Sports

Cricket World Record is a Road to Success

aglabib50@gmail.com — Sun, 08 Jan 2012 10:39:22 PST

Cricket World Record is a Road to Success

Cricket, cricket and more cricket! This is what we all are hearing and seeing in the present scenario. Cricket has become an obsession for children and teenagers. It is the effect of cricket that we get to see a Sachin, a Brian Lara, a Harbhajan, a Steve Waugh or a Shoaib Akhtar in every house. Every cricket fan has complete knowledge of the cricketing records of their favorite players. Some collect this information as a hobby, while others collect them for enhancing their knowledge of cricket.

Cricket world records enable a player to establish his stand in the world of cricket. In fact, this is also a ticket for the players to enter the "hall of fame". Cricket world records are the road to success for a player. For example, Shahid Afridi holds the cricket world record for scoring the fastest 100. On the other hand, Sanath Jayasuriya holds the cricket world record for scoring the fastest 50. Their cricket world record has made them a household name. The records have also helped the players to gain good rankings on the popularity chart.

Many a times, cricket world records put great pressure on the players. The pressure can affect their form of playing. After making a record, they have to live-up to the expectations of the viewers. If they fail, the entire empire established by them will collapse. It is because making a position is very easy, but maintaining it is a tough task. Every player has to be careful about his cricket world record, as they can be broken by another player. This can be a great setback in their popularity.

Cricket world record can be made in the field of batting, bowling, wicketkeeping, and so on. Apart from this, cricket world records can be classified into test records and ODI records. The test matches are played for 5 days and the average is judged on the basis of their overall performance. Sachin Tendulkar is famous for holding the cricket world record of scoring maximum number of centuries in ODIs and test matches.

As compared to the test matches, ODIs are viewed with much greater interest. It is because many viewers like quick decisions and hate to wait for 5 long days to see the final results. Such viewers like to see the "making and breaking" of the cricket world record in just one go. Cricket world records in these tournaments are remembered more. But this does not mean that test match records do not carry importance. The basic difference is that, it is the matter of choice and liking for a particular way of playing.

Cricket world records are a sheet of the achievements of various players. It is according to their record that they are valued. Be it bowling or batting, cricket world records are cherished forever. If we look at the bowling side, Wasim Akram holds the record for taking highest wickets in the test matches. On the other hand, Shane Warne holds the record for taking highest wickets in ODIs. Cricket world records are not just restricted to individuals, but are also made by teams. Such records are a collective effort of the team, which puts them on the world ranking chart.

Author Bio

Ella Wilson is a cricket fanatic. She simply loves the game and tries to catch live action no matter where she is.At Stickiewicket she works on online cricket score, Fantasy cricket and Cricket News among other things.You can see her works at www.stickiewicket.com

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The Fun of Fantasy Football

aglabib50@gmail.com — Sun, 08 Jan 2012 10:38:12 PST

The Fun of Fantasy Football

By: Philip Nicosia

Fifteen to eighteen million people play fantasy football every year-and the numbers are growing rapidly.

In fantasy football, you "draft" or auction an imaginary team composed of real-life football players (this can include NFL professionals or college players). They then score points based on their actual performance in real games.

Your fantasy tournament progresses in much the same way as the real football games. You go head-to-head, competing against another opponent each week.

If your team scores the most points by the end of the season, and has the best win-loss record, you win.

Fantasy football was invented by Danny Dulac, one of the organizers of the Raiders. He thought of it during a road trip to the east coast, and by the time he got back, he had fleshed out many of the rules and was "ready for kick off". Today, there are thousands of websites, magazines and software that are dedicated to fantasy sports.

This is how it works. You have a fantasy league with 8 to 12 teams, with players drafted at the start of the season. Depending on the league you join, you start with a clean slate every season or have a permanent partial roster (these players can't be included in the annual draft). Some leagues will have you keep the entire team and just draft rookies. At any time during the season owners can change their team by firing some players (that's life) and hiring free agents who were not drafted. You can also trade with other teams.

The scores are based on how the players do in their weekly NFL games. For example, a player gets 1 point for making 25 passing yards, 10 rushing yards, or 10 receiving yards. He gets a whopping 6 points for a touchdown (unless it's a passing touchdown, where he just gets 4). Errors can also affect your score. For example, every interception that is thrown subtracts two points. This also applies to fumbles.

Defensive scores are a little harder to compute, so some leagues opt to compute the scores primarily on yards. (They say it is more realistic and mimics the way an actual game works.) Defensive statistics such as sacks and fumble recoveries are then subtracted. To get the number of touchdowns, the total score is divided by a particular number (sometimes 80 or 100). Then any field goals made by placekickers are added to that score.

It's a very exciting game and adds a new dimension to the already popular game of football.

Author Bio

Resources.eu.com is an online resource centre that includes topics such as sports and fantasy football.

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Golf Courses - Fun and Different Everytime

aglabib50@gmail.com — Sun, 08 Jan 2012 10:36:47 PST

Golf Courses - Fun and Different Everytime

By: J. Brian Keith

This interesting article addresses some of the key issues regarding golf courses. A careful reading of this material could make a big difference in how you think about golf courses.

Is everything making sense so far? If not, I'm sure that with just a little more reading, all the facts will fall into place.

One thing every golfer will agree on is no golf course is ever the same. While playing different courses is fun and challenging, playing ones home course, no matter how many times it is done, is always going to be different.

Yes, it is the same course, nothing has been changed, except for the position of the cup on the green, but no golf course is ever exactly the same two days in a row, or, for that matter, the same day.

Will Smith in the movie "The Legend of Bagger Vance" told his protégé how the grass follows the sun, which means a putt that broke one way in the morning will break in the opposite direction in the afternoon.

Another thing that makes the same course different every day is the weather conditions. Weather plays a big factor in golf, and how a course plays. A wet course will play slower and the ball will not travel as far after hitting the ground. On a dry course, the ball will roll farther after hitting the turf.

A course will also play differently in hot or cold weather. Colder weather keeps the ball from traveling as far, while a well hit ball will go further on a warm or hot day. Additionally, if an area has been dry for any length of time, the fairways, unless they are watered heavily every day, will become as hard as concrete and provide extra distance once the ball hits the ground.

