News 2024 St.Kilda Media Thread

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gringo2011 said:
It’s based on data so probably right but that means nothing as far as how far you go. Probably look worse if you go off a 5 year average too. King could be top 5 KPF by the end of next year and our s**t midfield should go up a peg with the new additions. Let them underrate where we could finish.
Click to expand...

The reason that StKilda outperformed their rankings on the field, is because of the time delay of a player playing, and of earning their ranking.

Jack Peris , in his first and only game, probably outperformed his ranking on the field.
Pou and Caminiti would have blown their rankings out of the water.

Rankings by their very nature, are a measure of what players did in the past.
We have a young profile and that's the main reason for the results.
Nas, Windy, Owens, Byrnes , even Sharman, probably all outperformed their ranking, though we did have a few oldies, ( Sinclair, Wood , Crouch ) who wouldn't have hurt the stats.
 
Mason Wood
https://www.theage.com.au/national/vict ... 5dxly.html

When ballet dancer David Hallberg was at the height of his fame, he vanished from the public eye.

The star of the American Ballet Theatre – and the first US citizen to be invited into the top ranks of Russia’s renowned Bolshoi – had fled to Australia.

“I was broken,” he says of that time in 2015. Two surgeries had not fixed a devastating foot injury. He couldn’t dance.

So in a last-ditch attempt at recovery, Hallberg boarded a plane for Melbourne to visit the Australian Ballet’s little-known “artistic health” centre, where a team of physiotherapists and La Trobe University researchers had been quietly pioneering breakthroughs in sports medicine.

The centre is run by physiotherapist Dr Sue Mayes, who Hallberg had seen at work while touring Japan. She had treated his colleagues using methods that seemed at odds with the old recovery wisdom of the ballet world, which is to rest, stretch – and don’t complain.

“It was daunting when we saw the state he was in,” Mayes says.

It took more than a year of intensive physiotherapy, but Hallberg returned to the stage. “I bought a one-way ticket, and they brought me back to life,” he says.

When the chance came to lead the Australian Ballet as artistic director, Hallberg boarded a plane again in 2021.

Today he calls the ballet’s health centre the “beating heart” of the company. Here, researchers are learning not only how to keep dancers dancing – they haven’t lost one to injury in more than a decade – they’re also exploring the limits of the human body.

Inside this warren of high-tech treatment rooms and studios, dancers spin with wearable devices tracking their movements or hop onto machines to test the strength of their calves.

“When I started 28 years ago, it was just me and a massage therapist in a little room,” Mayes says. Injuries would routinely end dance careers. “And they’d all retire in their 30s. Today they’re dancing well into their 40s.”

The Australian Ballet is one of the busiest dancing companies in the world, performing hundreds of shows a year, including a free program it runs in schools. “Most ballets have twice as many dancers but perform half as much, and they don’t tour,” says Dr Ebonie Rio, a senior La Trobe researcher and physio based at the ballet.

An intimidating array of heavy weights line the walls of the gym. The male dancers have been running a “partnering circuit” using heavy water bags and barbells in the place of their female partners to practice lifting – and catching. One exercise is called “bad romance”.

“The men obviously have to be strong to lift,” says Mayes as dancer Jacob De Groot hefts a barbell above his head, his toes still pointed. “But the women train just as hard. People don’t realise they’re elite athletes as well as artists.”

So rigorous is the training and physiotherapy on offer at the Australian Ballet that other athletes from codes around the country will often drop in, including AFL stars.

Mason Wood from the St Kilda Football Club was constantly in shin splints before he met Mayes.

“And I had this basically dead toe hanging to the side,” Wood says, while stretching his foot at the bar against a heavy-duty resistance band.

“Three weeks later, the splints were off, I was out of orthopedics, and my top speed jumped.”

Rio says studying elite dancers and athletes pushing their bodies to the limit will help the wider population too, from young kids starting sport to the elderly.

