BILLIARDS

Wanganui Chronicle, Volume LXXXII, Issue 19346, 27 June 1925, Page 7

BILLIARDS

FALKINER v. McCONACHY (Per Press Association.) AUCKLAND, June 26. At the conclusion of play last night the scores in the billiard match were: McConachy, in play, 5328; Falkiner 4047. McConachy’s score included breaks of 117, 340, 119, 217, 162; Falkiner 150, 196, 259, 105, 97. ART OF BILLIARDS. WALTER LINDRUM GIVES ILLUSTRATIONS. EIGHT WAY TO DO IT. Playing billiards is an art as well as a game. Walter Lindrum is a finished exponent of the art. He has given a series of illustrations of the art.

Many who enjoy a game of billiards and strive to improve their play, repeatedly play common shots in a way that destroys their chances of greater proficiency.

To quote one instance, it is the opinion of ‘Walter Lindrum th<\t only one player in 20 uses the correct bridge —as the position of the table hand is known—in playing a ball near the cushion.

In this article Walter Lindrum shows the correct way to play the various shots described.

The first shot is the run-through, the object in this case being to go in off the red in the corner pocket. Strong cushion side should be used, and it is important that the shot should be finished—that is, that the cue should run through, and not stop too soon after the ball is struck. The run-through is one of the shots that help to cultivate a good touch. The next shot is one of the key shots to the acquisition of good touch, and careful practice of it brings the necessary command of the ball. It is the screw along the cushion, and again, the object is to spin back into the corner pocket, though, of course, in other circumstances the shot might bo used for a cannon. Strong check side should be used, and the cue must be stopped just a little short in the delivery.

Walter Lindrum’s famous shot, Postmans Knock, is one of his favourite scoring shots, with which he made over 400 against Faulkiner. It gives the player good strength. The object here is to make .as many cannons and pots as possible. At the beginning of the shot the white is hard-up under the nameplate, and the red on the spot. The first shot is a cannon, which sends the red to a handy position near the corner pocket. Then the red is potted, the shot bringing the player’s ball into position to repeat the play from the other side of the table when the red is re-spotted. If the white gets away from the cushion a slow cannon will send it back. Of course, it is not as easy as it reads, but continued practice will soon increase the number of pots and cannons the player is able to get, and will vastly improve his play.

Next is the nursery cannon, and the secret of a long scries of these shots is that the cushion ball should always be kept a shade in front of the other —that is, slightly closer to the player. This is the way to avoid a “smotherup.’’ It is another of Lindrum’s favourite scoring shots. Lindrum illustrates the bridge for the masse shot, used for close cannons or “smother-ups,” and the sixth shows the bridge for a screw shot. The ordinary bridge causes the player to raise the butt of the cue, and in a screw shot causes a niis-cuc. In this shot the “side” depends upon the direction in which the ball is to screw back. The cushion bridge is illustrated in the seventh post. In Walter Lindrum’s opinion only one ordinary player in 20 uses the correct bridge here. The cue should be run through the fingers. The method of practice is as important as practice itself.

“Players who take hold of three balls and knock them round the table never make much headway,” says Lindrum. “The best improvement iu play is gained by practising half a dozen shots diligently each day.” Practice at long losing hazards from the centre spot will give a player a knowledge of angles. It will make the angle of the in-off come naturally to the eye, which is one of the essentials of good play. rf A good idea to sustain interest in practice is for the player to keep a pencil and paper on the cushion rail, and w r ith one ball over each middle pocket to see how big a break he can make. The score should be noted after each breakdown, and if this is done each time he will be eager to beat the previous total. Practice of this kind gives a knowledge of position.

The cue should be held between the thumb and the first finger, and slightly balanced by the second finger. A good weight for a cue is from 16 to 17 ounces. Walter Lindrum uses a cue of ounces.