A Quote by Joe Morgan

A good base stealer should make the whole infield jumpy. Whether you steal or not, you're changing the rhythm of the game. If the pitcher is concerned about you, he isn't concentrating enough on the batter.
The pitcher wound up and he flang the ball at the batter. The batter swang and missed. The pitcher flang the ball again and this time the batter connected. He hit a high fly right to the center fielder. The center fielder was all set to catch the ball, but at the last minute his eyes were blound by the sun and he dropped it.
For me, the most important thing is running a good clubhouse. The X's and the O's - you sit up in the stands and, for the most part, a lot of fans go to the game and they know what's going to happen. You're going to hit and run, steal, put a pitcher in, take a pitcher out.
If you want to steal a base, steal a base. Don't make the hitter swing at a bad pitch trying to protect the runner.
It's not really part of the game to say, 'Oh, it's a batter's game; it's a batter's game' - I don't know why it goes on. It's a beautiful game that's greatly competitive between bat and ball.
If a stolen base is there based on a pitcher's time to the plate, then steal a bag.
Every great batter works on the theory that the pitcher is more afraid of him than he is of the pitcher.
I had a lot of fun playing football and basketball, but deep down, the chess match or cat-and-mouse game between the pitcher and batter in baseball really drew me in. It's a thinking man's game, and for me, nothing can compare to that.
I've always noticed how the Fenway fans get behind the pitcher, especially late in the game if you're having a good game, or if you have two strikes on a hitter, they really start to chant and anticipate a strikeout. And that's the best part about playing in Boston and at Fenway. There are knowledgeable fans who anticipate the flow of the game and they can really help out the pitcher.
Whether I'm performing or directing, I'm aways thinking about rhythm; sometimes it's nailing the right rhythm, and sometimes it's intentionally breaking the rhythm. Those two things are what make something funny or not. How long a shot is and where you put the camera are all part of that rhythm of directing.
If I'm shifted two steps toward third base and the ball goes up the middle, people say I have no range to my left. That's why those statistics aren't accurate. You're changing for every batter, sometimes with every pitch. You really can't make one statistic for every shortstop. You have to go by what you see.
I knew at a young age, whether I was playing baseball or hockey or lacrosse, that my teammates were counting on me, whether it be to strike the last batter out in a baseball game or score a big goal in a hockey game.
The pitcher has the ball, and nothing happens until he lets go of it. So as the batter, I felt I had to fight for any bit of control I could get. I expected the umpire, the catcher, and the pitcher to wait on me. I wanted to get ready on my time.
For me, it's about finding ways. Obviously I'm not a great hitter, but I'm going to try and beat you anyway I can. I think about that in every aspect of the game. Running? I'm not the fastest runner, but I can steal a base. For me it's about taking advantage of what I can.
A woman should be less concerned about Paris and more concerned about whether the dress she's about to buy relates to the way she lives.
When I was in the batter's box, I felt sorry for the pitcher.
I'm never critical or judgmental about whether or not a movie is any good. The way I look at it, if several hundred people got together every day for a year or so - a number of then willing to put on heavy makeup, wear clothes that weren't their own and pretend to be people other than themselves - and their whole purpose for doing all this was to entertain me, then I'm not gonna start worrying about whether or not they did a good job. The effort alone was enough to make me happy.
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