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She was selfish, shallow, and entitled. She was awarded a scholarship to study at the school of sceptical philosophy. She tells herself it is her merit, but her father is on the board of governors.
He was an artist. He once was a firebrand, challenging the orthodoxy, the corporate cliques that dominate the public funding of science - people like her father - for their spiritually bankrupt ways.
The establishment knocked him back, suppressed his views and drove him towards ruin.
He went into the high mountain. At a low point, he was rescued. She was the daughter of a local priest. Her family took him in and rehabilitated him. His price for redemption was compromise – he accepted that there was not a perfect world and his contribution to it should be practical and good works. In her religion he found an inner peace, but his creative edge was blunted. He opted out of the mainstream and lived in a comfortable pile at the edge of town.
Her boyfriend was Orton Hatch, the son of one of daddy’s partners. He wasn’t bright but he was pretty and he loved her to bits. She would often mock him fearfully in front of their friends at their regular table in the fashionable eaterie, between bouts of rudeness to the serving staff. He was so faithful to her that he took the blows and kept smiling. Even that she mocked.
Her set discussed the fashionable artists, couturiers and musicians. They talked about Him, the firebrand whose edge was dulled.
She said his mumbo jumbo was seditious. He was a danger to the forces of progression.
The others nodded.
Orton shrugged and said he rather liked the spikey style.
She scoffed and reamed poor Orton. “Oh, dear Orton. He’s is so captive of the prevailing fashion.”
Orton hated how she spoke about him in the third person when he was sitting there, her dialogue not to him, but at him, a performance for her friends.
“They say he attempted suicide.”
She snorted. “He should have had the courage of his convictions.”
“Harsh.”
“But just imagine his reputation now though. Jimmy Dean and not some doormat making pop art for the masses.”
But not seditious?
You can’t be seditious when you’re dead.
Orton took some air. He needed to, every now and then, when the beasting got too much. He pushed out through the kitchen, where they wouldn’t find him. He drew on a cigarette. He kicked the dumpster and told himself to compose.
“I don’t know how you take it.”
Orton looked around. He could see no one.
“I don’t know why you take it.”
Black eyes gleamed out of the half light. It was the waitress on her table.
“You’ve been coming here for nine months, and she treats you like shit on her heel.”
He said nothing. He looked at the ground. He lit another cigarette.
“I - ”
“You don’t understand,” he said.
She said, “I’m sorry. I should not have run my mouth. It is none of my business.”
The girl turned to go.
He grabbed her arm.
She turned and flinched.
His fingers felt the electrical jolt.
Her eyes flashed.
He gasped.
He said, “thank you,” and let her go. He returned to the table.
They were still bemoaning the seditious artist, whose later work he loved – it was spiritual and connected and grounded in profound respect for nature. We are but ants.
She knew this and she goaded him. She saw it coming before it arrived. He put on that supercilious face, the one she could not stand, the one by which he announced an Important Fact.
“His last work was great. “The Comet”. It’s an allegory.
“an allegory, no less.” Cilla gave a knowing look that said that’s a big word for a bear of little brain.
“It’s inspired by the Barber – Azinge,  that’s due to cross our skies this year.”
“A crushing disappointment, ” said the girl. And after all the hype. I had such high hopes for the apocalypse.”
Orton’s face fell.  “Best be careful what you wish for, Cilla.”
“No doubt,” she said. “Did Feuerbrandt did confect a  self-righteous parable about our rationalist times?”
“He had some things to say”.
“Educate us, my handsome man, please do.”
A friend said, “Come on Cilla, leave him alone.”
“Gah. Feuerbrandt needs all the opprobrium he can get He’s a charlatan.”
“I meant Orton.”
Cilla screwed up her face. “Him?”
Orton shook his head and said, “I appreciate your concern, I do, but there’s no need for pity – I’m big enough, and ugly enough, to look out for myself.”
She laughed and her eyes sparkled with flinty glee at his foolish consent. “you may be big, but no one calls my boyfriend ugly.”
Orton blanched.
“So, come, my pretty lover, thrill us with your perspicacity. Tell us all about this Comet - an album that has passed us by.”
She took another slug. The others twittered, but a little less so.
“[little known astronomical Halley’s Comet is due,” he said –
“Oh!” she squealed. “astronomy! It’s little known that dear Orton’s a cosmologist.”
“I read the papers –”
“And he keeps abreast of the world’s affairs!”
Behind her head the waitress made a careful path back to the kitchen. She caught his eye and for moment he felt another flash of electricity.
Orton boxed on. He fixed a smile and kept his humour. “They say it is a portent. An omen of ill fortune. ”
“Oh, please.”
She scoffed. “You sap. How could an inanimate ball of rock and ice a few hundred yards, orbiting an entirely different celestial body, have a conceivable effect on the outcome of battle in mediaeval England?”
“Well,” he said, doubling down on the face. “That’s just what King Harold said when his courtier warned him of a portent in the sky. Caesar said the same. And the Aztecs.”


