Learning and Applying TGM w/disabilities by a 21 hcp.

[innercityteacher]

Thanks Daryl,
You should see him, though. In person, CityTeach is a most amiable, kind and considerate cohort on the golf course. I never heard any trash talk whatsoever. He is a very good cart mate as well.
I used to be a 6 looking at better, but I had no idea what the heck I was doing. Then a couple injuries, age and arthritis took over and I had to do something. TGM with Kev and a day with Yoda sparked great interest. Gems from you, O.B. Mike, Bucket and others have been hugely helpful.
I'd like to think I'm not dumb enough to stir your hornets nest, but City seems to think nothing of it. I look forward to the competition and may volunteer to caddy. He'll need a great deal of help as well as a few "gotchas."

I am a mean and fiesty old man that terrorizes sub-urban types that live in Bollingbrook, IL!

I read the post Amen suggested, and like Kevin, I saw an urbane agreement to disagree, which was, in itself, very encouraging.

I felt like Lynn was saying things like:


To your question:

I advocate a Right Shoulder that moves back to the Inclined Plane (Turned Shoulder Plane / 10-13-B), not a Left Shoulder that moves down (toward wherever).

I advocate Hands that move from an Elbow Plane (10-6-A) to the Turned Shoulder Plane (Single Shift / 10-7-B), not Hands that move from a Hands Plane (10-6-E) to an Elbow Plane ("X" Classification).

Andy Plummer (Plumdog on this site) and Mike Bennett are friends that I meet on the practice tees of the PGA TOUR. I admire their work, but on these two points . . .

We definitely see things differently.

In my version of S&T, my right forearm is on plane and my left wrist is level. Standing on my right leg just picks up my RFT and EA (on the inclined plane), and I then have to drop on to the elbow plain by thrusting my back hip. Maybe it's not close to being S&T, but my point is that I am ALWAYS TILTING LEFT, so why not just smack the crap out of the ball using it?


I've made so many changes to my golf swing since March of 2010, I don't remember my name or the color fur I used to have!

I could call it the "Gimp Smacker!"

YBGF

[Daryl]

Dear Gimp Smacker,

You're doing great.

Regards, looking forward to your ass whoopin,

Daryl

PS. You're over 500 posts and the introspection is encouraging, but it may also help if you read some of them written by others.

[innercityteacher]

Dear Gimp Smacker,

You're doing great.

Regards, looking forward to your ass whoopin,

Daryl

PS. You're over 500 posts and the introspection is encouraging, but it may also help if you read some of them written by others.

That was a little harsh "D." I read lots of posts. Anyway, 18 holes of match play and 18 of stroke?

YBGF

[Daryl]

You're right. It was harsh. Please accept my apology.

[innercityteacher]

You're right. It was harsh. Please accept my apology.

You have never apologized to me before! Daryl, it's ok to be you! The bad people are gone. Yoda and the guys tossed them or led them to a conversion.

John's apologized to everyone;shhhh, don't tell anyone but he sent me a Honey-Baked ham, a dozen Titleists (Pro V-1's) and asked me to be his friend!

I'm holding out for a singing fish and a lobster-gram! I have scruples!

There's only one thing I can think of saying that would reflect my admiration of you and my acceptance of your apology. It's something I'd say to you in person as a Chicagoan, face-to face, and it rhymes with duck blue.

April 18th-21st in Cuscowilla!

YBGF

[Daryl]

There's only one thing I can think of saying that would reflect my admiration of you and my acceptance of your apology. It's something I'd say to you in person as a Chicagoan, face-to face, and it rhymes with duck blue.

April 18th-21st in Cuscowilla!

YBGF

Don Corleone: What's the matter with you? I think your brain is going soft with all that comedy you are playing with that young girl. Never tell anyone outside the Family what you are thinking again. Go on.

[JerryG]

I felt like Lynn was saying things like:


To your question:

I advocate a Right Shoulder that moves back to the Inclined Plane (Turned Shoulder Plane / 10-13-B), not a Left Shoulder that moves down (toward wherever).

I advocate Hands that move from an Elbow Plane (10-6-A) to the Turned Shoulder Plane (Single Shift / 10-7-B), not Hands that move from a Hands Plane (10-6-E) to an Elbow Plane ("X" Classification).