During 2023’s exacting season of Swan Lake, a famously fast and difficult ballet, La Trobe tracked the dancers, measuring the health of their Achilles tendons using special ultrasounds, checking ankle movements, and even scoring how many perfect calf raises could be done.

Australian ballet physio Sue Mayes with St Kilda footballer Mason Wood.
Australian ballet physio Sue Mayes with St Kilda footballer Mason Wood. CREDIT:JOE ARMAO

“Thirty seems to be the magic number to strengthen and protect against injury,” says Rio, of calf raises. “We do 35 to be safe.”

“AFL players saw what we were doing and have started this too.”

“Footballers break down in all sorts of ways,” says Wood, who studied a bachelor’s degree in sports science under Mayes. “But the ballet [dancers] are so precise, they’re good at isolating the problem areas.”

He admits he is envious of the dancers’ “calf bulk”.

“I sat in on a few classes,” he says. “Those jumps they do, it’d be amazing to replicate that on the footy field, but it’s beyond me.”

AFL players will usually suffer more sudden traumatic injuries than dancers, Mayes says, who studied dance herself in her youth. “A torn Achilles or ACL is feared in footy but rare in dancers, though it does happen. We’ve had a spate of unusual injuries post-COVID. But they’re back dancing now. There are few injuries that I haven’t seen.”

At the height of his fame, when Hallberg heard the pop of his ankle beneath him, Mayes says it was the final straw for an injury that had long been building.

“And he had so much fear,” she recalls. “He’d been shown MRIs with a big hole in his Achilles, told he’d never dance again. He couldn’t even plié. So it took a lot to convince him he could move.”

Rest is a common myth in recovery, she says. “We were getting him running up and down stairs.” About 14 months later, he was dancing again.

“And he still had that hole in his Achilles,” says Mayes. “He’ll have it forever.”

One of the Australian Ballet’s newest arrivals, Laura Griffiths, grew up in regional Victoria and trained at the English National Ballet School in London. She says the company’s exercise regimen was overwhelming at first. “But I can feel myself getting stronger,” she says.

When Griffiths fractured her foot last year in the UK just ahead of her debut audition season, she felt the same dread Hallberg described. “You train for 14 years from a kid, and then it can all go wrong,” she says. “It was really hard.”

Dancer Laura Griffiths in the Australian Ballet gym.
Dancer Laura Griffiths in the Australian Ballet gym.CREDIT:EDDIE JIM

Slowing down to the very basics of dance, from the precise angle of a pointed toe to the rise of her heel, was hard too. “But it made me a better dancer,” she says.

Hallberg agrees that the resilience the health centre builds in his dancers means they can lean into style – and push themselves to new artistic heights.

“This is the support I never had,” Hallberg says. “All the big ballet companies around the world are looking at what we do now. The secret is finally out.”
 

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sammm said:
Mason Wood
https://www.theage.com.au/national/vict ... 5dxly.html

When ballet dancer David Hallberg was at the height of his fame, he vanished from the public eye.

The star of the American Ballet Theatre – and the first US citizen to be invited into the top ranks of Russia’s renowned Bolshoi – had fled to Australia.

“I was broken,” he says of that time in 2015. Two surgeries had not fixed a devastating foot injury. He couldn’t dance.

So in a last-ditch attempt at recovery, Hallberg boarded a plane for Melbourne to visit the Australian Ballet’s little-known “artistic health” centre, where a team of physiotherapists and La Trobe University researchers had been quietly pioneering breakthroughs in sports medicine.

The centre is run by physiotherapist Dr Sue Mayes, who Hallberg had seen at work while touring Japan. She had treated his colleagues using methods that seemed at odds with the old recovery wisdom of the ballet world, which is to rest, stretch – and don’t complain.

“It was daunting when we saw the state he was in,” Mayes says.

It took more than a year of intensive physiotherapy, but Hallberg returned to the stage. “I bought a one-way ticket, and they brought me back to life,” he says.