Then comes the golfer's attitude. Yes, the frame of mind a golfer is in will have a direct affect on how well he or she plays and reacts to the course. Golf is a game requiring a calm, focused mind, so the player can concentrate on what he or she is trying to do on any particular shot.

One other thing that will make the same course play differently is how the grounds are kept. If the fairway is allowed to grow a little long, balls will not be able to roll as far, whereas, if they are kept trimmed close to the ground, the ball will roll further.

The rough is a whole other problem, as are other obstacles on the course, such as sprinkler heads. The rough is always going to be thick and hard to play out of, but a heavy, wet rough makes it almost impossible for a golfer to do much more than simply attempt to chip back onto the fairway. Sprinkler heads, which are positioned all over the course, will have an adverse affect on a ball that happens to hit them.

Believe it or not, who a person is playing with, or if he or she is playing alone when he or she normally plays with someone else will affect the way the course is played. So, this only goes to show how the same course, no matter how many times a person plays it, is never the same course twice.

Knowing enough about golf courses to make solid, informed choices cuts down on the fear factor. If you apply what you've just learned about golf courses, you should have nothing to worry about.

Author Bio

Author J. Brian Keith is a proud contributing author for
Golf Course,
Exercise Equipment and enjoys writing about many different topics. Please visit my other web sites for Golf Articles and Free Photo Sharing.

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Understanding the benefit of biomechanics in Golf

aglabib50@gmail.com — Sun, 08 Jan 2012 10:35:16 PST

Understanding the benefit of biomechanics in Golf

By: Andrew Loughray

Biomechanics and Golf

There is information available widely through the web, PGA courses and magazine articles that brings you up to date with the latest thinking in golf. They teach you the latest on how to swing each club correctly, how to putt, how to analyse your swing, how to get mentally 'tough', how to improve flexibility and how to fitter and stronger for golf.

Today there is a plethora of information being offered about golf. Some of it correct, all of it interesting, but how much of it is relevant to you? And how do you know which of these generic exercise tips is going to help you? Even if you trained using each one for 6 weeks and then took the results onto the course and tried them - how do you then know whether your performance is 'that exercise' or that you just had a good day?

Even video/digital analysis, although interesting from all points of view measure the movement discrepancies in a golfer's swing, it doesn't tell us why you are performing these movement aberrations. Knowing what you're doing wrong, but not knowing why you're doing it is sometimes worse than not knowing what you're doing wrong!

Golfers and Coaches need a simple system of analysis that they can use in conjunction with their coaching techniques to find out why golfers perform their particular swing. Although there are fundamental similarities to all good swings, each swing is like a finger-print and unique to that individual. Why is it unique? It's because we are all biomechanically different and unless you understand what those differences are, how can you identify whether your swing is due to poor technique or something that has to done to compensate for a mechanical problem? You can't. The variety of golf swings that exists represents the many ways that the human body can compensate for its biomechanical problems.

For example, let's take a typical handicapper's slice. You know the typical causes of a slice and the things you would normally work on, bearing in mind the individual and what you see. At the same time we also know that these ways don't always work. There may be a number of reasons for this, the you may not be practicing, it may take some time to work out which is the best method for you or quite simply it may be that the person doesn't have it in him to do what you want. Alternatively, it is likely that he can't do it. If that pupil has a longer right leg (assuming he's a right handed golfer), then he will have a tendency towards a more upright back swing. We know this because of the way spine and pelvis work biomechanically. A longer right leg compresses the joints in the spine on that side and so they can't rotate easily. They therefore have to side bend to gap the joints and initiate movement, which causes an upright backswing. We also know that this then leads to a more out-to-in downswing and therefore a slice (depending upon grip and ball position of course). So you could work all day on preventing this upright backswing, which you know is leading to a slice, but it will not change until you've addressed the leg length discrepancy.

Invariably these leg length discrepancies are cause by a rotated pelvis and often they don't cause symptoms, you won't even know it exists. If this is the case then doing some simple exercises can help re-align the pelvis, reduce the leg length discrepancy and allow you to flatten that back swing.

There are many more of these examples. As well as leg length discrepancies, other biomechanical issues can include, poor motor programming strategy (the way the muscles link together in movement patterns), poor control between the pelvis and shoulders, nerve adhesions or stiffness, faulty core muscle control, immobility around the hips, pelvis and spine as well as simple lack of flexibility. Some of these issues sound quite technical and complex, but they're actually very simple to test and eradicate.

Biomechanics works 'hand in glove' with your teaching, it is crucial Pro's understand and embrace this as its going to be the next big thing in golf.

There is a system that exits that can help you and pros to learn about and address these issues. It comes 3 forms. Firstly there is a software package that takes you through some simple biomechanical tests and the expert system takes you through as series of exercises to eradicate their biomechanical problems. Secondly there are courses, which are endorsed by the PGA, which teach PGA professionals how to assess their own pupils and administer the exercises themselves. Or, thirdly experts can come to your club and assess your pupils individually and make bespoke recommendations based upon a detailed assessment of their biomechanics and following a discussion with their PGA professional, a decision can be made as to the best programme for them to follow.

Author Bio

Managing Director of HumanLab Sports, heading a team of bio mechanists, kinesiologists, physiotherapists, strength and cardio-vascular specialists. For further information contact: Andy Loughray 020 8543 5288- email: Andy@humanlabsports.com or visit our website www.humanlabsports.com

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Baseball Pitching Prowess

aglabib50@gmail.com — Sun, 08 Jan 2012 10:33:44 PST

Baseball Pitching Prowess

Pitching Prowess

By: Aron Wallad

Back By Popular Demand - Come and See Those Amazing Baseball Stats

For some people this is Baseball Fantasy - For some people this is Baseball Memorabilia. For me it is joy and amazement. I love perusing the baseball stats.

This article was written after the 2004 Baseball Season

Walter Johnson

One of the first to enter the Hall of Fame in 1936 - From 1912 to 1915 He won 124 games.

