They protested the socks

[softballdadcoach]

Wade, I don't coach my daughters any more because I found [1] that I treated them too harsh because they were mine and eventually the little light went off and I realized that I was hurting more than helping, [2] I enjoy it more from outside the fence cheering, taking hundreds of photos and [3] trying very hard to not second guess our coach because she is better than I ever hoped to be. Our coach was handling the coaches box issue correctly--between herself and the umpires, leaving our players out of it--and it was the pitcher herself who realized what the other coach was doing and let it get into her head. Our coach finally took her out for a couple innings and let our #2 pitcher go for an inning and a half (one of my daughters) and had the assistant calm our pitcher down and work out a new set of signals between herself, the catcher, and the pitcher.

Is it your contention that if a 1st base coach is moving down the 1st base line , getting closer to home plate each time, getting down on his hands and knees to read our signs, that it is over-officiating to call him on it? I already stated while we (the fans) thought it was bush-league for the opposing coach and fans to call pitches out to the batter there isn't a rule against it. Our coach attempted to negate this action by moving her body to hide the signs and the OC kept leaving the box to better see those signs. At that point he moved from irritating to illegal. All our coach asked the umpires to do was to enforce the rule about constantly leaving the coaches box.

I guess we have to agree to disagree on this issue, because like I said before I don't play that way and expect the best of others and get irritated when I am disappointed.

[carolinafan]

Good luck with that.....

The blues on here will stick together through thick and thin

I hate bush league crap like that.

Just a funny story: My dd's team is in a state final game. All game long the opposing coaches and even parents have been relaying signs to their batters. Our coach calling the signs to the catcher yells out, Hey so and so (former coach from our team who left with his dd) she is going to throw the change. Tell your dd to wait on the change! He yells this so loud the concession stand knew what he said. Sure enough, our pitcher throws the change and strikes her out! Moral of the story, doesn't matter if they know your signs if they can't hit the pitch!

[softballdadcoach]

Good luck with that.....

The blues on here will stick together through thick and thin

I hate bush league crap like that.

Just a funny story: My dd's team is in a state final game. All game long the opposing coaches and even parents have been relaying signs to their batters. Our coach calling the signs to the catcher yells out, Hey so and so (former coach from our team who left with his dd) she is going to throw the change. Tell your dd to wait on the change! He yells this so loud the concession stand knew what he said. Sure enough, our pitcher throws the change and strikes her out! Moral of the story, doesn't matter if they know your signs if they can't hit the pitch!

I actually liked our coaches efforts at one point in this game--she started adding the middle-finger salute just for the opposing coach and fans one or two times an inning after the umps told her they weren't going to call anything on the coaches box infraction. The look on the 1st base coaches face once he realized what was happening was priceless...

[artomatic]

Good luck with that.....

The blues on here will stick together through thick and thin

I hate bush league crap like that.

Just a funny story: My dd's team is in a state final game. All game long the opposing coaches and even parents have been relaying signs to their batters. Our coach calling the signs to the catcher yells out, Hey so and so (former coach from our team who left with his dd) she is going to throw the change. Tell your dd to wait on the change! He yells this so loud the concession stand knew what he said. Sure enough, our pitcher throws the change and strikes her out! Moral of the story, doesn't matter if they know your signs if they can't hit the pitch!

I actually liked our coaches efforts at one point in this game--she started adding the middle-finger salute just for the opposing coach and fans one or two times an inning after the umps told her they weren't going to call anything on the coaches box infraction. The look on the 1st base coaches face once he realized what was happening was priceless...

if you could only extract yourself and your emotions from this, you might see that all your (and your great coach) focus and energy is directed towards the wrong things here. you should concentrate on your team, your game, and what YOUR team can do to come out on top. not what some other team or coach is trying to pull....and your kids follow your lead...

[wadeintothem]

lol ok you win,

omg I died and woke up in 10U rec. I guess I wasnt good enough in my life to go to hell.

I just might eject a bunch of you guys for ruining my zen. I gotta concentrate and between coaches crawling around, flipping people off, and sniveling at me between pitches and innings..

