baseball history, bat acceleration, footwork in the box, hand use in hitting, hitter reaction time, opposite-field hitting, weight transfer

More on the Kinetic Loop: Sheffield and Musial

Let’s begin in repeating the definition that I use in Metal Ropes:

Before any punctilious physicist jumps all over my abuse of the term [i.e., kinesis], let me stress that I’m not trying to pass Physics 101 (which I never attempted to do): my wish is simply to distinguish between fluid and stored motion; and, as a lover of Homer, Socrates, and Epictetus, I’m going to latch onto [the Greek word] “kinetic” to designate fluidity.  What I have in mind is the immensely important matter of how energy flow is cycled throughout the load prior to being unleashed upon the pitch.  I thought of using the word “balance”, but that implies poise or “standstill”: the very opposite of what we want.  We need to have a load where energy is held milling in the corral without being allowed to halt; because if it truly halted, we would have to go from 0 to 60 (or 90) in a split-second.  What we want, rather, is for our initiated flow (or our “kinetic energy”, if you’ll allow me) to travel through a subtle loop or loops as it awaits the instant to pour out of the chute.

Now, for all practical purposes, the loops of which I write are created a) by the hands and b) by the forward leg.  You could isolate your looping to just one of these two spots, but we seldom see that happening in a successful hitter: the legs, rather, are at least somewhat involved in feeding into manual preparation, or else the hands will be somewhat synchronized to very visible leg activity.

You know that a gyroscope simulates stasis (or perfect balance) by spinning.  The kinetic loop’s objective is analogous to that remarkable whirling top’s.  It aims at holding vigorous energy in suspense until the instant of attack arrives.  You might think of it as a delayed fall.  If your front foot rises during a forward weight shift, you’re going to fall forward; yet you can somewhat delay the precise moment of the fall by letting the leg carry farther to the rear, and also by letting the hands trail out or back.  The longer the delaying loops are, the less rushed will be your full commitment of energy into the pitch: in other words, the more finely you’ll be able to initiate your attack right on time.

I’m going to devote the rest of this post to two very different hitters who relied heavily for their success upon large kinetic loops.  The first of these two is Gary Sheffield.  Here’s how I would describe Shef’s stroke.  We all remember the lofty, really vigorous succession of hand pumps, of course, that sent the barrel swooshing back and forth over the hitter’s head.  Yet this most spectacular component of the Sheffield wind-up had relatively minor importance in creating a powerful loop.  I think its main purpose was just to concentrate the hitter’s awareness of his barrel into his wrists and fingers (as opposed to his shoulders) so that the significant final loop would anchor itself tightly in the torso (as opposed to lassoing the whole batter’s box sloppily from end to end).  Gary’s hands were initiating a kind of magic circle over the inner half of home plate, where his core muscles were most in control of the dynamics surrounding release.

The entry to the major loop came when the mighty hand pumps trickled almost to a halt.  This would occur when Sheffield saw that the pitcher was indeed about the deliver: everything previous was simply keeping the hands loose and alert until the ball was about to come home.  As the pitcher took his stride, Gary would answer, not immediately with renewed hand motion, but with a substantial lift of his own forward leg.  He was preparing to “throw down” into the pitch with an emphatic weight shift.  Yet hefty leg kicks of the sort can get you to the rendezvous too soon: the leg’s coil needed to be integrated into a broader loop that the hands—always the hitter’s instruments of fine tuning—could adjust.  This was when Gary’s hands made their final forward passage.  If he were a tad early, the hands could dip the barrel just a little farther forward as the leg drifted farther to the rear, keeping both mobile forces in a gyroscopic kind of balance.  If he found himself in danger of arriving late, Sheffield could instantly lower the barrel into the pitch without describing a complete rotation.

Most hitting analysts, I suppose, would argue that Sheffield sacrificed a higher average for greater power by throwing his body so “uncontrollably” into the pitch.  I would phrase it differently.  A power hitter deluxe Gary certainly was; but I would say that he enhanced both power and average by creating a generous kinetic loop where very lively leg activity was finely tuned by very clever hand activity.