He started 152 games and completed 131 games - Do you think the Senators had a strong bullpen? He pitched in 196 games

Walter had 10 years with an era of under 2 and a lifetime era 2.17

Pedro Martinez

Third highest lifetime winning % all time.

2653 strike outs in 2296 innings - an average of 10.39 strike outs per game

During one period - 325 innings without allowing a home run with a man on base. - 321 starts - 42 complete games

Christy Mathewson

In his initial three years he had a record of 34-37. Not what I would call a stellar performance.

His next three years - 94-34 - He discovered spinach? Lifetime era - 2.13

He pitched in a total of 11 World Series games. His era was .97 yes .97 - And had 79 career shutouts

Babe Ruth

Won 47 games in two year period of 1916-1917

Has 15th best era lifetime. - 671 winning % is 10th highest.

Sandy Koufax

Last two years- He won 53 and lost 17

When most players careers lose steam at the end he had his best years.

In a two year period he struck out 699 batters. - Greatest pitcher I ever saw.

Grover Cleveland Alexander

From 1914-1917 He pitched at least 355 innings per year. and he won 121 games

From 1915-1916 he had 28 shutouts. In his career he Completed 437 of 599 games started -

He didn't trust many people, most of all his bullpen. I am kidding. Had six straight years of era under 2

Nolan Ryan

Won 71 games from the ages of 40 to 46
From 1972-1974 Struck out 1079 batters and had 15 seasons of 200 or more strikeouts

Randy Johnson

Six years over 300 strikeouts + three years with between 290-299 strikeouts.

First six years in the majors his won loss statistics were 56-61. From ages 29-40 190-67 record

I love this stuff.

Feel free to pass this on to anyone you think would enjoy reading about baseball.

Author Bio

Aron Wallad has been a baseball lover for over 45 years. You will love his honesty and his passion.. You will be touched by the heartwarming stories. The unusual statistics will amaze you and the quotes will make you laugh... Sometimes. Go here right now to join his ezine
www.baseballsprideandjoy.com

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Great Baseball Quotes

aglabib50@gmail.com — Sun, 08 Jan 2012 10:32:17 PST

Great Baseball Quotes

By: Aron Wallad

I love what prominent baseball people have to say about the great ballplayers. They seem to eloquently capture what we are thinking. "It was his solemn duty to catch a ball that wasn't in the stands." - Monte Irvin (Newark Eagles OF, May 6, 1981), on Willie Mays

"Maybe they should see if his body is corked." - Howard 'Hojo' Johnson (NY Mets), on Bo Jackson, from Sports Illustrated, October 19, 1986

"When he took BP everybody would kind of stop what they were doing and watch." - Jim Kaat, former pitcher, on Mickey Mantle

"I played with him for nine years and marveled at how hard he hit and how fast he ran. How can anyone ever forget the catch he made on Gil Hodges' line drive to save Don Larsen's perfect game?" - Tony Kubek, former shortstop, on Mickey Mantle

"A life is not important except in the impact it has on other lives." - Jackie Robinson

"Having Willie Stargell on your ball club is like having a diamond ring on your finger." Chuck Tanner

"Ted Williams was the greatest hitter I ever saw, but (Joe) DiMaggio was the greatest all around player." Bob Feller

"No one hit home runs the way Babe (Ruth) did. They were something special. They were like homing pigeons. The ball would leave the bat, pause briefly, suddenly gain its bearings, then take off for the stands." Lefty Gomez

"When Neil Armstong first set foot on the moon, he and all the space scientists were puzzled by an unidentifiable white object. I knew immediately what it was. That was a home run ball hit off me in 1933 by Jimmie Foxx." Lefty Gomez

"Every time Johnny Bench throws, everybody in baseball drools." - Harry Dalton

"He (Babe Ruth) hits a ball harder and further than any man I ever saw." - Bill Dickey

"He (Lou Gehrig) just went out and did his job every day." Bill Dickey

"He gets better every year, that's what's remarkable about him. Some guys are good and stay good. Some guys are good and get better. He reminds me of Kareem. Hubie Brown said that Kareem worked at the beginning of every season to improve some facet of his game. It's that way with the best, whatever the profession. That's the way this kid is."

Ed Bradley on 60 Minutes - Talking about Derek Jeter

"I think he was one of the greatest third basemen of all time. He had one of the sweetest swings I ever saw." - Teammate Johnny Logan - Referring to Eddie Mathews

"How good was Stan Musial? He was good enough to take your breath away." - (1989)Vin Scully

"When he (Maury Wills) runs, it's all downhill." Vin Scully

Seeing what these writers, ballplayers and managers has to say about these players lights up the page for me. I can visualize these players on the field hitting home runs, running with arms outstretched to catch a ball or throwing out a would be base runner trying to steal a base.

This is my baseball memorabilia.

Feel Free to pass this article on to anyone you think would enjoy reading it.

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Tennis

aglabib50@gmail.com — Sun, 15 Nov 2009 11:30:01 PST

THE VOLLEY AND OVERHEAD SMASH.

The net attack is the heavy artillery of tennis. It is supposed to crush all defence. As such it must be regarded as a point-winning stroke at all times, no matter whether the shot is volley or smash.

Once at the net hit from the point at the first opportunity given to get the racquet squarely on the ball. All the laws of footwork explained for the drive are theoretically the same in volleying. In practice you seldom have time to change your feet to a set position, so you obviate trouble by throwing the weight on the foot nearest to the ball and pushing it in the shot.

Volleys are of two classes: (1) the low volley, made from below the waist; and (2) the high volley, from the waist to the head. In contradistinction to the hitting plane classification are the two styles known as (1) the deep volley and (2) the stop volley.

All low volleys are blocked. High volleys may be either blocked or hit. Volleys should never be stroked. There is no follow through on a low volley and very little on a high one.

You will hear much talk of "chop" volleys. A chop stroke is one where the racquet travels from above the line of flight of the ball, down and through it, and the angle made behind the racquet is greater than 45 degrees, and many approach 90 degrees. Therefore I say that no volleys should be chopped, for the tendency is to pop the ball up in the air off any chop. Slice volleys if you want to, or hit them flat, for both these shots are made at a very small angle to the flight-line of the ball, the racquet face travelling almost along its plane.