I'm just gonna start ejecting people until we can have a good time. The ones whining at me usually go first, so that would be you - but the guy crawling around would probably be a real close 2nd.

Once zen is regained, the rest of us can play ball.

[umpinva]

I just might eject a bunch of you guys for ruining my zen.

Perhaps one of the other steps in achieving Zen was overlooked.

Once zen is regained, the rest of us can play ball.

If this is game has a time limit, the ball game is probably over. See below:

Instructions For The Practice Of Zazen (Sitting Meditation)
This zazen FAQ is based (with modification) on the publication Shikantaza: An Introduction to Zazen published by the Kyoto Soto-Zen Center. Some sectarian differences are noted under Difficulties and Expedients. The main text is minimalist in aiming to present what is most common in as many teaching lines as practicable.
Terms for zazen portion of FAQ (see also glossary)
Gassho (Korean: hapchang): See under Hand Positions.
Hokkaijoin (Cosmic Mudra): See under Hand Positions.
Hondo: A formal hall for rituals and ceremonies. The altar is against a wall in a hondo.
Isshu: See under Hand Positions.
Kinhin: Walking zazen.
Rinzai: A Japanese (Chinese: Linji) sect of Zen Buddhism.
Shashu: See under Hand Positions.
Sodo: A formal hall for meditation, meals, and sleeping. The altar is in the center of a sodo.
Soto: A Japanese (Chinese: Caodong) sect of Zen Buddhism.
Zafu: A small round cushion used as a seat in zazen.
Zabuton: See Zaniku.
Zaniku: A large reactangular flat cushion placed under the zafu which cushions the knees.
Zendo: An informal hall for zazen is practice, which may combine the function and layout of a sodo and hondo.
Zendo Manners
In a zendo the altar is placed in either the sodo or hondo position.
Enter the zendo on the left side of the entry, left foot first.
Gassho and bow to the altar.
Walk forward across the room past the altar and go to a seat turning corners squarely (cross in front of the altar only during kinhin).
Gassho and bow toward the seat, greeting the people to both sides.
The people on both sides respond to greeting.
Turn clockwise and face front.
Gassho and bow to those directly across room, greeting them.
They respond with a gassho-bow in greeting.
Sit down on the zafu.
Turn clockwise toward the wall. (If in a Soto style zendo, Rinzai style is to sit facing in from the wall.)
Always turn or move clockwise as viewed from above the zendo.
Hand Positions
Gassho is performed by placing the hands palm to palm slightly in front of the chest with the arms parallel to the floor.
Shashu is performed by placing the thumbtip of the left hand as close to the left palm as comfortable and making a fist around it. Place the fist in the center of the chest and cover it with the right hand. Keep the elbows away from the body with the forearms parallel to the floor.

Isshu is the same as shashu but with the left fist turned thumb side toward the chest. Left fist and thumb are parallel to the floor and not vertical as in shashu.

Hokkaijoin (Cosmic Mudra) is performed in the following manner. Place your right hand palm upward in your lap against the lower abdomen. Place the left hand palm upward on top of the right. The second joints of the middle fingers should be touching, and your fingers parallel. Raise the thumbs up opposite the fingers and touch the thumb tips lightly together; forming an oval between the thumbs and fingers. The thumb tips should join at the approximate level of the navel. In some Tibetan teaching lines the right hand is placed on top of the left.


Settling Into the Posture
Place a thick mat (zaniku or zabuton) in front of the wall and place a small round cushion (zafu) on it. Sit on it facing the wall. There are several positions for the legs. If not too cold sit with bare feet. Leave your wristwatch off.

The cross legged positions provide greatest stability. To sit in full lotus, place the right foot on the left thigh and then the left foot on the right thigh. To sit in half lotus place your left foot on your right thigh. Try to cross the legs firmly so that a stable tripod of support is provided by the knees and the base of the spine. The order of the crossing of the legs may be reversed. It is also possible to simply sit on the floor with one foreleg in front of the other or kneeling using a bench or a cushion. To sit in a chair, place the feet flat on the floor and use a cushion to elevate the seat so that the upper thighs fall away from the body and follow the rest of the applicable instructions.