Stan Musial’s stance was “admiringly derided” (if those words can be used together) by two generations of sports commentators.  Joe Garagiola used to say that, when he set up in the box and was waiting on the pitch, the Man looked like a street urchin peeking around the corner to see if the cops were following.  Closed to the plate and relatively far from it, Musial displayed no characteristic at this moment more distinctive than his lift of the bottom hand to a height almost equal to the top hand’s.  The result was that his barrel extended far to the rear and nearly parallel to the ground.  (Negro League star Wes Covington, who reached the Bigs a little late to make the sort of dent he could have, featured extremely similar swing dynamics.)  Stan’s weight was nestled decisively over his rear foot thanks to his having hugged the handle into his armpit in this fashion.  Though that wasn’t the primary end served by the odd hand positioning, it did make his rearward coil as he loaded much more easy and fluid.  His front knee bent more deeply than ever into the body as his forward foot glided back almost to touch the rear one (à la Babe Ruth).  This severe approximating of the feet was catalyzed by the hands flicking the barrel into an upright position.  The two were inseparable: bottom hand pressed down and back to raise the flag pole, and legs drew together simultaneously in that same vertical axis—though the spine remained distinctly bent throughout the operation, keeping all the power focused in the core muscles.

Today’s hitting instructors would say, “Don’t try this at home, kids!  Keep your legs in a spread, athletic position beneath you.”  Yes… and from that “athletic position” would emerge no potent kinetic loop—for the Musial coil, as described thus far, had just primed one of the most effective loops in the game’s history.

A front foot drawn very far to the rear has created a sliding spectrum of options about where to land when it goes forward.  It can plant almost at once on a fastball, especially a tight one, and “backleg” the pitch by forcing the weight shift to retreat up and back immediately; or it can travel virtually the whole length of the box in pursuit of a low/away pitch or a slow-freight breaking ball.  Again, Babe Ruth also displayed this huge range of length in his strides.  In Stan’s own day, we might point to Willie Mays and Roberto Clemente.

But it’s impossible to measure your stride’s length against an incoming pitch and still have any pop in your stroke—impossible, that is, if the stride’s variable loop itself is your only channel of energy.  The key to Stan’s explosive swing was, once more, in his hands, and specifically in the bottom one.  Having begun to press down on the handle in the “flagpole-raising” load, that hand continued to apply pressure in the same looping direction.  The motion of the hands to the rear somewhat counterpoised the forward motion of the stride: not perfectly counterpoised, because the energy ignited in the forward surge had to remain active.  But the bottom hand could press a little farther back if the pitch were taking its sweet time to reach the plate, giving the front leg more leisure to go out to the point of rendezvous; or if the pitch were coming in at an unexpectedly high velocity, then the bottom hand could instantly interrupt its drift to the rear and cut down into the ball (the top hand, of course, actually doing the heavy lifting by punching quickly off the chest).

This is a quick take on a splendid kinetic loop.  In the baseball card to the side, you have a particularly good illustration of the loop’s extreme adjustability.  The weight has already been caught entirely on the forward leg here, but the ball isn’t yet in the hitting zone.  The hands, therefore, are stretching their loop as far to the rear as it will go; and, thanks, to their counterpoising influence, the complete forward weight transfer hasn’t emptied the stroke’s power into thin air.  Contact is going to be right on time, and a bull’s eye.

Despite also having a full forward weight shift, Gary Sheffield (like Lou Gehrig) always hit off a lock-kneed, rear-inclined front leg.  He rushed his energy forward so that he could lift its vector: he was a dead-pull hitter.  In contrast, Musial would drive straight through the ball no matter where it was pitched.  By allowing his shift to continue as far forward as necessary, he was able to shoot his 725 doubles and 177 triples all over the park.  The kinetic loop set both of these warriors free to fight their chosen battle; but if Gary hadn’t insisted on rearing back so much when planting his foot, we might have seen something very, very rare and special.

baseball history, bat acceleration, coaches and trust, footwork in the box, hand use in hitting, hitter reaction time, off-season preparation

The Kinetic Loop

I have advocated baseball as a way to stay sane during these times of lockdown and paranoia—not that you can run out and watch a game, let alone play one; but our enforced confinement is a good opportunity to consider little tweaks that we can play with in the back yard or the batting cage.