In all volleys, high or low, the wrist should be locked and absolutely stiff. It should always be below the racquet head, thus bracing the racquet against the impact of the ball. Allow the force of the incoming shot, plus your own weight, to return the ball, and do not strive to "wrist" it over. The tilted racquet face will give any required angle to the return by glancing the ball off the strings, so no wrist turn is needed.

Low volleys can never be hit hard, and owing to the height of the net should usually be sharply angled, to allow distance for the rise. Any ball met at a higher plane than the top of the net may be hit hard. The stroke should be crisp, snappy, and decisive, but it should stop as it meets the ball. The follow through should be very small. Most low volleys should be soft and short. Most high volleys require speed and length.

The "stop" volley is nothing more than a shot blocked short. There is no force used. The racquet simply meets the oncoming ball and stops it. The ball rebounds and falls of its own weight. There is little bounce to such a shot, and that may be reduced by allowing the racquet to slide slightly under the ball at the moment of impact, thus imparting back spin to the ball.

Volleying is a science based on the old geometric axiom that a straight line is the shortest distance between two points. I mean that a volleyer must always cover the straight passing shot since it is the shortest shot with which to pass him, and he must volley straight to his opening and not waste time trying freakish curving volleys that give the base-liner time to recover. It is Johnston's great straight volley that makes him such a dangerous net man. He is always "punching" his volley straight and hard to the opening in his opponent's court.

A net player must have ground strokes in order to attain the net position. Do not think that a service and volley will suffice against first-class tennis.

Strive to kill your volleys at once, but should your shot not win, follow the ball 'cross and again cover the straight shot. Always force the man striving to pass you to play the hardest possible shot.

Attack with your volleys. Never defend the ball when at the net. The only defensive volley is one at your feet as you come in. It is a mid-court shot. Volleys should win with placement more than speed, although speed may be used on a high volley.

Closely related to the volley, yet in no way a volley stroke, is the overhead smash. It is the Big Bertha of tennis. It is the long range terror that should always score. The rules of footwork, position, and direction that govern the volley will suffice for the overhead. The swing alone is different. The swing should be closely allied to the slice service, the racquet and arm swinging freely from the shoulder, the wrist flexible and the racquet imparting a slight twist to the ball to hold it in court. The overhead is mainly a point winner through speed, since its bounce is so high that a slow placement often allows time for a recovery.

Do not leap in the air unnecessarily to hit overhead balls. Keep at least one foot, and when possible both feet, on the ground in smashing, as it aids in regulating the weight, and gives better balance. Hit flat and decisively to the point if desired.

Most missed overhead shots are due to the eye leaving the ball; but a second class of errors are due to lack of confidence that gives a cramped, half-hearted swing. Follow through your overhead shot to the limit of your swing.

The overhead is essentially a doubles shot, because in singles the chances of passing the net man are greater than lobbing over his head, while in doubles two men cover the net so easily that the best way to open the court is to lob one man back.

In smashing, the longest distance is the safest shot since it allows a greater margin of error. Therefore smash 'cross court when pressed, but pull your short lobs either side as determined by the man you are playing.

Never drop a lob you can hit overhead, as it forces you back and gives the attacking position to your opponent. Never smash with a reverse twist, always hit with a straight racquet face and direct to the opening.

Closely connected to the overhead since it is the usual defence to any hard smash, is the lob.

A lob is a high toss of the ball landing between the service-line and the baseline. An excellent lob should be within 6 feet of the baseline.

Lobs are essentially defensive. The ideas in lobbing are: (1) to give yourself time to recover position when pulled out of court by your opponent's shot; (2) to drive back the net man and break up his attack; (3) to tire your opponent; (4) occasionally to, win cleanly by placement. This is usually a lob volley from a close net rally, and is a slightly different stroke.

There is (1) the chop lob, a heavily under-cut spin that hangs in the air. This, is the best defensive lob, as it goes high and gives plenty of time to recover position. (2) The stroke lob or flat lob, hit with a slight top spin. This is the point-winning lob since it gives no time to, the player to run around it, as it is lower and faster than the chop. In making this lob, start your swing like a drive, but allow the racquet to slow up and the face to tilt upward just as you meet the ball. This, shot should seldom go above 10 feet in the air, since it tends to go out with the float of the ball.

The chop lob, which is a decided under cut, should rise from 20 to 30 feet, or more, high and must go deep. It is better to lob out and run your opponent back, thus tiring him, than to lob short and give him confidence by an easy kill. The value of a lob is mainly one of upsetting your opponent, and its effects are very apparent if you unexpectedly bring off one at the crucial period of a match.

Tennis

aglabib50@gmail.com — Sun, 15 Nov 2009 11:29:05 PST

THE PSYCHOLOGY OF MATCH PLAY IN TENNIS.

The first and most important point in match play is to know how to lose. Lose cheerfully, generously, and like a sportsman. This is the first great law of tennis, and the second is like unto it to win modestly, cheerfully, generously, and like a sportsman.

The object of match play is to win, but no credit goes to a man who does not win fairly and squarely. A victory is a defeat if it is other than fair. Yet again I say to win is the object, and to do so, one should play to the last ounce of his strength, the last gasp of his breath, and the last scrap of his nerve. If you do so and lose, the better man won. If you do not, you have robbed your opponent of his right of beating your best. Be fair to both him and yourself.

"The Play's the thing," and in match play a good defeat is far more creditable than a hollow victory. Play tennis for the game's sake. Play it for the men you meet, the friends you make, and the pleasure you may give to the public by the hard working yet sporting game that is owed them by their presence at the match.

Many tennis players feel they owe the public nothing, and are granting a favour by playing. It is my belief that when the public so honours a player that they attend matches, that player is in duty bound to give of his best, freely, willingly, and cheerfully, for only by so doing can he repay the honour paid him. The tennis star of today owes his public as much as the actor owes the audience, and only by meeting his obligations can tennis be retained in public favour. The players get their reward in the personal popularity they gain by their conscientious work.

There is another factor that is even stronger than this, that will always produce fine tennis in championship events. It is the competitive spirit that is the breath of life to every true sportsman: the desire to prove to himself he can beat the best of the other man; the real regret that comes when he wins, and feels the loser was not at his best.