== Cricket ==
My friends, I think he’s finally lost it.”
 
She brayed and knocked his glass askew.
Episode 1: Batting
“You know, she’s right.”
Get into the habit of setting yourself up for each ball. Think of it like a pre-flight routine in the cockpit -it also helps knuckle down and get focused on the ball and blot out distractions. The sports psychologists call this "self talk" - a little motto you say to yourself.
“Who?”
 
He ignored the question. “You’re not worth it. Not remotely.
For now it is stance-balance-anchor.
He pushed back his chair.
 
She swilled her glass and drained it. When her eyes swam back he was on his feet. He tossed down his napkin and a handful of bills.
Stance (guard- I would say back toe on middle or middle and leg - no further; and openness - front toe on leg stump - so you're not too closed off to shots on the on side.
“This is for the meal. I have to go. I have some things to do.
 
“Like what? What could you possibly have to do that’s more important than this?”
Balance: with your bat up, have a stable base. Head level, over your hands. Flex your knees a bit. You should be able to resist falling over if someone gently barges you. The key is to retain this balance at all times through whatever shot you play. For front foot shots you do that by keeping your head over the hands, hands over the ball, and foot to the ball.
“I’ll think of something.” He snatched his keys.  
 
“You are drunk - you can’t drive – you-
We'll work on back foot shots later: on local wickets the main problem you'll have is with a low ball and a lack of bounce. So front foot has got to be solid.
Her friend said, “I don’t think so. He hasn’t touched a drop.
 
“He’ll be back. He needs me.  
Problem with the nets is that they bounce a lot so there's a great temptation to stand back. London grass wickets don't play like that!
In the next twenty minutes she became more shrill and could not stop the conversation drifting back to him.
 
Mean while the group drifted away. “I have to get on.
Anchor:  If you're on the front foot, your back foot is your rock. It has to stay put. This does a couple of things:
She resolved to go to see him, to straighten him out. She polished off the Sangria and walked to her car.  
-If the ball is going down leg, let it go there: it's no danger to you, and offers (almost) risk free runs: if you miss it, a wide or byes (the keeper is unsighted - you are in the way!); If you get anything on it at least one run; if fine leg isn't paying attention, four.
The bellhop tried to stop her.
-if the ball's outside off, it's your platform. A lot of your power comes from driving your legs off that base.
The car was small and elegant it hugged the road. Her path was not quite the economical racing line, but the car seemed to read the camber by itself and kept her safe
 
She would read the pretty ingrate the riot act. He was only where he was thanks to her father’s largesse. He needed to understand how things were.  
So: remember the "landmine". Your back foot is on the trigger. Step off and it goes off.
She would present him an ultimatum.
 
The phone clicked in. It was Fiona.  
If you step away down leg you convert that risk-free legside ball into a risky one it's hard to score from, and you expose all three stumps to a ball that's on target, and you're off balance, "hanging out the washing" just to get anything on the bat at all.
“Is everything okay? He’s cleaned out his stuff. He left a grand on your bedspread.
 
“I’ll be home in five minutes. I’ll sort it out.
These are the core things to work on for now. If you get this "grooved in" so you do it without thinking about it, you're well on the way.
She voice dialled the boy. It rang and rang.  
 
The car swept through the bends. She remembered a blinding flash but she didn’t register that it was a speed camera. There was a low cloud which obscured the moon. It broke and then the she saw it : this rainbow array of light in flecks and sparkles and shooting stars. It was magnificent and bewitching and beautiful and peaceful and she began to see a truth about herself that she didn’t like.  
You can do some of this stuff in your living room. Lunge forward, pivoting of your back foot, to leg, straight, and to off, and hold the pose at the end of each lunge - if you're balanced you will have no trouble doing that.  
The artist peered over the bonnet with a blank look. It, ah, it looks like an engine sweetheart. I don’t know why it isn’t going. I’ll call the garage but this late at night and this far out they might be some time.  
 
His wife smiled kindly and said, I suppose I did not marry you for your mechanical skills. She grew up on a farm, and had tuned her share of engines. She looked in and checked the obvious points. The plugs, the points, the barbecue, the fan belt.
Next time we'll look at getting  your head and that front foot coming out to the line of the ball - then we can look at your bat swing and grip, but first thing is to get the base sorted out.
He got behind the wheel and turned the key but nothing would go.
[[User:Amwelladmin|Amwelladmin]] ([[User talk:Amwelladmin|talk]]) 03:12, 6 February 2017 (CST)
He called the garage and then the clouds opened and they were showered in the most glorious celestial light.  
 