I’m also finding a very personal kind of support in my baseball research.  I didn’t have an encouraging report last week about the status of my prostate cancer, although the evidence seems to me to point at least as clearly in the direction of a certain hormone-suppressing drug as in that of cancer-compromised bones.  Earlier this year, I came to know the pain of bones under attack, while muscle strain and I have been close acquaintances throughout my life.  What’s torturing me right now is torn, bleeding muscle—the pain of muscles not allowed to heal.  Baseball distracts me from that misery better than anything else.  I only regret that I’ve had to suspend the creation of new instructional videos on YouTube.  I just can’t make any moves at the moment, no matter how trivial, without suffering the consequences later that evening.

Fun Fact: did you know that medical error (as in prescribing the wrong dose of Firmagon, in my case) is the Number Three cause of fatalities in the US of A?

Well, amigos, I can’t promise to doctor your hitting any better than my disease has lately been doctored.  But I do listen to my own body, I do question even “expert advice” when it doesn’t tally with what my muscles and nerves are telling me… and I bring the same respectful skepticism to the “science of hitting”, as taught by professional coaches.

Most coaches will tell you not to hitch, for instance.  Ted Williams explained very logically in a 1966 video that hitching puts unnecessary motion into your swing and costs you valuable time.  A couple of kind souls who’ve seen my own videos about hitching and been moved to make comments have observed that the Thumper was among those immortals of the game visibly employing a hand-pump in his load: nothing so dramatic as Mel Ott’s hitch, or even Jimmie Foxx’s… but a kind of hitch, nonetheless.  Williams would set up with his hands about as high as his armpit, sure enough… but then he’d drop them as he coiled and allow them to ride back up as he strode into the pitch.  One has to suppose that he didn’t know he was doing this, or he wouldn’t have warned against it!  There wasn’t a lot of film-watching in the mid-Sixties as a means of self-analysis.

The hitch is one example of what I call a kinetic loop in my book, Metal Ropes.  What I mean by that is this.  You don’t make a dynamic movement by starting cold.  You don’t throw a punch from a position where your hands are dead-still in mid-air.  You don’t kick a soccer ball without pulling your leg back, and you don’t throw a football without pulling your arm back.  What you’re doing in all such cases is setting energy in motion through a kind of loop that can be very suddenly exited when the instant for the forward attack is ripe.

Now, Teddy Ballgame may have figured that going straight from dead-still to locus-of-contact was the shortest distance between two points; as I’ve admitted, there’s a kind of logic to the thesis.  But the only hitter I can recall swinging in that manner as I grew up was Roger Maris.  With hands poised high above the rear shoulder, Roger simply lowered the boom on incoming pitches, finishing with just his bottom hand still on the handle.  In many ways, he anticipated strokes of the Nineties and early Two-Thousands: say, those of Juan Gonzalez and Albert Pujols.  Roger was one of my boyhood heroes (and remains for me a kind of moral hero for all the abuse he endured from fans, press, and ownership).  Yet he didn’t have much in the way of a kinetic loop: he was a dive-bomber who could pull pitches over the fence or dribble them to the right side when he arrived too early.  He couldn’t keep his power on tap for just the correct millisecond: he was a constant guesser.  His batting average topped .280—barely—in just two seasons, and the career figure was .260.

Now, Roger’s teammate Mickey Mantle, whose swing generally possessed a lot more swoosh and was capable of generating lofty strikeout totals, nevertheless logged much higher averages, as well.  Mick had more loops.  During his load, he dipped his hands (in Williams fashion) near to his recoiling knee.  Then he unreeled a healthy stride as the hands rode up and inclined the barrel toward the plate just before whiplashing it through the zone.  Too much excess motion, the nagging coach would protest… but would you really prefer to have Maris on your team over Mantle?  Somehow, Mick was able to pour all that rocking and rolling into the pitch with impressive regularity.

I submit that kinetic looping, when done properly, not only doesn’t sabotage timely contact with “hot-dogging”, but that it actually makes contact more powerful by drawing upon energy already set in motion.  And since the bat head is already dipping, circling, or weaving, its accelerated launch at the ball can be withheld for a split second, giving the hitter the immense luxury of locating his target a little more precisely.