The keen competitive spirit that stimulates a match player also increases the nervous strain. This should be recognized by tournament committees, and the conditions of play should be as nearly standardized as weather permits.

The first thing to fix firmly in your mind in playing a match, is never to allow your opponent to play a shot he likes if it is possible to force him to make one he does not. Study your opponent both on and off the court. Look for a weakness, and, once finding it, pound it without mercy. Remember that you do not decide your mode of attack. It is decided for you by the weakness of your opponent. If he dislikes to meet a netman, go to the net. If he wants you at the net, stay back and force him to come in. If he attacks viciously, meet his attack with an equally strong offensive.

Remember that the strongest defence is to attack, for if the other man is occupied in meeting your attack, he will have less time to formulate his own system.

If you are playing a very steady man, do not strive to beat him at his own game. He is better at it than you in many cases, so go in and hit to win. On the other hand, if you find that your opponent is wild and prone to miss, play safe and reap the full crop of his errors. It saves you trouble and takes his confidence.

Above all, never change a winning game.
---------------------------------------

Always change a losing game, since, as you are getting beaten that way, you are no worse off and may be better with a new style.

The question of changing a losing game is a very serious thing. It is hard to say just when you are really beaten. If you feel you are playing well yet have lost the first set about 3-6 or 4-6, with the loss of only one service, you should not change. Your game is not really a losing game. It is simply a case of one break of service, and might well win the next set. If, however, you have dropped the first set in a 2 out of 3 match with but one or two games, now you are outclassed and should try something else.

Take chances when you are behind, never when ahead. Risks are only worth while when you have everything to win and nothing to lose. It may spell victory, and at least will not hasten defeat. Above all, never lose your nerve or confidence in a match. By so doing you have handed your opponent about two points a game a rather hard handicap to beat at your best.

Never let your opponent know you are worried. Never show fatigue or pain if it is possible to avoid, since it will only give him confidence. Remember that he feels just as bad as you, and any sign of weakening on your part encourages him to go on. In other words, keep your teeth always in the match.

Don't worry. Don't fuss. Luck evens up in the long run, and to worry only upsets your own game without affecting your opponent. A smile wins a lot of points because it gives the impression of confidence on your part that shakes that of the other man. Fight all the time. The harder the strain the harder you should fight, but do it easily, happily, and enjoy it.

Tennis

aglabib50@gmail.com — Sun, 15 Nov 2009 11:28:17 PST

THE FUNDAMENTALS OF TENNIS.

I trust this initial effort of mine in the world of letters will find a place among both novices and experts in the tennis world. I am striving to interest the student of the game by a somewhat prolonged discussion of match play, which I trust will shed a new light on the game.

May I turn to the novice at my opening and speak of certain matters which are second nature to the skilled player?

The best tennis equipment is not too good for the beginner who seeks really to succeed. It is a saving in the end, as good quality material so far outlasts poor.

Always dress in tennis clothes when engaging in tennis. The question of choosing a racquet is a much more serious matter. I do not advocate forcing a certain racquet upon any player. All the standard makes are excellent. It is in weight, balance, and size of handle that the real value of a racquet frame depends, while good stringing is, essential to obtain the best results.

After you have acquired your racquet, make a firm resolve to use good tennis balls, as a regular bounce is a great aid to advancement, while a "dead" ball is no practice at all.

If you really desire to succeed at the game and advance rapidly, I strongly urge you to see all the good tennis you can. Study the play of the leading players and strive to copy their strokes. Read all the tennis instruction books you can find. They are a great assistance.

More tennis can be learned off the court, in the study of theory, and in watching the best players in action, than can ever be learned in actual play. I do not mean miss opportunities to play. Far from it. Play whenever possible, but strive when playing to put in practice the theories you have read or the strokes you have watched.

Never be discouraged at slow progress. The trick over some stroke you have worked over for weeks unsuccessfully will suddenly come to you when least expected. Tennis players are the product of hard work. Very few are born geniuses at the game.

Tennis is a game that pays you dividends all your life. A tennis racquet is a letter of introduction in any town. The brotherhood of the game is universal, for none but a good sportsman can succeed in the game for any lengthy period. Tennis provides relaxation, excitement, exercise, and pure enjoyment to the man who is tied hard and fast to his business until late afternoon. Age is not a drawback. The tennis players of the world wrote a magnificent page in the history of the World War. No branch of sport sent more men to the colours from every country in the world than tennis, and these men returned with glory or paid the supreme sacrifice on the field of honour.

The following order of development produces the quickest and most lasting results:

1. Concentration on the game.

2. Keep the eye on the ball.

3. Foot-work and weight-control.

4. Strokes.

5. Court position.

6. Court generalship or match play.

7. Tennis psychology.

concentration.
--------------

Tennis is played primarily with the mind. The most perfect racquet technique in the world will not suffice if the directing mind is wandering. There are many causes of a wandering mind in a tennis match. The chief one is lack of interest in the game. No one should play tennis with an idea of real success unless he cares sufficiently about the game to be willing to do the drudgery necessary in learning the game correctly. Give it up at once unless you are willing to work. Conditions of play or the noises in the gallery often confuse and bewilder experienced match-players playing under new surroundings. Complete concentration on the matter in hand is the only cure for a wandering mind, and the sooner the lesson is learned the more rapid the improvement of the player.

The surest way to hold a match in mind is to play for every set, every game in the set, every point in the game and, finally, every shot in the point. A set is merely a conglomeration of made and missed shots, and the man who does not miss is the ultimate victor.

Tennis

aglabib50@gmail.com — Sun, 15 Nov 2009 11:27:34 PST

THE DRIVE IN TENNIS.

The forehand drive is the opening of every offensive in tennis, and, as such, should be most carefully studied. There are certain rules of footwork that apply to all shots. To reach a ball that is a short distance away, advance the foot that is away from the shot and thus swing into position to hit. If a ball is too close to the body, retreat the foot closest to the shot and drop the weight back on it, thus, again, being in position for the stroke. When hurried, and it is not possible to change the foot position, throw the weight on the foot closest to the ball.