It is a sign, he said. Even when the chips are down there is beauty and there is light. Come back inside and watch the show he said but she insisted on trying one more thing.  
== Bowling ==
The corvette
 
Episode 2: bowling
 
Working points:
- A consistent, regular run up where you are hitting the same point on the bowling crease every ball.
- punching that left arm high and to the right of your left eye, so you are looking right down the line of your shoulder to the wickets.
 
The run up is all about rhythm - the NMCC net is too short and encourages bad habits. You must must must mark out a run and religiously use it. Self talk again: "mark", "rhythm" and "punch".
 
When it turns a bit warmer we'll work something out on the grass, maybe 8 or 12 steps longer. At the moment we have only 8 steps to work with, so concentrate on balance (again) approaching the creases in a straight line, and with as much rhythm as you can muster in 8 paces. You are good in that you don't have a stutter or anything like that. Keep it that way. Maybe look to pump your arms a bit. I like to think of the run up as a steam train, gathering pace and momentum and channelling all your energy straight down the track at that off stump.
 
Look to get a bit nearer to the stumps - improve your odds of lbw bowling wicket-to-wicket.
 
When we get outside, I'll be looking to get you going the crease write a lot faster than you do now. With a longer run up, you should be working up to maybe 60-70pc full sprinting pace.
 
This does three things-
-gets you a five more kmh, just from running faster
-gets you more air and accentuates the trebuchet effect when you do hit that crease
-Scares the wits out of the batsman. Never underestimate the psychological aspects of the game! If he's thinking "hell's bells!" when you're charging in, he's not thinking about his shot.
 
The punch: what does this do?
-Takes you from your front-on running position, where shoulders and hips are (necessarily) square to the wicket, to the bowling position, where shoulders and hips are aligned right down the wicket at off stump, while keeping that steam train momentum you've just worked up
-fully extends your "crane" so you get maximum leverage when you let the ball go
-gets you up on the air. The higher you go, the harder you hit the front of the crease, the bigger the trebuchet effect.
 
Remember if you're properly side on with shoulders right down the wicket, you're aligned and if you let it go all your machinery will,  (like a Ferris wheel), send the ball right at off stump. Only variable is what length it pitches at. If your shoulders are skew, then your bowling arm has to come around (more like a discus thrower) rather than over the top and where you let it go determines which direction it goes in. Much less control.
 
Next steps follow through and making sure you keep balanced, head level, eyes fixed on off stump, driving all your energy straight down the wicket. [[User:Amwelladmin|Amwelladmin]] ([[User talk:Amwelladmin|talk]]) 11:06, 6 February 2017 (CST)