Rest the knees firmly on the zaniku, straighten the lower back, push the buttocks outward and the hips forward, and straighten your spine. Pull in your chin and extend the neck as though to support the ceiling. The ears and shoulders should be in the same plane with the nose directly above the navel. Straighten the back and relax shoulders, back, and abdomen without changing posture.

Keep the mouth closed placing the tongue with the tip just behind the front teeth and the rest of the tongue as close to the roof of the mouth as comfortable. Keep the eyes at least slightly open cast downward at a 45 degree angle without focusing on anything. If closed you may slip into drowsiness or daydreaming.

Rest the hands palm up on the knees and take 2 or 3 deep abdominal breaths. Exhale smoothly and slowly with the mouth slightly open by pulling in on the abdominal wall until all air has been expelled and inhale by closing the mouth and breathing naturally. Hands still on the knees sway the upper half of the body left to right a few times without moving the hips. Sway forward and back. These swayings are at first larger and then smaller enabling you to find the point of balance of your posture.

Finally, place your hands in Hokkaijoin (Cosmic Mudra, the oval shape against your abdomen described above under Hand Positions).

Breath
Observe breathing during zazen, but do not try to manipulate the rhythm or depth of the breath. Breathe gently and silently through the nose without attempting to control or manipulate the breathing. Let the breath come and go naturally so that you forget all about it. Simply let long breaths be long and short ones short. On inhalation the abdomen expands naturally like a ballon inflating, while on exhalation simply let it deflate. There are some additional remarks about breathing under Difficulties And Expedients.
In some Rinzai and Tibetan teaching lines it is recommended that one feel a sense of strength in the abdomen in breathing, that the exhala- tion be done in a very slow smooth and gradual way or a very slight contraction of the anus on exhalation (this should be so slight it may be more felt as an intention than as a physical contraction) be per- formed. While these recommendations have their origin in energy yogas (Kundalini and Qigong) some Tibetan and Rinzai teachers recommend their use. Theravada and Soto teachers in general do not recommend this approach. Soto especially emphasizes just observing the breath as it is without trying to improve it in any way. Specifically, Dogen states that counting the breath and following it are not quite zazen and recommends avoiding their use. Some lineages (mostly Rinzai) recommend a long period of breath counting before simply practicing zazen, others (mostly Soto) do not. Similarly, some recommend that if you are without a teacher, only practice breath counting not zazen, others encourage practice with or without a teacher.

Awareness
Do not concentrate on any particular object or attempt to control thoughts, emotions, or any modification of consciousness. By simply maintaining proper posture and breathing the mind settles by itself without fabrication. When thoughts, feelings, etc. arise, do not get caught up by them or fight them. Simply permit any object of mind to come and go freely. The essential point is to always strive to wake up from distraction (thoughts, emotions, images, etc.) or dullness and drowsiness. Letting go of any thought is itself thinking non thinking.
Arising From Zazen
Bow in gassho. Place hands on the knees and sway the body slightly and then more so. Take a few deep breaths and unfold the legs. Arise slowly especially if the legs are asleep and do not stand abruptly. Return your sitting place to its original condition. (Plump up the zafu and brush it off with your hand.)
Kinhin - Walking Zazen
Place the hands in shashu (or isshu). Walk clockwise around the room so that your right shoulder is toward the altar in the center of the zendo. The posture from waist up is the same as in zazen. Walk taking a half step for each full breath, slowly, smoothly, and noiselessly, without dragging the feet. Always walk straight ahead and turn to the right. Rinzai kinhin is often much faster and the pace may vary. Match your pace to that of the group.
Difficulties and Expedients
The art of right awareness may seem difficult and the description given above is idealized. If you are finding difficulties invent your own way. In zazen we each must find our own way. If you find you are struggling and need a suggestion as to what to do, it is possible to follow or count the breath among other things.
Counting the breath may be done on inhalations, exhalations or both depending on what you find useful. Count from one to ten and then simply start over again at one. Be aware of the count and the breath and try to maintain continuous awareness of both. If you find that you are constantly losing the count, try counting to five.
Following the breath is done by watching the rise with inhalation and fall with exhalation of the abdomen with each breath. The abdominal wall is viewed as a leaf slowly waving in response to the in and out breaths. Maintain awareness of the entire posture as much as possible and watch the breath reach and leave the lower abdomen.