When the chance came to lead the Australian Ballet as artistic director, Hallberg boarded a plane again in 2021.

Today he calls the ballet’s health centre the “beating heart” of the company. Here, researchers are learning not only how to keep dancers dancing – they haven’t lost one to injury in more than a decade – they’re also exploring the limits of the human body.

Inside this warren of high-tech treatment rooms and studios, dancers spin with wearable devices tracking their movements or hop onto machines to test the strength of their calves.

“When I started 28 years ago, it was just me and a massage therapist in a little room,” Mayes says. Injuries would routinely end dance careers. “And they’d all retire in their 30s. Today they’re dancing well into their 40s.”

The Australian Ballet is one of the busiest dancing companies in the world, performing hundreds of shows a year, including a free program it runs in schools. “Most ballets have twice as many dancers but perform half as much, and they don’t tour,” says Dr Ebonie Rio, a senior La Trobe researcher and physio based at the ballet.

An intimidating array of heavy weights line the walls of the gym. The male dancers have been running a “partnering circuit” using heavy water bags and barbells in the place of their female partners to practice lifting – and catching. One exercise is called “bad romance”.

“The men obviously have to be strong to lift,” says Mayes as dancer Jacob De Groot hefts a barbell above his head, his toes still pointed. “But the women train just as hard. People don’t realise they’re elite athletes as well as artists.”

So rigorous is the training and physiotherapy on offer at the Australian Ballet that other athletes from codes around the country will often drop in, including AFL stars.

Mason Wood from the St Kilda Football Club was constantly in shin splints before he met Mayes.

“And I had this basically dead toe hanging to the side,” Wood says, while stretching his foot at the bar against a heavy-duty resistance band.

“Three weeks later, the splints were off, I was out of orthopedics, and my top speed jumped.”

Rio says studying elite dancers and athletes pushing their bodies to the limit will help the wider population too, from young kids starting sport to the elderly.

During 2023’s exacting season of Swan Lake, a famously fast and difficult ballet, La Trobe tracked the dancers, measuring the health of their Achilles tendons using special ultrasounds, checking ankle movements, and even scoring how many perfect calf raises could be done.

Australian ballet physio Sue Mayes with St Kilda footballer Mason Wood.
Australian ballet physio Sue Mayes with St Kilda footballer Mason Wood. CREDIT:JOE ARMAO

“Thirty seems to be the magic number to strengthen and protect against injury,” says Rio, of calf raises. “We do 35 to be safe.”

“AFL players saw what we were doing and have started this too.”

“Footballers break down in all sorts of ways,” says Wood, who studied a bachelor’s degree in sports science under Mayes. “But the ballet [dancers] are so precise, they’re good at isolating the problem areas.”

He admits he is envious of the dancers’ “calf bulk”.

“I sat in on a few classes,” he says. “Those jumps they do, it’d be amazing to replicate that on the footy field, but it’s beyond me.”

AFL players will usually suffer more sudden traumatic injuries than dancers, Mayes says, who studied dance herself in her youth. “A torn Achilles or ACL is feared in footy but rare in dancers, though it does happen. We’ve had a spate of unusual injuries post-COVID. But they’re back dancing now. There are few injuries that I haven’t seen.”

At the height of his fame, when Hallberg heard the pop of his ankle beneath him, Mayes says it was the final straw for an injury that had long been building.

“And he had so much fear,” she recalls. “He’d been shown MRIs with a big hole in his Achilles, told he’d never dance again. He couldn’t even plié. So it took a lot to convince him he could move.”

Rest is a common myth in recovery, she says. “We were getting him running up and down stairs.” About 14 months later, he was dancing again.

“And he still had that hole in his Achilles,” says Mayes. “He’ll have it forever.”

One of the Australian Ballet’s newest arrivals, Laura Griffiths, grew up in regional Victoria and trained at the English National Ballet School in London. She says the company’s exercise regimen was overwhelming at first. “But I can feel myself getting stronger,” she says.