To be sure, a loop can get out of hand and pose significant problems to timing.  That’s why, as a kid trying to graduate from sandlot ball to high-school hard ball, I felt obliged to ditch my dazzling Mickey Mantle stroke for a no-nonsense Roger Maris stroke.  By that point, we youngsters were getting a lot of our practice off of pitching machines.  (I find In Peter Morris’s Game of Inches that the first mass-marketed pitching machine was patented in 1956 by a fireman named Wilson.)  Such machines will make a Maris-like “see-react” kind of hitter out of anyone.  When you have no practice synchronizing your load to human motions on the mound, your coil or kick or hitch—the whole bag of tricks—will just make you eternally late on everything.  I noticed recently that the coaching establishment has apparently convinced Orlando Arcia to discontinue his José Cruz-like leg lift of a few years back.  Joe Garagiola once remarked of José Canseco’s pump that, when you hit forty home runs, they start calling your hitch a “timing mechanism”.

I don’t particularly like that characterization of the kinetic loop, all joking aside.  You’re not lifting your knee and/or rolling your hands to enhance your chances of meeting the pitch head-on: you’re setting things in motion so as to get the power flowing—and then timing is addressed by your being able to exit the loop immediately.  If that exit proves too challenging, then you may need to develop a bigger loop rather than jettisoning any hint of a loop.  That is, you may need to create a circling pattern where you feel sufficiently comfortable to spill into a linear attack at any stage of the circuit rather than one which forces you to attack at Turn X whether or not the ball’s there yet.  The most explosive hitters of the recent past, though not so recent that evidence of the loop has vanished—guys like Orlando Cepeda, Dick Allen, and Ruben Sierra—were “loosey-goosey”.  Their amazing quickness to the ball wasn’t magically achieved in spite of a lot of hand and leg motion, but because of it.  And if such players tend to hail from the inner cities or the backwoods or a Caribbean island… well, couldn’t that be because they learned the game without being tormented by pitching machines?

Try developing kinetic loops that work for you during this prolonged winter.  Relax, have some fun… and then get serious about the lessons your fun is teaching you.

baseball history, bat acceleration, coaches and trust, Deadball Era, footwork in the box, hand use in hitting, hitter reaction time, mental approach, opposite-field hitting, Uncategorized, weight transfer

Staying Back

In everything I’ve been writing about baseball for years, I’ve dealt very dismissively with the eternal coach’s admonition, “Stay back!”  When you don’t stay back as a hitter, supposedly, all of the power you’ve released into the pitch cycles through before contact is made.  You have only your hands left to swipe at the ball—and, more often than not, you have only one hand left, because the handle slips away from the top hand.  The feet are so flat beneath you that you rock awkwardly after the barrel makes its pass, perhaps almost falling on your face.  You let everything go too soon: you didn’t stay back.

Of course, the above is a picture of someone who’s been badly fooled by a change-up.  You can have “stay back” problems even on a fastball.  That may well be, indeed, how most young hitters make the acquaintance of the problem.  Fastballs keep beating them, and so they fall into the habit of waiting for nothing—of being early on everything.  Then the finish that’s produced is less often the one-handed flail than a two-handed rip at empty space: great launch angle, feet and hips and core and hands all working in sync… just no ball anywhere near the point of rendezvous.  Additional recommendations such as, “Wait on it,” or, “See it,” are apt to come floating down from the third-base coaching box.

I’m not dismissing the notion that these are real events in a hitter’s life with really unpleasant consequences for him.  No, the reason I’ve been perhaps a little too sweeping in my disparagement of the advice is because it is usually offered in such a sweeping manner, to begin with.  Staying back isn’t always good.  For a front-foot hitter, especially, the idea of keeping your weight transfer from shifting fully forward undermines everything you’re trying to do; and as proponents of a Deadball hitting style, we at SmallBallSuccess.com are big fans of front-foot hitting.  I’ll give you a quick summation of why this is so, and then return to the discussion’s mainstream.

