UnTold STorieS: A Sn Ail’S PAce The Snail’S TALE Story by r.A. Dyer Dominant despite a maddeningly deliberate style, Frank Taberski ruled billiards in the years before the rise of Ralph Greenleaf. taberski won 10 challenge matches alph Greenleaf Fed up with Taberski’s style of play, of Pool, the excellent reference book by during his 16-month reign as champion. was dynamic and tournament promoters in 1918 began Mike Shamos, and consulted personal- brash, tempestuous enforcing time limits. By speeding up ly with both Shamos and Ursitti. Their and ill-tempered. the game, they slowed Taberski’s rush expertise never ceases to amaze me. His stroke was liquid to greatness — and ushered in the era So first let’s dispense with the back- smoothness, like fine of Greenleaf. ground. Taberski, who was born on and strong whisky — For students of pool history, Taber- March 15, 1889, exhibited very early beautiful to behold, difficult to mas- ski and Greenleaf also offer fascinat- in his life a seriousness of purpose Rter. Greenleaf shot quickly. He was a ing parallels. Both became pros shortly beyond that of most other boys. He risk-taker. after the modern form of straight pool began shooting pool at age 13 in his Frank Taberski preferred safety play became the championship game, both hometown of Amsterdam, New York, to break shots. He avoided risks, opting won multiple championships and both and by age 16 was already the Central instead for a slow-down game that an- amassed records that remain stand- New York champion. Taberski also noyed opponents and spectators alike. ing today. But Greenleaf was the most drove a milk cart during these early If Greenleaf was whiskey then Frank famous drunk in pool, while Taberski years, and then built upon that 3 a.m. Taberski was cold milk. Or molasses. was a Boy Scout, a man described by –to-noon job to create his own grocery Both were fine players, but history re- the press as “a fine example for young business. At age 22 Taberski sold his members Greenleaf as the greatest of the athletes who take up the green cloth business for $10,000, a princely sum, era. And yet for a brief period, no man game.” Greenleaf would eventually and invested in poolrooms. By 1916 he could beat Frank Taberski. Not even be banned from competition. owned three of them. Greenleaf. And if not for a rule change, For material in this month’s column It was also in that year that Frank the legacy of the man they called The I’ve turned to early editions of Billiards Taberski began making his name in Snail might have been different. Magazine, which can be found online at the pool world. He placed only in the Welcome back to Untold Stories. a site maintained by historian Charles national championship, held February For this month’s column I write about Ursitti. I also contacted the public li- through March in Chicago — but still Taberski and his brief but glorious pe- brary in Sedalia, Missouri (the town managed to do better than Greenleaf, riod of dominance. From September where Taberski won his first national who tied for fourth. (Taberski also beat of 1916 until January of 1918 he was title) and poured through archival ar- Greenleaf 100-44 in head-to-head com- unbeatable. Taberski won the national ticles from the Chicago Tribune. I re- petition.) Emmett Blankenship placed championship during his first year as viewed The Official Rules & Records first that year, but then lost the title in a professional — an unprecedented Book from the Billiard Congress of a challenge from Layton. Taberski then feat — and then emerged victorious in America and the very entertaining challenged Layton — an event that nine successive challenge matches. But Legends of Billiards booklet by George marked the beginning of The Snail’s re- he was undone by his own slowness. Fels. I also referred to the Encyclopedia markable run. 32 BILLIARDS DIGEST September 2012 Fundamentals of Power Dennis Hatch built like a Mack truck, Dennis Hatch certainly has the physical tools to detonate the rack. but the real key? Hatch has drilled the fundamentals of his break, so now the timing is something like second-nature. Just another explosive tool in his game’s arsenal. F YOU think the break is overrated, “IF I’m breakInG well, it’s time to think again. Since pick- I ing up a cue as a youngster, Hatch ThE cOnfidencE rolls has built his game around his break, thanks in large part to his father see- Over Into mY gamE. ” ing to it. As Hatch says, “the