The receiver should always await the service facing the net, but once the serve is started on the way to court, the receiver should at once attain the position to receive it with the body at right angles to the net.

The forehand drive is made up of one continuous swing of the racquet that, for the purpose of analysis, may be divided into three parts:

1. The portion of the swing behind the body, which determines the speed of the stroke.

2. That portion immediately in front of the body which determines the direction and, in conjunction with weight shift from one foot to the other, the pace of the shot.

3. The portion beyond the body, comparable to the golfer's "follow through," determines spin, top or slice, imparted to the ball.

All drives should be topped. The slice shot is a totally different stroke.

To drive straight down the side-line, construct in theory a parallelogram with two sides made up of the side-line and your shoulders, and the two ends, the lines of your feet, which should, if extended, form the right angles with the side-lines. Meet the ball at a point about 4 to 4 1/2 feet from the body immediately in front of the belt buckle, and shift the weight from the back to the front foot at the MOMENT OF STRIKING THE BALL. The swing of the racquet should be flat and straight through. The racquet head should be on a line with the hand, or, if anything, slightly in advance; the whole arm and the racquet should turn slightly over the ball as it leaves the racquet face and the stroke continue to the limit of the swing, thus imparting top spin to the ball.

The hitting plane for all ground strokes should be between the knees and shoulders. The most favourable plane is on a line with the waist.

Never step away from the ball in driving cross court. always throw your weight in the shot.

The forehand drive from the left court is identically the same for the straight shot down your opponent's forehand. For the cross drive to his backhand, you must conceive of a diagonal line from your backhand corner to his, and thus make your stroke with the footwork as if this imaginary line were the side-line. In other words, line up your body along your shot and make your regular drive. Do not try to "spoon" the ball over with a delayed wrist motion, as it tends to slide the ball off your racquet.

All drives should be made with a stiff, locked wrist. There is no wrist movement in a true drive. Top spin is imparted by the arm, not the wrist.

The backhand drive follows closely the principles of the forehand, except that the weight shifts a moment sooner, and the R or front foot should always be advanced a trifle closer to the side-line than the L so as to bring the body clear of the swing. The ball should be met in front of the right leg, instead of the belt buckle, as the great tendency in backhand shots is to slice them out of the side-line, and this will pull the ball cross court, obviating this error. The racquet head must be slightly in advance of the hand to aid in bringing the ball in the court. Do not strive for too much top spin on your backhand.

I strongly urge that no one should ever favour one department of his game, in defence of a weakness. Develop both forehand and backhand, and do not "run around" your backhand, particularly in return of service. To do so merely opens your court. If you should do so, strive to ace your returns, because a weak effort would only result in a kill by your opponent.

Do not develop one favourite shot and play nothing but that. If you have a fair cross-court drive, do not use it in practice, but strive to develop an equally fine straight shot.

Remember that the fast shot is the straight shot. The cross drive must be slow, for it has not the room owing to the increased angle and height of the net. Pass down the line with your drive, but open the court with your cross-court shot.

Drives should have depth. The average drive should hit behind the service-line. A fine drive should hit within 3 feet of the baseline. A cross-court drive should be shorter than a straight drive, so as to increase the possible angle. Do not always play one length drive, but learn to vary your distance according to your man. You should drive deep against a baseliner, but short against a net player, striving to drop them at his feet as, he comes in.

Never allow your opponent to play a shot he likes if you can possibly force him to one he dislikes.

Again I urge that you play your drive:

1. With the body sideways to the net.

2. The swing flat, with long follow through.

3. The weight shifting just as the ball is hit.

Tennis

aglabib50@gmail.com — Sun, 15 Nov 2009 11:26:30 PST

SERVICE-THE OPENING GUN OF TENNIS.

Service is the opening gun of tennis. It is putting the ball in play. The old idea was that service should never be more than merely the beginning of a rally. With the rise of American tennis and the advent of Dwight Davis and Holcombe Ward, service took on a new significance. These two men originated what is now known as the American Twist delivery.

From a mere formality, service became a point winner. Slowly it gained in importance, until Maurice E. M'Loughlin, the wonderful "California Comet," burst across the tennis sky with the first of those terrific cannon-ball deliveries that revolutionized the game, and caused the old-school players to send out hurry calls for a severe footfault rule or some way of stopping the threatened destruction of all ground strokes. M'Loughlin made service a great factor in the game. It remained for R. N. Williams to supply the antidote that has again put service in the normal position of mere importance, not omnipotence. Williams stood in on the delivery and took it on the rising bound.

Service must be speedy. Yet speed is not the be-all and end-all. Service must be accurate, reliable, and varied. It must be used with discretion and served with brains.

Any tall player has an advantage over a short one, in service. Given a man about 6 feet and allow him the 3 feet added by his reach, it has been proved by tests that should he deliver a service, perfectly flat, with no variation caused by twist or wind, that just cleared the net at its lowest point (3 feet in the centre), there is only a margin of 8 inches of the service court in which the ball can possibly fall; the remainder is below the net angle. Thus it is easy to see how important it is to use some form of twist to bring the ball into court. Not only must it go into court, but it must be sufficiently speedy that the receiver does not have an opportunity of an easy kill. It must also be placed so as to allow the server an advantage for his next return, admitting the receiver puts the ball in play.

Just as the first law of receiving is to, put the ball in play, so of service it is to cause the receiver to fall into error. Do not strive unduly for clean aces, but use your service to upset the ground strokes of your opponent.

Service should be hit from as high a point as the server can COMFORTABLY reach. To stretch unnecessarily is both wearing on the server and unproductive of results. Varied pace and varied speed is the keynote to a good service.

The slice service should be hit from a point above the right shoulder and as high as possible. The server should stand at about a forty-five degree angle to the baseline, with both feet firmly planted on the ground. Drop the weight back on the right foot and swing the racquet freely and easily behind the back. Toss the ball high enough into the air to ensure it passing through the desired hitting plane, and then start a slow shift of the weight forward, at the same time increasing the power of the swing forward as the racquet commences its upward flight to the ball. Just as the ball meets the racquet face the weight should be thrown forward and the full power of the swing smashed into the service. Let the ball strike the racquet INSIDE the face of the strings, with the racquet travelling directly towards the court. The angle of the racquet face will impart the twist necessary to bring the ball in court. The wrist should be somewhat flexible in service. If necessary lift the right foot and swing the whole body forward with the arm. Twist slightly to the right, using the left foot as a pivot. The general line of the racquet swing is from RIGHT to LEFT and always forward.