Our species of batsman wants to hit low line drives.  To stroke the line drive, he needs to contact the ball squarely in the center but at a slightly downward angle—downward because he wants a bit of backspin on the ball to carry it beyond the infield.  His hands lead the barrel into the ball, with the barrel trailing so far behind that it often “pushes” the pitch to the opposite field.  Oppo-hitting is actually a secondary objective, because the hitter can wait longer when targeting the off-field and also stand a better chance of spraying the ball around when he slightly misjudges pitches.  So far, so good.

Now, we want the bottom half of the body to allow the hands as long a transit straight into the pitch as possible.  If the front hit is flipping out in classic Ted Williams fashion, then the weight shift is thrust back by the planted leg and the barrel transits up and out of the zone very quickly.  This is just what the Thumper wanted, of course: an uppercut (or launch-angle) swing.  Not only is it difficult to keep the barrel traveling down through the ball for very long with this method, however: the barrel is also diving down and then quickly riding aloft as it pursues the rotation of the hips.  It’s apt, that is, to undercut a pitch that arrives too soon or to topspin a pitch that it beats to the plate.  In this latter case, you could nag the hitter, “Now, Johnny, you need to stay back better”… but just be aware that you’re requiring Johnny to time his swing with absolute perfection if the barrel is to enter the ball’s heart in a fairly level plane.  Your advice isn’t of much more use than saying, “Now, Johnny, you’re not being perfect.”

When a Honus Wagner or Napoleon Lajoie would leave his back foot to reach a pitch, or when a Ty Cobb or Tris Speaker would catch his full shift on a bent forward knee, the descending hands were allowed to carry down along the same plane for perhaps four or five feet through the pitch’s plane.  Williams et al. would indeed use this propensity as the basis of their deriding the Old School method, claiming that there’s only a single point of possible contact if the barrel’s plane descends into the pitch’s reversely descending plane—whereas, with the patented lean-back-and-hack uppercut swing, the barrel would be traveling in the pitch’s plane over a long span.  Sorry, Teddy: this just ain’t so.  The rotational, hip-throwing stroke (as has been explained) is in fact drawing the barrel into and out of the pitch plane very quickly.  The barrel that steadily, lengthily descends at a mild angle, in contrast, may come too late and push the ball rather weakly off the hitter’s shoulder; or it may come too early and catch a breaking pitch on its dive.  Either way, it tends to score some contact.  Especially in the latter case, when contact comes early and the batsman is almost one-handing the ball, the barrel can continue powerfully into the collision.  The forward weight transfer allows it to ride momentum almost into the ground: it’s not fighting to get to the ball against an outward-flung hip.

So… does all this mean that, at SmallBallSuccess.com, we just don’t worry about staying back?  No—and the times when I have appeared to sound that note have been over-reactive.  A front-foot hitter wants his hands to follow his foot-plant very closely into the pitch: none of that “Get the front foot down early!” blather for him!  (Got you again, third-base coach.)  If he doesn’t trust his load to pour his weight shift into the pitch at just the right instant, then his misses will profile with the same ugly qualities that I sketched when I opened this article.  He has to develop what we call in Metal Ropes a “kinetic loop”: that is, a roll of the hands (sometimes invidiously called a “hitch”) or a loosey-goosey leg lift (not a spectacularly high kick, please!) that lets his mobilized energy cycle in waiting until the precise instant for attack.

Today’s hitters have few, if any, kinetic loops.  Hitting instructors convince them that any such lollypopping in the load can only throw off timing… whereas the truth is that, done properly, a well-practiced loop allows timing to be micro-adjusted to perfection.  Try going from zero to 90 with your hands tightly gripping the stick over your head… and then try accelerating the barrel with loose fingers and limber wrists as your hands and forward leg describe a faint loop that can be channeled into a line instantly.  There’s no question which is faster.