Please note that opposite breathing (abdomen in on exhalation, out on inhalation) is a Taoist Qigong (energy yoga) method and is not appropriate to do with zazen since it has a specific, health related purpose.

Keizan Zenji recommends settling awareness in the abdomen if bothered by distracting thoughts and above the eyebrows or at the hairline if bothered by drowsiness. Others recommend watching contact of the air with the nostrils or upper lip if drowsy. Dogen Zenji mentions only the palm of the left hand as a point of concentration in difficulties. Hakuin Zenji also mentions slowly scanning the attention from the top of the head downward throughout the body, like following a slowly melting substance as a specific remedy against excess nervousness in zazen. These are mentioned here only as examples of the expedient devices that have been adopted by others. Remember these are only for use in difficulty, the norm of awareness for zazen is to be awake without preference to everything in the universe regardless of whether it is inside or outside the body. Be awake to everything over and over again, that is the essential art of zazen.

Once zen is regained, the rest of us can play ball.

Edited to include the wink.

[MTR]

Good luck with that.....

The blues on here will stick together through thick and thin

Or maybe they just know what is going on, the rules and watch they game with their eyes, not their heart

I hate bush league crap like that.

So do umpires unless it gets them more outs.

I'm trying to figure out how getting closer to the plate from an angle gives someone a better view of a catcher's sign. Seems to me, that would reduce the coach's field of vision.

I don't think the coaches give the players enough credit. In a state tournament this year (16U), a 3B coach must have been giving the batter 20 signals on every pitch. The pitcher was screwing around with a lot of garbage pitches most of the inning and the coach figured she was tiring. The count reached 2-2 and the coach screams, "move up in the box, up, up, up. You can hit this junk".

The pitcher looked over at the coach during the pause. Didn't even worry about getting a sign. Went into her delivery and smoked the batter so bad, it seemed the catcher had already returned the ball by the time the bat got around. Pitcher (15yo) snapped off the return from the catcher, turned and just stared at the 3B coach. Priceless! Point, sometimes I think coaches and parents overthink the entire situation and, at times, should just let the kids play. They know what they are doing.

[watcher]

DD gets a kick out of coaches trying to steal signs, Most of the time she calls the pitches & still has a coach flipping fingers in the dugout just for fun, If there is a runner on 2nd the location is a finger sign (not a tap on inner thigh) although a tap is given. The look on a batters face when a low & outside pitch comes in "high&tight" is more than priceless.

[wadeintothem]

DD gets a kick out of coaches trying to steal signs, Most of the time she calls the pitches & still has a coach flipping fingers in the dugout just for fun, If there is a runner on 2nd the location is a finger sign (not a tap on inner thigh) although a tap is given. The look on a batters face when a low & outside pitch comes in "high&tight" is more than priceless.

Wait? !!!

You mean...

You actually coach your players and play the game?!?!?!

What a novel approach to the game.

Are you sure you dont want the umpires help? You know, were known for helping. If you ever give up coaching your players, you can count on us to help ya out.

[wadeintothem]

If this is game has a time limit, the ball game is probably over. See below:

Instructions For The Practice Of Zazen (Sitting Meditation)
This zazen FAQ is based (with modification) on the publication Shikantaza: An Introduction to Zazen published by the Kyoto Soto-Zen Center. Some sectarian differences are noted under Difficulties and Expedients. The main text is minimalist in aiming to present what is most common in as many teaching lines as practicable.
Terms for zazen portion of FAQ (see also glossary)
Gassho (Korean: hapchang): See under Hand Positions.
Hokkaijoin (Cosmic Mudra): See under Hand Positions.
Hondo: A formal hall for rituals and ceremonies. The altar is against a wall in a hondo.
Isshu: See under Hand Positions.
Kinhin: Walking zazen.
Rinzai: A Japanese (Chinese: Linji) sect of Zen Buddhism.
Shashu: See under Hand Positions.
Sodo: A formal hall for meditation, meals, and sleeping. The altar is in the center of a sodo.
Soto: A Japanese (Chinese: Caodong) sect of Zen Buddhism.
Zafu: A small round cushion used as a seat in zazen.
Zabuton: See Zaniku.
Zaniku: A large reactangular flat cushion placed under the zafu which cushions the knees.
Zendo: An informal hall for zazen is practice, which may combine the function and layout of a sodo and hondo.
Zendo Manners
In a zendo the altar is placed in either the sodo or hondo position.
Enter the zendo on the left side of the entry, left foot first.
Gassho and bow to the altar.
Walk forward across the room past the altar and go to a seat turning corners squarely (cross in front of the altar only during kinhin).
Gassho and bow toward the seat, greeting the people to both sides.
The people on both sides respond to greeting.
Turn clockwise and face front.
Gassho and bow to those directly across room, greeting them.
They respond with a gassho-bow in greeting.
Sit down on the zafu.
Turn clockwise toward the wall. (If in a Soto style zendo, Rinzai style is to sit facing in from the wall.)
Always turn or move clockwise as viewed from above the zendo.
Hand Positions
Gassho is performed by placing the hands palm to palm slightly in front of the chest with the arms parallel to the floor.
Shashu is performed by placing the thumbtip of the left hand as close to the left palm as comfortable and making a fist around it. Place the fist in the center of the chest and cover it with the right hand. Keep the elbows away from the body with the forearms parallel to the floor.

Isshu is the same as shashu but with the left fist turned thumb side toward the chest. Left fist and thumb are parallel to the floor and not vertical as in shashu.

Hokkaijoin (Cosmic Mudra) is performed in the following manner. Place your right hand palm upward in your lap against the lower abdomen. Place the left hand palm upward on top of the right. The second joints of the middle fingers should be touching, and your fingers parallel. Raise the thumbs up opposite the fingers and touch the thumb tips lightly together; forming an oval between the thumbs and fingers. The thumb tips should join at the approximate level of the navel. In some Tibetan teaching lines the right hand is placed on top of the left.


Settling Into the Posture
Place a thick mat (zaniku or zabuton) in front of the wall and place a small round cushion (zafu) on it. Sit on it facing the wall. There are several positions for the legs. If not too cold sit with bare feet. Leave your wristwatch off.

The cross legged positions provide greatest stability. To sit in full lotus, place the right foot on the left thigh and then the left foot on the right thigh. To sit in half lotus place your left foot on your right thigh. Try to cross the legs firmly so that a stable tripod of support is provided by the knees and the base of the spine. The order of the crossing of the legs may be reversed. It is also possible to simply sit on the floor with one foreleg in front of the other or kneeling using a bench or a cushion. To sit in a chair, place the feet flat on the floor and use a cushion to elevate the seat so that the upper thighs fall away from the body and follow the rest of the applicable instructions.

Rest the knees firmly on the zaniku, straighten the lower back, push the buttocks outward and the hips forward, and straighten your spine. Pull in your chin and extend the neck as though to support the ceiling. The ears and shoulders should be in the same plane with the nose directly above the navel. Straighten the back and relax shoulders, back, and abdomen without changing posture.

Keep the mouth closed placing the tongue with the tip just behind the front teeth and the rest of the tongue as close to the roof of the mouth as comfortable. Keep the eyes at least slightly open cast downward at a 45 degree angle without focusing on anything. If closed you may slip into drowsiness or daydreaming.

Rest the hands palm up on the knees and take 2 or 3 deep abdominal breaths. Exhale smoothly and slowly with the mouth slightly open by pulling in on the abdominal wall until all air has been expelled and inhale by closing the mouth and breathing naturally. Hands still on the knees sway the upper half of the body left to right a few times without moving the hips. Sway forward and back. These swayings are at first larger and then smaller enabling you to find the point of balance of your posture.

Finally, place your hands in Hokkaijoin (Cosmic Mudra, the oval shape against your abdomen described above under Hand Positions).