Andy Plummer (Plumdog on this site) and Mike Bennett are friends that I meet on the practice tees of the PGA TOUR. I admire their work, but on these two points . . .

We definitely see things differently.[/color]

In my version of S&T, my right forearm is on plane and my left wrist is level. Standing on my right leg just picks up my RFT and EA (on the inclined plane), and I then have to drop on to the elbow plain by thrusting my back hip. Maybe it's not close to being S&T, but my point is that I am ALWAYS TILTING LEFT, so why not just smack the crap out of the ball using it?


I've made so many changes to my golf swing since March of 2010, I don't remember my name or the color fur I used to have!

I could call it the "Gimp Smacker!"

YBGF[/quote]

All of the above and most basically, to me, pressure against the shaft. If I am not feeling the pressure against the shaft I might just as well be cleaning fish.

[KevCarter]

Guys, please don't get me wrong. It's feel from mechanics...

This is the model I am trying to get to:

I am working to get to these alignments and will use feels from anyone that will get me there. We all have our issues, besides my elbow, I have arthritis in my back and shoulders. When I "feel" a flat shoulder turn on the backstroke, my left shoulder is actually staying higher than my right! If I "feel" a rotated shoulder turn, I look just like YODA. When I "feel" as though I am staying centered, my upper center moves way back over my right foot, making me look like a refuge from the brand X camp, we don't want that! I need to feel a little tilting left to look like YODA in my model.

If we could all spend time in Cuscawillo, we wouldn't need to look at other stuff, but left to our own inadequacies... Someday when my ship comes in I will get there and be able to do away with other compensations!

City, you mentioned you want to get there faster... it doesn't happen. Keep studying here. you know the guys you need to pay attention to, and they are all here. Keep watching video of great swings. Find what they have in common in YOUR minds eye. Find what works for you, that's how our friend Jerry has improved so much. He uses YODA as a model as well. Study and dig it out of the dirt your way!

BTW, right now one of the biggest riddles I think I've solved is YODA's left knee action. The pouncing cat. I think the text came from our buddy 12 Piece Bucket.

By sliding the hips with a bent left knee that moves outside of the foot you can apply pressure to the ground. This puts you in a position to stand up and is a huge source of power. More forward and bent the left knee the more you can use the ground to jump.
I think there's a lot of extension (standing up) going on here and a lot of downward pressure on the left foot. Very gracefully applied mind you.
Word of warning to everyone that is going to head out today and start jumping...
To stay in your inclination when standing up you must create enough axis tilt through sliding the hips toward target to match the amount you stand up. The OP had this already, if you don't... get your humping gear on.

Kevin

[innercityteacher]

Guys, please don't get me wrong. It's feel from mechanics...

This is the model I am trying to get to:

I am working to get to these alignments and will use feels from anyone that will get me there. We all have our issues, besides my elbow, I have arthritis in my back and shoulders. When I "feel" a flat shoulder turn on the backstroke, my left shoulder is actually staying higher than my right! If I "feel" a rotated shoulder turn, I look just like YODA. When I "feel" as though I am staying centered, my upper center moves way back over my right foot, making me look like a refuge from the brand X camp, we don't want that! I need to feel a little tilting left to look like YODA in my model.

If we could all spend time in Cuscawillo, we wouldn't need to look at other stuff, but left to our own inadequacies... Someday when my ship comes in I will get there and be able to do away with other compensations!

City, you mentioned you want to get there faster... it doesn't happen. Keep studying here. you know the guys you need to pay attention to, and they are all here. Keep watching video of great swings. Find what they have in common in YOUR minds eye. Find what works for you, that's how our friend Jerry has improved so much. He uses YODA as a model as well. Study and dig it out of the dirt your way!

BTW, right now one of the biggest riddles I think I've solved is YODA's left knee action. The pouncing cat. I think the text came from our buddy 12 Piece Bucket.






Kevin

LMAO!!!! Does Bucket like cats more than goats?


YBGF

[innercityteacher]

I felt like Lynn was saying things like:


To your question:

I advocate a Right Shoulder that moves back to the Inclined Plane (Turned Shoulder Plane / 10-13-B), not a Left Shoulder that moves down (toward wherever).

