve a problem.
And anybody that's like, youknow, I I wish I could grow up
and do all of these things, andit's like, you just keep

(01:33:32):
learning, just keep movingthrough it and paying attention
to what's happening to you.
Because often when people say,like, you know, this has been my
biggest life lesson, I'm like,well, that's it.
Like when you get through that,you're gonna have really
something to say for others.
Um, so whatever our biggest painpoint, I think is that's the
lesson that we're meant tolearn, you know.

(01:33:54):
Yeah, beautiful.

SPEAKER_01 (01:33:55):
Thank you so much for being here, Brooke.
Thank you, Ryan.

SPEAKER_02 (01:33:59):
This has been a delight.
I there's a thousand there's atwo more hours we could do this
for sure.
Hands down,

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