Maybe I can discuss the kinetic loop further at another time.  I apologize, by the way, for being so stinting with YouTube demonstrations lately.  I’ve only just discovered that consistent overdosing on one of my medicines—consistent as in “for the past half year”—has been sabotaging the healthy recovery of my muscles after any sort of vigorous workout.  What a year it’s been… God, please see me through the last month of it!

baseball history, bat acceleration, bat design, footwork in the box, hand use in hitting, hitter reaction time, metal bat use, opposite-field hitting, strike zone, Uncategorized

Oppo-Hitting Is Hard Because We’ve Made It So

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In the Year of the Lockdown, I’ve enjoyed watching whatever games I can find featuring the Tampa Bay Rays. More than any other team I’ve seen lately, their line-up features a variety of hitting techniques, not nine guys who could have fallen out of a cookie cutter or who, at any rate, are all trying to do the same thing (i.e., hit home runs). Lowe keeps his hands below the shoulder and close to the torso, like most hitters a couple of generations ago. Brosseau and Díaz drive their barrel down almost in one motion with their lead foot—something that you’d see in abundance only if you set your time machine to travel back before World War II. It’s really fun to watch an offense that features so much diversity of attack.

I find it ironic, then, that the Rays broadcasters were the pair I heard remarking on the difficulty of hitting against the shift. The exact words were something like, “A lot of fans wonder why players don’t beat the shift by taking the ball the other way. Most people don’t realize how hard it is to go opposite-field.” Well… yes. That’s certainly so in my case, anyway: I don’t realize why it should be so hard to hit the other way. For one thing, you’re deliberately trying to be late, and being late should be much easier than being early. You have more time to react, to look at the pitch and decide if you wish to offer. Why is it hard to be given more time?

Naturally, if you’re all dug in and your swing is so grooved that you can’t adjust your footwork to the situation in any manner, no matter how minute, then being late with your hands is pretty much all you have going for you. But why would a professional ballplayer be incapable of a little flexibility in his lower body? Here’s what Willie Mays had to say about Yankee singles-hitter deluxe Bobby Richardson:

It’s a pleasure to watch a professional like Bobby Richardson, the former Yankee second baseman, when he’s about to move the runner on first base around to third. Bobby hit behind the runner better than anybody else, for my money…. The batter, as the pitch is delivered, shifts his weight slightly and steps back with the rear foot a couple of inches [if he bats right, like Richardson]. Then, swinging a fraction of a second late, he just meets the ball with a short, sharp “punch” and bangs it to the right side of the playing field.   (My Secrets of Playing Baseball, 1970, p. 70)

Now, I consider Bobby a very interesting subject in his own right.  Richardson was no Pete Runnels or Dick Groat: he wasn’t going to compete for a batting crown.  But he did manage to become the only Yankee to top .300 in 1959, and he did muster a league-leading 209 hits in 1962 (when the number of games on the schedule had but lately increased by eight).  He had progressed from a smooth-field, no-hit prospect to a respectable component of a potent Yankee line-up.  Many have faulted him for not drawing walks from the lead-off position, to which he was admittedly not well suited.  I have to assume that an aggressive approach was part of what allowed him to hang around the .270 mark for years.  Okay, he might have pushed that to .290 if he’d been more selective.

Maybe part of the reason Bobby wasn’t more persnickety at the plate was his huge bat.  I vaguely recall marveling at that stick as a boy of seven or eight, when I’d get to watch my beloved Mickey on our black-and-white screen every Saturday and would wonder, “Who’s this little guy with the biggest bat on the team?”  Oh, Bobby would choke up a bit… but he still had to hurl the barrel down into the pitch in a manner that required early commitment—and probably allowed for being late.  Not that a child’s memory is a reliable witness… but it seems to me that most Richardson base-knocks went right up the middle.  His knees were distinctly bent as he assumed his stance, and on them he would glide into the pitch.  Think of a Scotsman hurling a caber: it all starts from the feet, and especially the knees.

It was Bill Dickey, then a Yankee coach, who advised Bobby to use the larger bat (as Richardson reveals in The Bobby Richardson Story, 1965). This Hall-of-Fame mentor was obviously a product of the Old School; there weren’t a whole lot of active players (with Rizzuto having just retired) who would have possessed such arcane knowledge.  At any rate, Richardson’s success at the plate took off when the big bludgeon was placed in his hands.  No, he didn’t have much bat speed.  His entire twelve-year career—for three consecutive years of which he led the league in at-bats (that’s what can happen when you never draw walks)—produced only 34 home runs.  But with the likes of Mantle, Maris, Skowron, Berra, and Howard batting behind him, homering wasn’t really a priority.  (Honesty compels me to observe that, despite such firepower at his back, Bobby never quite managed to score 100 runs.)

