Talk:Mercer Beasley

All of the below is source material that I may use to expand the article

Brook Zelcer's article, to be studied again and mined for info and quotations:

Mind Game

Beasley’s How to Play Tennis (1933) was a perennial best seller at a time when instructors were scarce. How to Play Tennis approaches the sport from an entirely tactical, scientific perspective. Beasley’s goal: to produce winning tennis players. To this end, he preached the virtue of percentage play, calling good tennis the "avoidance of making errors," and emphasizing that "a point won on an error counts just as much as a point scored on an ace."

About 50 years before athletes cross trained, Beasley's students were already tapping other sports in order to master different aspects of tennis. Boxing taught players to attack short balls in the front court. "Foot up to it on your forehand side and shoot a right jab at it," Beasley would say. Basketball helped teach defensive play and alertness. Ballroom dance and gymnastics were studied. He discovered learning tools everywhere. He even used a marching band for players to rally to while practicing footwork.

While Tim Gallwey's Inner Tennis would later advocate for the realization of athletic spontaneity through deliberate mindlessness, Beasley preached the benefits of constant and focused attention. Of Frank Parker, Doris Hart exclaimed, "you could almost see him thinking out loud, so intense was his concentration." For years, Hart herself was too easily distracted on the court, a tendency that earned for her many heart wrenching defeats. When Hart finally defeated Louise Brough in the finals of the 1955 U.S. Nationals after four unsuccessful attempts, Beasley told her, "If only you had started thinking years ago, the game would have been much easier for you," a sentiment with which the indomitable Ms. Hart wholeheartedly agreed.

Beasley was a stickler for on-court deportment: "What you do on a tennis court during a tournament match is watched by every spectator in the gallery as well as by your opponent. Therefore, you should be perfectly natural in every way. Avoid making any gestures or audible sounds that might cause comment. There should be nothing to encourage or discourage your opponent. Not an action of yours should show elation or dejection. Nothing he does, whether it is to score an ace or to make an error, should change your expression." Indeed, both the mechanical Parker and the larruping Vines were renowned for their polite on court demeanor.

Beasley beginners learned to play "The Little Game," whose object was to develop ball control by shrinking the size of the court to its service boxes. Once they advanced to baseline play, Beasley's players were trained to see the court as a traffic light: when at or behind the baseline (red) the ball must be played safely; when in no-man’s land (yellow) a forcing but never reckless ball is played; while the frontcourt (green) is the area denoting more decisive shot making.

Like grandfather, like grandson

It would seem that courts are a unifying principle. --Howard C. Berkowitz 04:25, 11 January 2010 (UTC)

Dunno about the son in between, however -- mebbe he wuz a Court Jester (subject of an article?) Hayford Peirce 04:30, 11 January 2010 (UTC)

Perhaps the son had an unfortunate confusion between the chalice from the palace with the vessel with the pestle? --Howard C. Berkowitz 04:42, 11 January 2010 (UTC)

Get it? Got it! Good! Hayford Peirce 04:44, 11 January 2010 (UTC)