At this point and before I take up the other branches of serving, let me put in a warning against footfaulting. I can only say that a footfault is crossing or touching the line with either foot before the ball is delivered, or it is a jump or step. I am not going into a technical discussion of footfaults. It is unnecessary, and by placing your feet firmly before the service there is no need to footfault.

It is just as unfair to deliberately footfault as to miscall a ball, and it is wholly unnecessary. The average footfault is due to carelessness, over-anxiety, or ignorance of the rule. All players are offenders at times, but it can quickly be broken up.

Tennis

aglabib50@gmail.com — Sun, 15 Nov 2009 11:25:35 PST

GRIP, FOOTWORK, AND STROKES IN TENNIS.

Footwork is weight control. It is correct body position for strokes, and out of it all strokes should grow. In explaining the various forms of stroke and footwork I am writing as a right-hand player. Left-handers should simply reverse the feet.

Racquet grip is a very essential part of stroke, because a faulty grip will ruin the finest serving. It is a natural grip for a top forehand drive. It is inherently weak for the backhand, as the only natural shot is a chop stroke.

To acquire the forehand grip, hold the racquet with the edge of the frame towards the ground and the face perpendicular, the handle towards the body, and "shake hands" with it, just as if you were greeting a friend. The handle settled comfortably and naturally into the hand, the line of the arm, hand, and racquet are one. The swing brings the racquet head on a line with the arm, and the whole racquet is merely an extension of it.

The backhand grip is a quarter circle turn of hand on the handle, bringing the hand on top of the handle and the knuckles directly up. The shot travels ACROSS the wrist.

This is the best basis for a grip. I do not advocate learning this grip exactly, but model your natural grip as closely as possible on these lines without sacrificing your own comfort or individuality.

Having once settled the racquet in the hand, the next question is the position of the body and the order of developing strokes.

All tennis strokes, should be made with the body' at right angles to the net, with the shoulders lined up parallel to the line of flight of the ball. The weight should always travel forward. It should pass from the back foot to the front foot at the moment of striking the ball. Never allow the weight to be going away from the stroke. It is weight that determines the "pace" of a stroke; swing that, decides the "speed."

Let me explain the definitions of "speed" and "pace." "Speed" is the actual rate with which a ball travels through the air. "Pace" is the momentum with which it comes off the ground. Pace is weight. It is the "sting" the ball carries when it comes off the ground, giving the inexperienced or unsuspecting player a shock of force which the stroke in no way showed.

A great many players have both "speed" and "pace." Some shots may carry both.

The order of learning strokes should be:

1. The Drive. Fore and backhand. This is the foundation of all tennis, for you cannot build up a net attack unless you have the ground stroke to open the way. Nor can you meet a net attack successfully unless you can drive, as that is the only successful passing shot.

2. The Service.

3. The Volley and Overhead Smash.

4. The Chop or Half Volley and other incidental and ornamental strokes.

Tennis

aglabib50@gmail.com — Sun, 15 Nov 2009 11:24:42 PST

GENERAL TENNIS PSYCHOLOGY.

Tennis psychology is nothing more than understanding the workings of your opponent's mind, and gauging the effect of your own game on his mental viewpoint, and understanding the mental effects resulting from the various external causes on your own mind. You cannot be a successful psychologist of others without first understanding your own mental processes, you must study the effect on yourself of the same happening under different circumstances. You react differently in different moods and under different conditions. You must realize the effect on your game of the resulting irritation, pleasure, confusion, or whatever form your reaction takes. Does it increase your efficiency? If so, strive for it, but never give it to your opponent.

Does it deprive you of concentration? If so, either remove the cause, or if that is not possible strive to ignore it.

Once you have judged accurately your own reaction to conditions, study your opponents, to decide their temperaments. Like temperaments react similarly, and you may judge men of your own type by yourself. Opposite temperaments you must seek to compare with people whose reactions you know.

A person who can control his own mental processes stands an excellent chance of reading those of another, for the human mind works along definite lines of thought, and can be studied. One can only control one's, mental processes after carefully studying them.

A steady phlegmatic baseline player is seldom a keen thinker. If he was he would not adhere to the baseline.

The physical appearance of a man is usually a pretty clear index to his type of mind. The stolid, easy-going man, who usually advocates the baseline game, does so because he hates to stir up his torpid mind to think out a safe method of reaching the net. There is the other type of baseline player, who prefers to remain on the back of the court while directing an attack intended to break up your game. He is a very dangerous player, and a deep, keen thinking antagonist. He achieves his results by mixing up his length and direction, and worrying you with the variety of his game. He is a good psychologist. The first type of player mentioned merely hits the ball with little idea of what he is doing, while the latter always has a definite plan and adheres to it. The hard-hitting, erratic, net-rushing player is a creature of impulse. There is no real system to his attack, no understanding of your game. He will make brilliant coups on the spur of the moment, largely by instinct; but there is no, mental power of consistent thinking. It is an interesting, fascinating type.

The dangerous man is the player who mixes his style from back to fore court at the direction of an ever-alert mind. This is the man to study and learn from. He is a player with a definite purpose. A player who has an answer to every query you propound him in your game. He is the most subtle antagonist in the world. He is of the school of Brookes. Second only to him is the man of dogged determination that sets his mind on one plan and adheres to it, bitterly, fiercely fighting to the end, with never a thought of change. He is the man whose psychology is easy to understand, but whose mental viewpoint is hard to upset, for he never allows himself to think of anything except the business at hand. This man is your Johnston or your Wilding. I respect the mental capacity of Brookes more, but I admire the tenacity of purpose of Johnston.

Pick out your type from your own mental processes, and then work out your game along the lines best suited to you.