So what has all of this to do with oppo-hitting?  I think it’s the bat.  The reason Dewayne Staats and Brian Anderson (two of my favorite announcers, by the way) may have deemed off-field hitting “harder than you think” is because today’s bats are mere conveyances for a tiny, explosive sweet spot.  They make no allowance for misjudgment: they work extremely well only when everything in the swing is right on time.  If you try to reach for an outside pitch and push it (perhaps one-handed) to the infield’s far side), you encounter two problems: 1) your bat may be too short by a couple of inches; and 2) the balance in that bat is so top-heavy that you’ll probably foul off or pop up the pitch by dipping under it, if you contact it at all.

And that’s if you can get an outside pitch, or if you adjust your position to the far corner by recoiling with a Richardson-like move (for who doesn’t crowd the plate these days?).  What if the pitcher insists on pounding you inside, as more and more of the good ones dare to do?  Then is when you really need some bulk in the handle.  With the old-school lumber in your hands, you might have fought off the tight pitch to the off-field grass by inside-outing (in the fashion described in Ted Williams’ Science of Hitting, of all places: I wonder if Ted ever used the technique once in his life?).  Armed with today’s club, however, you’ll be picking splinters out of your face; or if you have the advantage of a metal bat, your chances of a weak infield pop-up are still very high just because of the handle’s tiny diameter.

So, yes: upon consideration, I suppose opposite-field hitting these days is indeed harder than I think—with emphasis on “these days”.  Even the resourceful Tampa Bay Rays can’t seem to do much about the hardware they take to the plate.  How about at least giving an audition to shifting your feet in the box, though, guys?  Devote a little practice to it and see if you don’t get good results.  Please?  A touch of small ball from yesteryear’s handbook would make today’s game so much more interesting!

baseball history, Deadball Era, footwork in the box, hand use in hitting, hitter reaction time, Uncategorized

How to Bat .400: Keep an Open Mind!

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Ty Cobb vs. an inside pitch

Since I got a new lease on life thanks to the Immunity Therapy Center in Tijuana, I’ve had no more pleasurable moments during the course of a week than those when I plug in my Personal Pitcher and try to make contact with some golf-sized Wiffle Balls. I’ve explained before why this amusement can also be educational, but maybe it’s about time to do so again. For one thing, no matter how slow your machine fires, by setting up very close to it you can reduce your reaction time to approximate that of very competitive pitching. For another, Wiffle Balls, as we know, don’t always travel very straight. Since I tend to keep mine in use even after they’ve become cracked, I can thereby add to the challenge of slender reaction time a variety of crazy wobbles and drops in the deliveries. For a third thing, measuring about half the diameter of a baseball, my plastic golf balls give better feedback on how well I’m contacting each pitch. If I were just a little bit on top of a baseball, I’d be badly topspinning a Wiffle Ball.

It’s quite annoying that my machine gives me no warning prior to releasing a ball other than a green light that’s supposed to flash one second in advance. In my mind, I have to graft the flash onto an image of a pitcher breaking his hands and starting toward the plate. I’d rather be able to see a real body’s progress: the light often tempts me into “selling out”, and I transfer my weight too early. But at least no one can credibly accuse me of arranging a practice where I have an unrealistically leisurely period to get loaded up. On the contrary, because the flash can be almost a distraction, the time I have to get from a relaxed pose into “attack mode” is truly about as brief as a top-tier professional pitcher would give to his opponents.

I’ve also found that I have to shift my eyes slightly from the green light to the hole through which the ball will exit as soon as I can. Though the hole sits just beneath the light, failing to pick it up and rivet upon it definitely produces poorer contact. The application to real-life pitching is clear: you have to stop fixating on the pitcher’s hands as soon as they spring into motion and, instead, start hunting traces of that white orb half-hidden in one of them.

Add certain practical considerations, such as that I simply can’t find a kid who throws reasonably hard and true to pitch to me in a cage. Furthermore, even if I were to have such a helper, he’d be giving me more reaction time than does my machine–or else I wouldn’t step in against him! I’m too old to risk life and limb by standing in against someone who’s trying to rocket balls over the plate from about thirty feet.