Revision as of 11:35, 12 April 2018

She was selfish, shallow, and entitled. She was awarded a scholarship to study at the school of sceptical philosophy. She tells herself it is her merit, but her father is on the board of governors. He was an artist. He once was a firebrand, challenging the orthodoxy, the corporate cliques that dominate the public funding of science - people like her father - for their spiritually bankrupt ways. The establishment knocked him back, suppressed his views and drove him towards ruin. He went into the high mountain. At a low point, he was rescued. She was the daughter of a local priest. Her family took him in and rehabilitated him. His price for redemption was compromise – he accepted that there was not a perfect world and his contribution to it should be practical and good works. In her religion he found an inner peace, but his creative edge was blunted. He opted out of the mainstream and lived in a comfortable pile at the edge of town. Her boyfriend was Orton Hatch, the son of one of daddy’s partners. He wasn’t bright but he was pretty and he loved her to bits. She would often mock him fearfully in front of their friends at their regular table in the fashionable eaterie, between bouts of rudeness to the serving staff. He was so faithful to her that he took the blows and kept smiling. Even that she mocked. Her set discussed the fashionable artists, couturiers and musicians. They talked about Him, the firebrand whose edge was dulled. She said his mumbo jumbo was seditious. He was a danger to the forces of progression. The others nodded. Orton shrugged and said he rather liked the spikey style. She scoffed and reamed poor Orton. “Oh, dear Orton. He’s is so captive of the prevailing fashion.” Orton hated how she spoke about him in the third person when he was sitting there, her dialogue not to him, but at him, a performance for her friends. “They say he attempted suicide.” She snorted. “He should have had the courage of his convictions.” “Harsh.” “But just imagine his reputation now though. Jimmy Dean and not some doormat making pop art for the masses.” But not seditious? You can’t be seditious when you’re dead. Orton took some air. He needed to, every now and then, when the beasting got too much. He pushed out through the kitchen, where they wouldn’t find him. He drew on a cigarette. He kicked the dumpster and told himself to compose. “I don’t know how you take it.” Orton looked around. He could see no one. “I don’t know why you take it.” Black eyes gleamed out of the half light. It was the waitress on her table. “You’ve been coming here for nine months, and she treats you like shit on her heel.” He said nothing. He looked at the ground. He lit another cigarette. “I - ” “You don’t understand,” he said. She said, “I’m sorry. I should not have run my mouth. It is none of my business.” The girl turned to go. He grabbed her arm. She turned and flinched. His fingers felt the electrical jolt. Her eyes flashed. He gasped. He said, “thank you,” and let her go. He returned to the table. They were still bemoaning the seditious artist, whose later work he loved – it was spiritual and connected and grounded in profound respect for nature. We are but ants. She knew this and she goaded him. She saw it coming before it arrived. He put on that supercilious face, the one she could not stand, the one by which he announced an Important Fact. “His last work was great. “The Comet”. It’s an allegory. “an allegory, no less.” Cilla gave a knowing look that said that’s a big word for a bear of little brain. “It’s inspired by the Barber – Azinge, that’s due to cross our skies this year.” “A crushing disappointment, ” said the girl. And after all the hype. I had such high hopes for the apocalypse.” Orton’s face fell. “Best be careful what you wish for, Cilla.” “No doubt,” she said. “Did Feuerbrandt did confect a self-righteous parable about our rationalist times?” “He had some things to say”. “Educate us, my handsome man, please do.” A friend said, “Come on Cilla, leave him alone.” “Gah. Feuerbrandt needs all the opprobrium he can get He’s a charlatan.” “I meant Orton.” Cilla screwed up her face. “Him?” Orton shook his head and said, “I appreciate your concern, I do, but there’s no need for pity – I’m big enough, and ugly enough, to look out for myself.” She laughed and her eyes sparkled with flinty glee at his foolish consent. “you may be big, but no one calls my boyfriend ugly.” Orton blanched. “So, come, my pretty lover, thrill us with your perspicacity. Tell us all about this Comet - an album that has passed us by.” She took another slug. The others twittered, but a little less so. “[little known astronomical Halley’s Comet is due,” he said – “Oh!” she squealed. “astronomy! It’s little known that dear Orton’s a cosmologist.” “I read the papers –” “And he keeps abreast of the world’s affairs!” Behind her head the waitress made a careful path back to the kitchen. She caught his eye and for moment he felt another flash of electricity. Orton boxed on. He fixed a smile and kept his humour. “They say it is a portent. An omen of ill fortune. ” “Oh, please.” She scoffed. “You sap. How could an inanimate ball of rock and ice a few hundred yards, orbiting an entirely different celestial body, have a conceivable effect on the outcome of battle in mediaeval England?” “Well,” he said, doubling down on the face. “That’s just what King Harold said when his courtier warned him of a portent in the sky. Caesar said the same. And the Aztecs.”

My friends, I think he’s finally lost it.” She brayed and knocked his glass askew. “You know, she’s right.” “Who?” He ignored the question. “You’re not worth it. Not remotely.” He pushed back his chair. She swilled her glass and drained it. When her eyes swam back he was on his feet. He tossed down his napkin and a handful of bills. “This is for the meal. I have to go. I have some things to do.” “Like what? What could you possibly have to do that’s more important than this?” “I’ll think of something.” He snatched his keys. “You are drunk - you can’t drive – you-” Her friend said, “I don’t think so. He hasn’t touched a drop.” “He’ll be back. He needs me. In the next twenty minutes she became more shrill and could not stop the conversation drifting back to him.” Mean while the group drifted away. “I have to get on.” She resolved to go to see him, to straighten him out. She polished off the Sangria and walked to her car. The bellhop tried to stop her. The car was small and elegant it hugged the road. Her path was not quite the economical racing line, but the car seemed to read the camber by itself and kept her safe She would read the pretty ingrate the riot act. He was only where he was thanks to her father’s largesse. He needed to understand how things were. She would present him an ultimatum. The phone clicked in. It was Fiona. “Is everything okay? He’s cleaned out his stuff. He left a grand on your bedspread.” “I’ll be home in five minutes. I’ll sort it out. She voice dialled the boy. It rang and rang. The car swept through the bends. She remembered a blinding flash but she didn’t register that it was a speed camera. There was a low cloud which obscured the moon. It broke and then the she saw it : this rainbow array of light in flecks and sparkles and shooting stars. It was magnificent and bewitching and beautiful and peaceful and she began to see a truth about herself that she didn’t like. The artist peered over the bonnet with a blank look. It, ah, it looks like an engine sweetheart. I don’t know why it isn’t going. I’ll call the garage but this late at night and this far out they might be some time. His wife smiled kindly and said, I suppose I did not marry you for your mechanical skills. She grew up on a farm, and had tuned her share of engines. She looked in and checked the obvious points. The plugs, the points, the barbecue, the fan belt. He got behind the wheel and turned the key but nothing would go. He called the garage and then the clouds opened and they were showered in the most glorious celestial light. It is a sign, he said. Even when the chips are down there is beauty and there is light. Come back inside and watch the show he said but she insisted on trying one more thing. The corvette