I advocate Hands that move from an Elbow Plane (10-6-A) to the Turned Shoulder Plane (Single Shift / 10-7-B), not Hands that move from a Hands Plane (10-6-E) to an Elbow Plane ("X" Classification).

Andy Plummer (Plumdog on this site) and Mike Bennett are friends that I meet on the practice tees of the PGA TOUR. I admire their work, but on these two points . . .

We definitely see things differently.[/color]

In my version of S&T, my right forearm is on plane and my left wrist is level. Standing on my right leg just picks up my RFT and EA (on the inclined plane), and I then have to drop on to the elbow plain by thrusting my back hip. Maybe it's not close to being S&T, but my point is that I am ALWAYS TILTING LEFT, so why not just smack the crap out of the ball using it?


I've made so many changes to my golf swing since March of 2010, I don't remember my name or the color fur I used to have!

I could call it the "Gimp Smacker!"

YBGF

All of the above and most basically, to me, pressure against the shaft. If I am not feeling the pressure against the shaft I might just as well be cleaning fish.[/quote]

Pressure against the shaft? Let's get technical!

I was scanning the web pages and saw a training aid mimic Ernest Jones' device of a penknife tied to a handkerchief, which I had tried after buying the book long ago.

How important is moving that "Pressure," or "Lag?" "...over-all control by the Clubhead Lag Pressure Point (6-C-2) and that manipulation of its Loading Procedure determines the Physics of both Hitting and Swinging (Study 6-H-0, 7-3, and 7-20.)

Ernst Jones had his leg destroyed by grenade in WWI...


Swinging on Fifth Avenue
Charles Price
April 21, 1958
Controversy and success are Golf Pro Ernest Jones's twin rewards at a New York salon

The professional golfer who probably conducts more lessons than any other instructor in the game, a scholarly little man named Ernest Jones, does his teaching exclusively in a midtown New York office building. His studio is on the seventh floor of a Fifth Avenue skyscraper, two doors from 43rd Street, in an area given over to chrome and glass bank buildings, high-priced music stores and slow-paced shoppers—an environment with which Jones's studio is thoroughly out of fashion. Dusty, disheveled, totally lacking in fresh air and sunshine, it looks like an abandoned pool hall.

In this unprepossessing habitat Jones gives perhaps five times as many lessons as any other golf pro in the world. What is more, this tireless anomaly has only one leg, can drive a golf ball a hundred yards while sitting in a chair and believes that everything taught by all other pros is bunkum. He has the results to prove it.

In taking your first lesson from Jones you are requested to forget everything you ever heard about the game. It is generally conceded that in order to hit the ball you must keep your eye on it. Jones thinks you can hit it with your eyes shut. It is also conceded that, in order to gain momentum, you should apply footwork. Again he disagrees. He lost his right leg in World War I and has broken par on championship courses while balanced on his left foot. In fact, Jones disputes all the usually accepted tenets of golf. If you want to know what's wrong with your swing, Jones is not your man. "There's nothing wrong with any golf swing," he says. "The trouble is you don't swing."

Jones's teaching schedule starts promptly at 9:30 every morning, Monday through Friday, and he allows half an hour to each pupil. Now 67, he arrives at his studio wearing a double-breasted blue serge suit, with a boutonniere from the garden of his Long Island home. Of conservative English background, with a heroic military record in the Royal Fusiliers, he hasn't a sports shirt to his name.

BRACES AND A LISP

In beginning work, he removes his coat and teaches in his suspenders. Leaning on his cane and speaking with a slight trace of a lisp, as though he hadn't complete faith in his dentures, he delivers his instructions to students, along with quotations from the works of such other liberals as Galileo, Thomas Jefferson and Oscar Hammerstein II. On the floor of the studio there is a rubber mat from which students hit balls into a canvas backdrop, situated about the length of two billiard tables away. The student is told to assume his normal stance and, utilizing only his hands, to swing the clubhead back and forth across the rubber mat, as though dusting it off. Lengthening the arc, he soon begins to feel the centrifugal force of the clubhead. Then Jones points out that the pivot and the shifting of the weight, to name two of the more complicated contortions of executing a golf shot, are actually normal reactions to this force. "Swing the club-head," Jones commands. "Swing it, and you can forget everything else."