Put it all together, I repeat, and you have an hour not only filled with fun but also bristling with potential lessons. I’m sure that the practice I mined from my hundreds of hours in front of Personal Pitcher which readers view with the most suspicion has to be my shuffle-step as I load up.

I know it’s hard to accept this mobile load as feasible, let alone desirable, at first glance.  Just remember that Tris Speaker employed some version of it routinely—and that batsmen like Edd Roush used it just as routinely, by some accounts.  That’s 5,890 hits, between these two.  Is it so unreasonable to suppose that the skip-step was actually helping rather than hurting their offensive game somehow?

I had actually seen Roush shuffle into the pitch in a rare video.  Just the other day, I read this confirmation in a book originally published shortly after World War II.  The author volunteered it in the midst of a list of unorthodox things done by Edd:

Students of the game will tell you that although a batter can assume a stance in any given place in the batter’s box, a firm stand in one place is absolutely imperative.  Roush always shifted about in the box, moving both feet, and often changed his stance after the pitcher delivered the ball.  He led the league in hitting three times.

Lee Allen, The Cincinnati Reds, p. 194 (Kent State UP: 2006–first published in 1948)

I made a video a couple of weeks ago (“Bottom-Hand IQ”) illustrating the importance of leading the swing with the hands: a.k.a. staying inside the ball.  (I mentioned online coach Joe Brockoff’s happy metaphor of shining the knob’s flashlight on the pitch.)  I demonstrated the technique in three types of swing, two of them using a stationary rear foot.  The one that left me feeling the most flexibility in my drive through the pitch was my third example, with the mobile rear foot shuffling into a load.  I also achieved the best results that way.  My sometimes unpredictable Personal Pitcher (which has been known to chew on balls a bit even after the green light’s second of warning has elapsed) and its arsenal of variously cracked projectiles couldn’t get a lot past me, once my lower body had already channeled energy up toward the hands.  I’m not making this up.  The shuffle-step works.

More lately, just this past week, I edited and posted a video (“Pull-Hitting the Deadball Way”) about how I think yesteryear’s stickers may have been able to step where they saw the pitch coming—a seemingly outrageous claim made not just by Ty Cobb, but by Honus Wagner, Fred Clarke, and several others.  Were they all lying… or was pitching of the day just that slow?  Neither, I think.  My current theory is the following, as I demonstrate in the video.  I believe the batsman would plan to take the same step in the same direction on pretty much every pitch: for instance, toward the plate from deep in the box, and angled at least 45 degrees toward the mound, as well.  If he saw the pitch coming sharply in on him, the master-hitter would simply cut his stride short.  He’d plant his front foot as quickly as ever he could, immediately following it down with his hands.  This might create an image of a hitter leaning back as he makes contact, despite having shifted his weight fully forward (for all of these chaps were front-foot hitters).  The torso would be falling backward over the rear leg even though that leg might be airborne! You see one of those images at the top of this page. You can find a great many others featuring Cobb’s contemporaries.

The interrupted stride can actually be executed against rapid pitching.  No, you’re not exactly stepping to where you observe the ball coming, in the sense that you step toward third base on this pitch and toward first on the next.  But you are indeed adjusting your stride in response to the ball’s flight path.  Cut the stride short, draw in the hands… and voilà!  You find yourself pulling inside pitches hard, or at least shooting them up the middle.

So… is this research done with the help of my Personal Pitcher (I’ll call him Satchel, on account of his devastating hesitations) valid at any level?  All I can say is that I don’t see anyone else trying anything better.  Far from it: when I read a Gen X commentator who puzzles over how the oldtimers did so-and-so a century ago and then builds a theory out of present-day practices, without even getting up from behind his laptop, I’m not very impressed.  You have to get your hands dirty… yes, literally.  Ditch the batting gloves!

I love life in “the lab”.  Maybe I’m wrong, but at least I’m experimenting rather than speculating.  Where else have you read about either the shuffle-load or the adjustable stride?  Who else is saying anything more than, “Nah!  They couldn’t really have been doing that!” Oh yes, they could have.  And they did.