break’s - Dennis HatcH everything. It’s huge. If you miss your contact point, if you hit it bad, it might cost you one, two, five games.” If you’re breaking from the box, mean- So with that being said, starting ing your hand is on the table, you need from the ground up, here are a few tips a steady bridge from start to finish. on building a powerful break. “In order to keep your cue straight and steady, try and make your bridge 4. steppInG Into your stancE 1. Lay ThE Foundation hand as strong as possible,” Hatch Your pre-shot routine doesn’t have to When it comes to getting into your says. “Believe it or not, I use those hand be all that complicated. Just get comfy stance, Hatch looks to another sport grippers, those things you squeeze over and go from there. Photos by Ashi FAchler unless noted Morris, Archer: Lawrence lustig where power equals results. “I relate and over. I’m always using one of those “I put the cue ball down, and I pic- pool to boxing,” says Hatch, who has a to make my bridge hand stronger.” ture the break happening,” Hatch history with the Sweet Science. “When However, if you’re breaking from the says. “I take my front foot, for me you break the balls, it’s like throwing a side, along the long rail, Hatch imple- that’s my right foot, and I take a step punch. You pivot off that back foot and ments a little help from the table. towards the cue ball, lining up with f you’re the player looking for a break shot you bring everything through.” “I like to hang on the rail with my the cue ball and the rack. Then I put With his front foot pointing straight at bridge hand,” he says, noting you obvi- my cue down, and I step back with by the cue ball, Hatch open up his back ously need to be comfortable with the back foot a bit. that will absolutely demolish the rack — foot so it’s perpendicular to his cue. cue running under your index finger. “I “If I feel like my legs are a little off, I’ll This way, he can put more weight on his will actually wrap my fingers around the wiggle my feet into position. Once I feel and let’s be honest, who isn’t? — you’re back leg, before moving everything to- rail and squeeze. That way, I can pull comfortable and feel my balance point, MADE ward the cue ball. myself off the rail. I can use it to get I know I’m ready to go.” But a boxer isn’t always throwing more leverage.” Now it’s time to shift your focus from in luck. We talked to the best American everything into every punch. The more your body to your cue. Considering the power you need from your break, the 3. DOn’T lose your head number of variables involved in the more you’ll have to deviate from your Like any in-game shot, you want to keep break, don’t be afraid to take your time. in thE Iplayers in the game. From Mosconi Cup MVP regular stance. focused on the contact point on the You have to make sure a whole host of “If I’m going with a softer cut break, object ball. But with your upper body moving parts are in line. Dennis Hatch covering fundamentals to Hall I’ll get a little lower, so it’s closer to a involved in the break, your head can’t “Take a few extra strokes,” he says. normal shooting stance,” Hatch says. stay completely still. “It takes a lot more focus, with all the “But when I’m really trying to hit ‘em “I keep my head in position until I body movement and head movement. I of Famer Johnny Archer discussing the follow- hard, I’ll stand a little higher. I’ll raise start to pivot my body,” Hatch says. “I like to know everything’s in place.” my torso a bit and widen my stance.” try to move my head as little as pos- And when he’s really busting ‘em sible, because it’s harder to stay locked open, Hatch knows he’s that much through, the country’s finest are here to make 2. BuildinG A solid bridge on the contact point. more dangerous. “If I’m breaking No matter what, you need a firm bridge “But it has to come up with the body, well, the confidence rolls over into my sure your thunderous break has plenty of power. — and bridge arm — to keep your cue so really focus on keeping your eyes whole game. Obviously, you still need moving straight toward the cue ball. locked on the contact point. A lot of the to be able to play if you’re not break- Your arm should be bent at a slight time, when you’re struggling to hit the 1 ing well, but it’s just that much harder angle, with the weight forward on your ball squarely, it’s because you’re taking to get momentum, to get started, to USA hand to keep it planted on the table.