When two men are, in the same class, as regards stroke equipment, the determining factor in any given match is the mental viewpoint. Luck, so-called, is often grasping the psychological value of a break in the game, and turning it to your own account.

We hear a great deal about the "shots we have made." Few realize the importance of the "shots we have missed." The science of missing shots is as important as that of making them, and at times a miss by an inch is of more value than a, return that is killed by your opponent.

Let me explain. A player drives you far out of court with an angle-shot. You run hard to it, and reaching, drive it hard and fast down the side-line, missing it by an inch. Your opponent is surprised and shaken, realizing that your shot might as well have gone in as out. He will expect you to try it again, and will not take the risk next time. He will try to play the ball, and may fall into error. You have thus taken some of your opponent's confidence, and increased his chance of error, all by a miss.

If you had merely popped back that return, and it had been killed, your opponent would have felt increasingly confident of your inability to get the ball out of his reach, while you would merely have been winded without result.

Let us suppose you made the shot down the sideline. It was a seemingly impossible get. First it amounts to TWO points in that it took one away from your opponent that should have been his and gave you one you ought never to have had. It also worries your opponent, as he feels he has thrown away a big chance.

The psychology of a tennis match is very interesting, but easily understandable. Both men start with equal chances. Once one man establishes a real lead, his confidence goes up, while his opponent worries, and his mental viewpoint becomes poor. The sole object of the first man is to hold his lead, thus holding his confidence. If the second player pulls even or draws ahead, the inevitable reaction occurs with even a greater contrast in psychology. There is the natural confidence of the leader now with the second man as well as that great stimulus of having turned seeming defeat into probable victory. The reverse in the case of the first player is apt to hopelessly destroy his game, and collapse follows.

Tennis

aglabib50@gmail.com — Sun, 15 Nov 2009 11:23:53 PST

CHOP, HALF VOLLEY, AND COURT POSITION.

Chop stroke.
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In Tennis, a chop stroke is a shot where the angle towards the player and behind the racquet, made by the line of flight of the ball, and the racquet travelling down across it, is greater than 45 degrees and may be 90 degrees. The racquet face passes slightly outside the ball and down the side, chopping it, as a man chops wood. The spin and curve is from right to left. It is made with a stiff wrist.

The slice shot merely reduced the angle mentioned from 45 degrees down to a very small one. The racquet face passes either inside or outside the ball, according to direction desired, while the stroke is mainly a wrist twist or slap. This slap imparts a decided skidding break to the ball, while a chop "drags" the ball off the ground without break.

The rules of footwork for both these shots should be the same as the drive, but because both are made with a short swing and more wrist play, without the need of weight, the rules of footwork may be more safely discarded and body position not so carefully considered.

Both these shots are essentially defensive, and are labour-saving devices when your opponent is on the baseline. A chop or slice is very hard to drive, and will break up any driving game.

It is not a shot to use against a volley, as it is too slow to pass and too high to cause any worry. It should be used to drop short, soft shots at the feet of the net man as he comes in. Do not strive to pass a net man with a chop or slice, except through a big opening.

The drop-shot is a very soft, sharply-angled chop stroke, played wholly with the wrist. It should drop within 3 to 5 feet of the net to be of any use. The racquet face passes around the outside of the ball and under it with a distinct "wrist turn." Do not swing the racquet from the shoulder in making a drop shot. The drop shot has no relation to a stop-volley. The drop shot is all wrist. The stop-volley has no wrist at all.

Use all your wrist shots, chop, slice, and drop, merely as an auxilliary to your orthodox game. They are intended to upset your opponent's game through the varied spin on the ball.

The half volley.
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This shot requires more perfect timing, eyesight, and racquet work than any other, since its margin of safety is smallest and its manifold chances of mishaps numberless.

It is a pick-up. The ball meets the ground and racquet face at nearly the same moment, the ball bouncing off the ground, on the strings. This shot is a stiff-wrist, short swing, like a volley with no follow through. The racquet face travels along the ground with a slight tilt over the ball and towards the net, thus holding the ball low; the shot, like all others in tennis, should travel across the racquet face, along the short strings. The racquet face should always be slightly outside the ball.

The half volley is essentially a defensive stroke, since it should only be made as a last resort, when caught out of position by your opponent's shot. It is a desperate attempt to extricate yourself from a dangerous position without retreating. never deliberately half volley.

Court position.
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A tennis court is 39 feet long from baseline to net. There are only two places in a tennis court that a tennis player should be to await the ball.

1. About 3 feet behind the baseline near the middle of the court, or

2. About 6 to 8 feet back from the net and almost opposite the ball.

The first is the place for all baseline players. The second is the net position.

If you are drawn out of these positions by a shot which you must return, do not remain at the point where you struck the ball, but attain one of the two positions mentioned as rapidly as possible.

The distance from the baseline to about 10, feet from the net may be considered as "no-man's-land" or "the blank." Never linger there, since a deep shot will catch you at your feet. After making your shot from the blank, as you must often do, retreat behind the baseline to await the return, so you may again come forward to meet the ball. If you are drawn in short and cannot retreat safely, continue all the way to the net position.

Never stand and watch your shot, for to do so simply means you are out of position for your next stroke. Strive to attain a position so that you always arrive at the spot the ball is going to before it actually arrives. Do your hard running while the ball is in the air, so you will not be hurried in your stroke after it bounces.

It is in learning to do this that natural anticipation plays a big role. Some players instinctively know where the next return is going and take position accordingly, while others will never sense it. It is to the latter class that I urge court position, and recommend always coming in from behind the baseline to meet the ball, since it is much easier to run forward than back.

Should you be caught at the net, with a short shot to your opponent, do not stand still and let him pass you at will, as he can easily do. Pick out the side where you think he will hit, and jump to, it suddenly as he swings. If you guess right, you win the point. If you are wrong, you are no worse off, since he would have beaten you anyway with his shot.

Your position should always strive to be such that you can cover the greatest possible area of court without sacrificing safety, since the straight shot is the surest, most dangerous, and must be covered. It is merely a question of how much more court than that immediately in front of the ball may be guarded.

A well-grounded knowledge of court position saves many points, to say nothing of much breath expended in long runs after hopeless shots.

Marital Arts

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Hockey

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