This is what Jones calls the "indivisible swing," and on it he will commit his reputation to the ages.

When the student is really swinging, Jones starts playing Viennese waltzes on a portable phonograph. For the golf club he substitutes other implements he keeps on hand. One is simply a length of one-inch rope. Another is a ball of wrapping paper tied to a string. His favorite is a penknife tied to a handkerchief.

A SWING IS BORN

Jones made his discovery of the indivisible swing as a result of his war injury. Born in the suburbs of Manchester, England, he was apprenticed to a clubmaker at 12, following his father's death. At 16 he owned his own shop but he soon gave that up to become an assistant professional at the Chislehurst Golf Club, which had a near-championship course and a fine old clubhouse that had once been a retreat for the Empress Eugenie. He became a talented player, making consistently good showings in the British Open, and in 1913, when he was 25, he was made head pro at Chislehurst. In March 1915, while he was serving with the Sportsman's Battalion in France, he was hit with a grenade, and his right leg had to be amputated. On his first day out of the hospital he attempted a round of golf.

Walking with the aid of crutches, which he was using for the first time, he executed each shot while balanced precariously on his left foot. Jones discovered that if he ignored the length of shaft between his grip and the club-head (it is the shaft that has to be whipped around with the aid of the torso and legs) and concentrated instead on controlling the clubhead in the same way you would a weight tied at the end of a string, he could keep his balance and smack the ball with authority, too. He shot the front 9 at Royal Norwich in 38. Exhausted, he stumbled through the back 9 in 45.

If concentrating on the clubhead helped him keep his balance on one leg, Jones reasoned, it couldn't hurt with two. Furthermore, being essentially a circle, a true swing would return to the point from which it
began: namely, the ball. Thus he decided that the one categorical imperative in golf was not to hit the ball but to swing the clubhead with a motion similar to that of a pendulum. The ball would take care of itself. He has no truck with the slow backswing, the straight left arm, wrist action, the pivot, the weight shift, and the follow-through, among other popular notions. "All that is so much nonsense," he says. "You can't divide the swing into parts and still have the swing. A cat is a cat. If you dissect it, you'll have blood and guts and bones, but no cat."

Like the steering wheel of a car in the hands of some drivers, the handle of a golf club presents for some people an irresistible impulse to use more power than is necessary. They add a little elbow action or some other such leverage for good measure. This defeats its own purpose. The clubhead is taken out of its orbit, the swinging motion is destroyed, clubhead speed is diminished, the ball drifts through the air and the golfer's fancy turns to thoughts of tennis. The scientific fact on which Jones's theory is based is that force=speed[Sup2]x weight. Applied to golf, this means you cannot move the clubhead any faster than you can swing it. Golfers discover the theory accidentally when they intentionally swing easily on a short shot only to have the ball fly beautifully into a hazard. By swinging naturally they develop clubhead speed—and therefore distance.

At a convention of the Professional Golfers Association in Duluth, Jones was invited to explain his curious views in a speech which turned into an inquisition. The resulting arguments filled 17 pages of printed transcript and made Jones the most hotly debated teacher in golf. Horton Smith, then the incoming president of the association, told Jones his system was "too simple. We wouldn't sell enough lessons." "That's the trouble," Jones replied. "You want your pupils to suffer further. Once you get people to swing the club, it'll grow on them." After this trial by fire and other skirmishes with the Professional Golfers Association, Jones has become dogmatic, to say the least. According to Jimmy Thomson, another pro with more flexible views, "Ernest doesn't concede even the possibility of there being another way of playing the game. He thinks you should either play his way or quit the game."

The average pro gives around 600 lessons a year. Jones gives 3,000. At the Ernest Jones Golf School, 518 Fifth Avenue, he charges $5 a lesson. Because of the demand for his instruction, some of his pupils think he should charge several times this amount. His detractors wonder how Jones has the nerve to charge anything. He doesn't solicit finished or semifinished golfers, but finds his biggest challenge in housewives and office-atrophied businessmen.