Breath
Observe breathing during zazen, but do not try to manipulate the rhythm or depth of the breath. Breathe gently and silently through the nose without attempting to control or manipulate the breathing. Let the breath come and go naturally so that you forget all about it. Simply let long breaths be long and short ones short. On inhalation the abdomen expands naturally like a ballon inflating, while on exhalation simply let it deflate. There are some additional remarks about breathing under Difficulties And Expedients.
In some Rinzai and Tibetan teaching lines it is recommended that one feel a sense of strength in the abdomen in breathing, that the exhala- tion be done in a very slow smooth and gradual way or a very slight contraction of the anus on exhalation (this should be so slight it may be more felt as an intention than as a physical contraction) be per- formed. While these recommendations have their origin in energy yogas (Kundalini and Qigong) some Tibetan and Rinzai teachers recommend their use. Theravada and Soto teachers in general do not recommend this approach. Soto especially emphasizes just observing the breath as it is without trying to improve it in any way. Specifically, Dogen states that counting the breath and following it are not quite zazen and recommends avoiding their use. Some lineages (mostly Rinzai) recommend a long period of breath counting before simply practicing zazen, others (mostly Soto) do not. Similarly, some recommend that if you are without a teacher, only practice breath counting not zazen, others encourage practice with or without a teacher.

Awareness
Do not concentrate on any particular object or attempt to control thoughts, emotions, or any modification of consciousness. By simply maintaining proper posture and breathing the mind settles by itself without fabrication. When thoughts, feelings, etc. arise, do not get caught up by them or fight them. Simply permit any object of mind to come and go freely. The essential point is to always strive to wake up from distraction (thoughts, emotions, images, etc.) or dullness and drowsiness. Letting go of any thought is itself thinking non thinking.
Arising From Zazen
Bow in gassho. Place hands on the knees and sway the body slightly and then more so. Take a few deep breaths and unfold the legs. Arise slowly especially if the legs are asleep and do not stand abruptly. Return your sitting place to its original condition. (Plump up the zafu and brush it off with your hand.)
Kinhin - Walking Zazen
Place the hands in shashu (or isshu). Walk clockwise around the room so that your right shoulder is toward the altar in the center of the zendo. The posture from waist up is the same as in zazen. Walk taking a half step for each full breath, slowly, smoothly, and noiselessly, without dragging the feet. Always walk straight ahead and turn to the right. Rinzai kinhin is often much faster and the pace may vary. Match your pace to that of the group.
Difficulties and Expedients
The art of right awareness may seem difficult and the description given above is idealized. If you are finding difficulties invent your own way. In zazen we each must find our own way. If you find you are struggling and need a suggestion as to what to do, it is possible to follow or count the breath among other things.
Counting the breath may be done on inhalations, exhalations or both depending on what you find useful. Count from one to ten and then simply start over again at one. Be aware of the count and the breath and try to maintain continuous awareness of both. If you find that you are constantly losing the count, try counting to five.
Following the breath is done by watching the rise with inhalation and fall with exhalation of the abdomen with each breath. The abdominal wall is viewed as a leaf slowly waving in response to the in and out breaths. Maintain awareness of the entire posture as much as possible and watch the breath reach and leave the lower abdomen.

Please note that opposite breathing (abdomen in on exhalation, out on inhalation) is a Taoist Qigong (energy yoga) method and is not appropriate to do with zazen since it has a specific, health related purpose.

Keizan Zenji recommends settling awareness in the abdomen if bothered by distracting thoughts and above the eyebrows or at the hairline if bothered by drowsiness. Others recommend watching contact of the air with the nostrils or upper lip if drowsy. Dogen Zenji mentions only the palm of the left hand as a point of concentration in difficulties. Hakuin Zenji also mentions slowly scanning the attention from the top of the head downward throughout the body, like following a slowly melting substance as a specific remedy against excess nervousness in zazen. These are mentioned here only as examples of the expedient devices that have been adopted by others. Remember these are only for use in difficulty, the norm of awareness for zazen is to be awake without preference to everything in the universe regardless of whether it is inside or outside the body. Be awake to everything over and over again, that is the essential art of zazen.

Ejecting the whiners and idiots is much quicker.