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Terry Crews Feels Better Than Ever at 56. Here's How He's Built Real Strength.

Terry Crews Feels Better Than Ever at 56. Here's How He's Built Real Strength.

Yahoo9 hours ago

IS one of the most muscular figures in pop culture. He's used his physique to play typical Hollywood action hero roles in The Expendables series—but he's much better known for the way he uses his humor and charm alongside his 6'2'', 240 pound frame in roles like Terry Jeffords on Brooklyn 99 and as the personable host of America's Got Talent.
The 56-year-old(!) former NFL player says he might not be in the best shape of his life right now, but he feels better than he ever has before. Thanks to years of experience, he's reached a point in his fitness journey where he understands what his body needs with more focus on recovery, rather than just hammering big weights and running hard.
Ahead of the Men's Health Lab event, Crews and exercise physiologist and strength coach Dr. Pat Davidson joined MH fitness director Ebenezer Samuel, C.S.C.S. to talk about building strength, maintaining fitness over the years, and what drives each of them to train to get the best out of their bodies. Here, we're highlighting a few standout moments from the conversation—which you can watch above for all the details about how Crews maintains his muscle (and feels better than ever, too) over 50.
TERRY CREWS: Once I played in the NFL and I didn't get what I wanted, [I understood] that I didn't want it bad enough. The reason I didn't become a superstar in the NFL is because I didn't work on the stuff that wasn't genetic. I relied way too much on just natural ability and did not take care of myself in regards to the little details, the little things. Once I had a career in entertainment, I made up for that. I studied my lines, I studied everything I had to do. I used my body knowing that this was my tool now. I was like okay, I'm going to get in tremendous shape—not just regular shape, tremendous shape—because to me, I always felt like that was my advantage. There weren't a lot of people like me doing comedy, and what if I was the most muscular comedic actor who ever existed? And I was in a place all by myself for a long time.
EBENEZER SAMUEL: I think [active recovery] is something our guys need to understand. Is it a thing where you have a set split and you plan your active recovery days, or is it a thing where you wake up some mornings and you're like, You know what, I feel horrible, so today is an active recovery day?
TERRY CREWS: It's planned. I'd say Wednesday and Sunday are the biggest active recovery days that I have. Everything in between there are regular workout days, but I force myself to say Wednesday and then Sunday, because Sunday is perfect—it's like family time, you do a little bit, then you go with the wife and do all this stuff—you know what I mean? So it's really, really planned out, because if I don't plan it, that's the problem. I've had a lot of injuries—I blew hamstrings, blown my back out a lot, tweaked the neck... but you get used to the pain. That's another thing too: If you're not careful, you develop this thing where if you're not in pain, something's wrong. I love the nods, because I can tell you know what I'm talking about.
EBENEZER SAMUEL: Can you explain the difference between good pain and bad pain?
PAT DAVIDSON: Most people have no idea... overall what I would say is, are you able to make progress with your exercises? If that's the case, you're actually not "fatigued,"—you're uncomfortable. There's a big difference. Training and pushing your body to change is uncomfortable. Nothing changes in the world unless there's discomfort involved.
EBENEZER SAMUEL: So if you can get stronger through it physically and see it with the numbers then you're probably on the right track, if it's causing you pain and you can't progress and you can't do the reps, then there's a problem?
PAT DAVIDSON: There's a thin line. You're riding a unicycle down a tightrope with this stuff. Chances are if you're never sore, you're not doing enough to stimulate any changes in your body, you're not going to go anywhere. If you're wrecked all the time, if we bring you back a little bit you might make better progress.
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Once You Should Be Here came around, I was in go mode — and it was such a detrimental thing to my mental health, because life really took off after that. We got the Grammy nom, it started getting really psycho insane, and I spent a lot of years working myself to burn out — and taking on the fact that all these people were like, 'You changed my life, You saved me.' It was a heavy weight to carry at 19, 20. I was also growing up in front of the world. So I would want to hear from myself now that I owed it to myself to really prioritize my mental well-being while I'm giving these things to the world. You embarked on your first-ever solo headlining tour, the You Should Be Here Tour, after the tape dropped. But earlier that year, you went with G-Eazy on the second leg of his From the Bay to the Universe Tour. 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And then I went on my first tour, and I didn't have any of those things — but it gave me something to look forward to and something to be excited about, like, 'Oh, I can do this. This is possible.' You earned your first-ever Grammy nomination with this mixtape. Do you remember how you felt when you found out? What's funny is I am so haunted by the video where I found out. There's literally a video where I'm running around screaming outside of the tour bus. I think we were in Sweden. I had some acne [laughs] on my cheek, and I put tea tree oil on it, and I burnt the shit out of my face. So I'm sitting there holding my face while I just chemically burned it, and David [Ali] tells me the information, and I start losing my mind with the switch from 'Holy s–t, I'm crying because I just burnt my face' to 'Holy s–t, I'm crying because I'm nominated for a Grammy off of a f—king mixtape.' It was f—king hilarious. I was told it hadn't been done before that. I was told there hadn't been a mixtape nominated for a Grammy, and if there was, then I was the first girl. It was a pivotal moment — any moment that lets you know that the level of how you believe in yourself is valid. I'm not big [on letting] any award validate how great your art is. But it's nice when the system in place or the hierarchy of what you're doing in art recognizes that what you're doing is great. It feels good, even if you don't believe in it. What did mean to you at the time of recording it, and looking back at your discography, what does mean to you now? At the time I recorded it, I was just a hungry 19-year-old trying to follow up the splash that my first project made, trying to get my emotions down, trying to explain myself, trying to get people to feel me. Looking back at it now, I'm grateful that I was down to bare myself in that way and I was down to be emotional and vulnerable. I'm grateful that it changed my life. It really did. 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