In the same way that we appreciate fine dancing, people are drawn to overhead strength, being something that seems to fit the human design well. These five lifts were the original iteration of traditional strength feats and stage performances, adapted for 20th-century sports contests. That the first internationally recognized tests of strength were single and two-handed, ground-to-overhead lifts: the one-handed and two-handed snatch, the press (cleaned first from the floor), the clean and jerk, and the snatch. ![]() And, it fell from popularity in favor of what were considered better tests of athletic strength. The bent press is rarely used to train for strength today as it is more of a skill of support than a builder of strength. Popularized by strength performers who essentially dueled to see who could support more weight overhead. The bent press, for example, was a popular training and performance lift. As a result, a lot of older forms of barbell training came from what people saw on stage. The mass-produced barbell was built, in part, to allow people at home to mimic the feats of stage strength performers. They try to make their acts spectacular. (Alan Calvert, “Super Strength” (1924).) Instead of lifting bar-bells, they lift and support enormous quantities of live and dead weight. Therefore, professional lifters cater to the taste of their audiences. ![]() They enjoy seeing “Strong acts” but their preference is for marvelous and seemingly miraculous feats of strength. That part of the public which patronizes the theaters has very little interest in bar-bell and dumbbell lifting. And, as is always the case, the stage influenced popular strength training practices: Classic stage acts included a lot more overhead pressing and supporting that anything that looked like a basic deadlift, squat, or bench press. Historically, spectators have been more impressed by feats in which something (or someone) is hoisted overhead. (The same may be said of other classic sensory observations such as music, color, feel, and taste.) That which is pleasing often aligns with something we want to emulate. It is as if we are wired to appreciate coordination, strength, and athleticism-things which would have been useful survival traits in our ancestors. What makes us appreciate one’s smoothness, control, and balance and what makes uncoordinated movement cringe-worthy is somewhat of a mystery. We do not require an understanding of the history of dance, for example, to appreciate the aesthetics of a well-executed performance. Raise your eyebrows as if you were surprised and lower your eyebrows as if you were frowning.The human eye is a keen observer of movement, and people tend to be impressed by athletic feats for their displays of gracefulness, power, or strength without needing to consider the internal complexities of the act itself. Place your finger on your eyebrows at the point of the bridge of the nose. There are several small facial muscles, one of which is the corrugator supercilii, which is the prime mover of the eyebrows. This muscle allows you to whistle, blow, and suck and it contributes to the action of chewing. The majority of the face is composed of the buccinator muscle, which compresses the cheek. The physicians originally studying human anatomy thought the skull looked like an apple. ![]() Instead, the two bellies are connected by a broad tendon called the epicranial aponeurosis, or galea aponeurosis (galea = “apple”). In other words, there is a muscle on the forehead ( frontalis) and one on the back of the head ( occipitalis), but there is no muscle across the top of the head. The muscle has a frontal belly and an occipital (near the occipital bone on the posterior part of the skull) belly. The occipitofrontalis muscle moves up the scalp and eyebrows. The orbicularis oris is a circular muscle that moves the lips, and the orbicularis oculi is a circular muscle that closes the eye. (Image credit: "Front and Side Views of the Muscles of Facial Expressions" by Openstax is licensed under CC BY 4.0) Many of the muscles of facial expression insert into the skin surrounding the eyelids, nose and mouth, producing facial expressions by moving the skin rather than bones.
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