When Griffiths fractured her foot last year in the UK just ahead of her debut audition season, she felt the same dread Hallberg described. “You train for 14 years from a kid, and then it can all go wrong,” she says. “It was really hard.”

Dancer Laura Griffiths in the Australian Ballet gym.
Dancer Laura Griffiths in the Australian Ballet gym.CREDIT:EDDIE JIM

Slowing down to the very basics of dance, from the precise angle of a pointed toe to the rise of her heel, was hard too. “But it made me a better dancer,” she says.

Hallberg agrees that the resilience the health centre builds in his dancers means they can lean into style – and push themselves to new artistic heights.

“This is the support I never had,” Hallberg says. “All the big ballet companies around the world are looking at what we do now. The secret is finally out.”
Click to expand...

Very interesting, though the writer seems confused about what "shin splints" are. Chalk it up to a stupid language i guess.
 
SaintsSeptember said:
Very interesting, though the writer seems confused about what "shin splints" are. Chalk it up to a stupid language i guess.
Click to expand...
Yeah this confused the crap out of me. I used to have chronic shin splints until I started wearing fitted orthotics and It piqued my interest that there might be techniques to fix it.
Nope, just kind of badly worded article.
 
Bit of a simplistic view of list builds but I found this interesting:
List analysis: How your club has built its list

Would be better if they actually listed the players in each category. If people can't be bothered clicking, here's the Saints

st-kilda.jpg

AFL Draft: 20 (16th most)
Trade: 8 (equal sixth most)
Free agency: 4 (equal most)
Rookie Draft/Cat B rookies: 5 (equal ninth most)
Pre-Season Draft/SSP: 5 (most)
Mid-Season Draft: 2 (equal seventh most)
 
goodie23 said:
Bit of a simplistic view of list builds but I found this interesting:
List analysis: How your club has built its list

Would be better if they actually listed the players in each category. If people can't be bothered clicking, here's the Saints

st-kilda.jpg

AFL Draft: 20 (16th most)
Trade: 8 (equal sixth most)
Free agency: 4 (equal most)
Rookie Draft/Cat B rookies: 5 (equal ninth most)
Pre-Season Draft/SSP: 5 (most)
Mid-Season Draft: 2 (equal seventh most)
Click to expand...
Who are our free agents? Crouch, Cordy, and maybe Campbell and Membrey as delisted free agents?
Saying we have the most free agents makes us look like a destination club, but the only "big" name we have gotten is Crouch.
 

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Bill Crouse said:
Who are our free agents? Crouch, Cordy, and maybe Campbell and Membrey as delisted free agents?
Saying we have the most free agents makes us look like a destination club, but the only "big" name we have gotten is Crouch.
Click to expand...
Yep , that's all of them.
Membrey - No compensation.
Crouch - 2nd round compensation.
Campbell - No compensaton.
Cordy - No compensation.

Not really anything meaningful there.
Membrey was a winner, Crouch was value, the other two were probably gettable even under the old system without free agency.
 
SaintsSeptember said:
Yep , that's all of them.
Membrey - No compensation.
Crouch - 2nd round compensation.
Campbell - No compensaton.
Cordy - No compensation.

Not really anything meaningful there.
Membrey was a winner, Crouch was value, the other two were probably gettable even under the old system without free agency.
Click to expand...
Membrey and TC were DFA's according to the media statements.
 
jwikked said:
I haven't thought about Andrew Thompson for years. What is he up to these days?
Click to expand...


A mate used to work with him at his old man's brokerage firm. I think he's still in finance. He was a director at a company called CG investments recently. He used to feed heaps of Saints info back through him back then. He was still involved at the club until a few years ago.
 
gringo2011 said:
A mate used to work with him at his old man's brokerage firm. I think he's still in finance. He was a director at a company called CG investments recently. He used to feed heaps of Saints info back through him back then. He was still involved at the club until a few years ago.
Click to expand...
Loved Thommo & Peckett
 
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