A Quote by Gerrit Cole

When you're spinning a two-seam, getting on the side of the ball to get more run or sink can be good, but it can really be detrimental to your four-seam. — © Gerrit Cole
When you're spinning a two-seam, getting on the side of the ball to get more run or sink can be good, but it can really be detrimental to your four-seam.
Cleaning up that lack of the definition between the two, and then leaning on the four-seam, having it become my primary fastball over my two-seam, it's just benefited me as a whole.
Hold a baseball in your hand ... Feel the ball, turn it over in your hand; hold it across the seam or the other way, with the seam just to the side of your middle finger. Speculation stirs. You want to get outdoors and throw this spare and sensual object to somebody or, at the very least, watch somebody else throw it. The game has begun.
I felt a Cleaving in my Mind- As if my Brain had split- I tried to match it- Seam by Seam- But could not make it fit.
I like the two-seam fastball. That's a pitch I'm fascinated with.
Those first few overs are obviously the most difficult time because you don't know what the ball is going to do in the air and off the seam.
As a performer, you get your 'thing.' You're the deadpan comedian, or the mad one, or the sexy one, and then you rely on that and mine that seam for years and years and you kind of forget who you were. There's this mask that you hold up between you and the audience that means they never get to see who you really are.
You want to be able to run seam routes and do all that, but to have something that you can hang your hat on and know that it's going to convert first downs, that's what tight ends are paid to do. And I've certainly taken a lot of pride in that over the years.
For a long time we dreamed of a real leather ball, and at last my brother had one for his birthday. The feel of the leather, the stitching round it, the faint gold letters stamped upon it, the touch of the seam, the smell of it, all affected me so deeply that I still have that ache of beauty when I hold a cricket ball.
You so often see bowlers pick out a lovely new ball from the bag at nets and it looks great when it swings in the air and nips off the seam with batsmen playing and missing. But you have to simulate match situations. What about when the ball is 60 overs old, the sun is blazing down, the pitch is flat and there's not a hint of movement?
There is no seam between my songs and myself-they really are me. It's not like I'm performing; I'm just singing stuff that I really believe.
When there is seam movement, you don't need to try too much. Just bowl good, hard lengths and wait for the batsman to make mistakes.
I sit in the sink (while applying makeup). I do. I've broken more sinks...I sit in the sink, on top of a big square sink in my bathroom with my feet in the basin so I'm very close to the mirror with the good light, and I'm very comfortable. I also manage to put my two phones in the sink so that nothing, but nothing, could get me out of there.
I'm making bags that don't even have a seam. But many people don't get that. They run through the showroom and go, "He did yellow bags this season." That's fine. Not everything needs to be visible to everyone. But personally, that's what makes my work interesting to me. The whole fashion thing is not that interesting to me. The overall circus is not my universe.
To be a gentleman is to be oneself, all of a seam, on camera and off.
What I find interesting is how close you can run the laughter along the seam of seriousness, and occasionally cross it, so that half the house genuinely doesn't know whether to laugh or cry. Custard pie humour is fairly universal, but at the other end, which I'm more interested in, there's the humour that hovers on the darkness, that walks in the shadow of something else, not always that obvious.
Motherhood is a Sisyphean task. You finish sewing one seam shut, and another rips open. I have come to believe that this life I'm wearing will never really fit.
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