Frequently, the half hour that Jones allots to each student turns into an hour, while the next pupil stands by. By midafternoon it is not uncommon to find six pupils stacked up, a malpractice that has cost Jones his lunch hour for decades. Somehow or other the last pupil is accommodated by 4:30, when Jones retires to the Brass Rail across Fifth Avenue for a drink that in some circles is considered no less heretical than Jones himself. It consists of whisky, water and lemon juice in equal proportions, which he downs in one gulp.

GET GOOD QUICK GOLF

Most professionals will concede that if you want to learn to play golf quickly and with a minimum of confusion, his method is probably the most practical. Though Jones has written two books on his method—and they have sold well—he says the swing cannot be described in words, drawn with a pencil or recorded by a camera. His 40th lesson is not likely to be any different from his first: just swing the clubhead. "I'm after what's right, not what's wrong," he says. "When the clubhead is swung, truly swung, with the hands and particularly with the fingers, nothing can possibly go wrong. Of course, nobody can swing it perfectly every time. But he should try. It's the one thing that causes a good golf shot." Rising to his feet, with a beneficent expression on his features and his hands raised in benediction, he says, "Golfers suffer from paralysis by analysis. They remind me of the centipede." When silence prevails, he begins to recite:

A centipede was happy quite, until a toad in fun
Said, "Pray, which leg goes after which?"
This put his mind in such a fix
He fell distracted in a ditch
Considering how to run.


Read more: http://sportsillustrated.cnn.com/vau...#ixzz132xLXx2Q

Given my artificial hip blah blah blah, I was amazed by Ernest Jones' story. I tried swinging the head of the club for days, weeks, and months. Not a clue, had I. So my next specimen for examination was Moe Norman. Auto accident, messed up, my guy! Until the recently published videos of Moe on You Tube, I didn't get their connection. (It's a pendulum, back and forth, back and forth.) They both swung the clubhead with one or two legs! What did they swing? The clubhead? No, they swung the Lag! Others knew how, TGM has explained how!

The 7th Edition of TGM says (7-19) "The correct Clubhead Lag Pressure is a dead-weight inertia...a wet mop...constant Loading, constant direction."

What does a one-legged man and two leged man have in common? You see, I was worried about the shortness of my front leg. Like both men, and all other golfers, I can change direction!

"...constant Loading,constant direction. A careful nursing of Clubhead Feel. Clubhead Lag can be established in three different ways:

1) by resisting the Backstroke motion for Drive Loading
2) with the Start Down motion for Float Loading and
3) by "throwing" the Club against the Lag Pressure Point at the Top for Drag Loading"

I was confused by "A careful nursing." After all, Lynn "DRAGS the wet mop." In Lord of the Rings, the Fellowship comes to the entrance to the Dwarves' mountain. The gate has a code; "Speak Friend and Enter!" "Careful," has lots of meanings and only one of them is "slowly."

I wonder what earlier editions said at that point?

Yesterday, and the day before, I figured out part of the mystery. Like Kevin and Jerry, I started pressuring the shaft. I noticed I hit the ball as far and straight with a hip high reversal of my swing, smashing # 3 PP into the club before it reversed. THE BALL LEFT MY DRIVER LIKE A PINBALL OFF A BUMPER!

I thought of Lynn hitting a driver.

He may go back "carefully" but he explodes that Pivot and # 3 PP!


I thought of Lynn's THROW of his vertically uncocking left wrist.

www.torquegolf.com ...get it? " Just BAM!..."You're going to have shots that act a whole lot different!"

I thought of Lynn working with and beating the hell out of an impact bag.

But the real spotlight went off with Holies and Polies

You can't slow the Lag down one-handed, all you can do is change directions!!!! Your leg, knee, your bald head, Daryl's fat belly, OB's charm, Jerry's hat, and Kevin's freckles just don't matter!
Torque that # 3 PP, torque the LAG!

http://www.lynnblakegolf.com/index.p...=85&video_id=8

And don't forget the "Gimp Smacker!" That boy is hitting the snot out of that ball with a very violent move! "Punch all the way through..."

So Jerry, keep driving that handle back smashinging it against the # 3 PP, while driving that right elbow through that club handle! May I recommend a shorter version for your wedges and short irons?

YBGF