The Dodger way

Sporting News, The, Feb 16, 1998 by Tom Singer

During a 17-season career split between the two leagues, Reggie Smith was truly a star. He packed power (first switch hitter to hit 100-plus homers in each league), made strong contact (seven-time .300 hitter, was a threat on the bases (137 career steals), was a defensive force (1968 A.L. Gold Glove), was a winner (four World Series appearances, one championship in '81) and was respected (seven All-Star teams).

Today, Smith is starting his fifth season as hitting coach for the Dodgers, a team synonymous with fundamentals.

Tom Singer, a writer based in Anaheim, went to Dodger Stadium recently and asked Smith to teach TSN readers how to play smart baseball.

HITTING "It starts with knowing what is a good pitch to hit and having the discipline to wait for it. Then irs Important to have a bat that you can control and a stance with which you're comfortable. It's different for everyone and requires a lot of trial and error. The three basic stances are: open, closed square or boxed. You hit with your legs--your bat speed, your power, your bat-control, your quickness are all generated from what you do with your hips at the instant you turn into the pitch."

BUNTING "Take your normal stance, then make a half-turn while sliding the top hand (right hand, for a righthanded batter) to somewhere in the area of the label, making sure the thumb and fingers are protected underneath and behind the bat. Maintain the barrel of the bat at an angle above the planned trajectory of the ball--for most situations, that would be at about 45 degrees--and try to bunt the top of the ball."

RECEIVING SIGNS "The key is the ability to concentrate on the situation, knowing what is called for. For example, any time there is a runner on first base and you are either ahead or one run behind, you have to be aware the manager might put one of two signs: It'll be a bunt sign, or a sign that requires the runner to go. So, as the batter, you either have to bunt or make contact to get the runner into scoring position. It's really quite simple. There is no excuse for missing a sign."

BASERUNNING "You don't have to be fast to be considered a good runner. It takes practice, going out there and learning what is your maximum lead, how far off the base you can go and still be able to get back to the base safely. Learn to anticipate how and where the ball is hit Watch the tendencies of the outfielders: How deep is he playing, how strong an arm does tie have, how accurate does he throw? And, again, know the situation--the number of outs, knowing when to take a chance, being aware of when that extra base is needed."

STEALING BASES "This is an art form that requires the brain and eyes. Learn the tendencies of the pitcher. Here, too, the lack of speed can be overcome. I have seen guys who were not fast runners, but worked themselves Into good basestealers by exploiting the pitcher's tendencies."

SLIDING "The slide should prevent you from getting tagged, not something you do just for show. I have to decry the advent of the headfirst slide. People W they get to the bag sooner and it looks aggressive. But there is no evidence that you gain ny more time by going in headfirst Plus, the headfirst slide is extremely dangerous."

THROWING "The proper way to throw is with your legs. Plant your feet firmly and have them propel your body in the direction of the throw even before you release the ball. If you set up properly to throw, a lot of the initial energy is expended through the legs. Then that energy is released through the arms."

HITTING THE CUTOFF MAN "The outfielder is the last barrier for a batted ball. He cuts the ball off from rolling to the fence (in this case the LF). Now what? An outfielder with a medium-strength or poor arm needs to work on his accuracy. Preferably, he should hit the first cutoff man (in this case the SS), so the ball can be thrown back to the infield as quickly as possible in order to stop the runner (*) from taking the extra base. Practice teaches you the anticipation--you always play `what if?' If the ball is hit here, what am I going to do with It? You need to have an idea of where the cutoff man is going to be before you turn and look for him. Then, it's all footwork."