This may get long, may not. But I believe it will shed a little light on the subject.
I believe some are more naturally talented than others to play pool. But, that only gives them a head start on playing very well. It is not a limiting factor. What one has to do, is look at just what "natural talent" actually is. Why can some savants play music so well, or work with numbers beyond what "normal" people can do? Just what is "talent"? Therein lies the answers.
Each of us that has a working brain has wiring connections in that brain that enable us to do things. The wiring of the brain is a certain amount and wired a certain way in our formation in the womb. However, that wiring does not stay that way forever. It is constantly changing every day. That "wiring" is responsible for what we can and cannot accomplish. When someone has a stroke, some of that wiring is destroyed. That's why they can longer speak, or walk, or move their arms, or whatever. Yet, with intense training, most can regain some use of their limbs again.
They do that by repetition. Repetition forces the brain to re-wire itself, make more connections, and work properly again. This process is extremely fast in the young, and decreases with age, but never goes away completely.
Just like men and women's brains are wired differently, which gives them each different "natural" abilities, each of our brains are wired a little differently. The more "connections" one has, the more adept we are at doing something.
When you take a child and train him to play pool, he will learn much faster than an older person will learn. That is because the young rewire the brain much faster than the old. And, it will take far less repetitions to learn something than it will take the older person to learn to do the same thing. Because of that, an older person that had some activity to increase the wiring for hand-eye co-ordination early on will learn to play pool much faster than the older person that never had those activities.
The older person can still achieve the same level of performance, but it will take much more work to do so. At an older level, there is no "realistic" goal to make all that work worthwhile, so it is rare to find an older person actually take the time to train as necessary. So, because it is rare, most say it can't be done. It can be done if the desire is there. Stroke patients are a perfect example of having the desire to work hard enough to re-wire the brain.
Now, the part about becoming a pro player at a later age- yes, that is very possible to happen. However, it also is very unlikely to happen. No reason for anyone to work that hard for it.
One must also take into consideration one of the larger, often overlooked aspects of the game. The mental side of it. The mental side is what largely differentiates the upper levels of play. Just like one has to attain the "wiring" for repeatable fundamentals, one must also almost always rewire the brain for proper mental aspects of playing at a high level.
Because of this wiring of the brain, anyone trying to get better after a few years is best served by using proper fundamentals. Proper fundamentals require the least amount of wiring to be installed. Crooked strokes like Mike Davis for example, require that either one learned early on with faster wiring installation process, or one needs to allow for much longer time for wiring all components to make a stroke like that repeatable. It can be done, at any age. But, it will take much longer to learn than learning the "textbook" way will.That is because there are many more aspects to it, and it requires a much larger amount of wiring all connected correctly to achieve the desired outcome.
The more wiring we have for a given task, the quicker we will be able to "recall" just what to do. The more we know what to do, the more wiring we have. That is why it is so important to really pay attention to details. What does what. That detail orientation is making more wiring for what we want to recall. The less we use a certain wiring path, the more that wiring will diminish until eventually we can't recall what we once knew.
You often hear instructors say to not play competitively for a while after getting a lesson. The reasoning behind that is just what I stated above. In a pressure situation, our mind will revert to the easiest path for remembering what to do. That would be the path with the most wiring. That would be the old way of doing things. It requires repetition of a new way of doing something to create that new wiring path. The more we do it, the more wiring. The less we do the old way, the less wiring in that path. Eventually, the new path becomes the default path, and over time the old way can actually be diminished to the point that we can't remember what it even was. Proper fundamentals require the least amount of wiring to make a solid default path to remember. Hence, it is usually the method taught. When someone like Mike Davis goes to an instructor, he has such a solid wiring path already that works for HIM, that only minor tweaks would be added. Not a whole new way of playing the game. No need to create new wiring to accomplish the same purpose. It's when our present wiring doesn't work properly that new ways are added.
Starting to get off track here, so I will end it here for now.
Great post, Neil! I agree with all of this. Something can be said for someone's brain being "pre-loaded" with abilities -- whether they be physical or cognitive -- and at the same time, there's something to be said for the brain's ability to upgrade and repair itself, as well.
Those in favor of "nature" are grossly overlooking that fact.
Sure, it takes time and effort to build those physical/cognitive abilities, and there's a level of dedication and effort there that most of the "nature" subscribers have neither the time or the gumption to put into it. So they write it off as "oh, the heck with this -- he/she was just born with those abilities, and I will never have that."
The level of dedication and effort to put into learning a skill, or acquiring a physical ability is not trivial by any stretch of the imagination. I can attest to this by the sheer amount of single-focused hard-headed effort I had to put into transforming the "no-rhythm-feeling white boy" into a very respected bass player:
http://forums.azbilliards.com/showthread.php?p=4803629#post4803629
I had to work my bloody ass off for it. But you know what? I must've done some rewiring upstairs, for all the obstacles came crashing down like dominoes -- and in very short order, too. First, knowing my way around the fretboard (that was actually easy in comparison); then, hearing that metronome click in my head (without music playing); and finally, "feeling" how to play in, out, and through the rhythm -- syncopation and the finer arts of counterpoint and polyrhythm. This happened in very short order. Almost like I woke up one day transformed, like I had new abilities. Like all that hard-headed practice and studying finally "took" and planted itself firmly in my subconscious.
Here's another thing I learned. You know how people talk of another "musically gifted person, who is 'so' good, that he/she can hear a note and immediately and perfectly identify the precise note it is"? In other words, perfect pitch?
"Oh my gosh, Neil is so musically gifted, that you can hit any note on the piano while his back is turned, and immediately after the note sounds, he can tell you what that note is -- A, C#, Eb, whatever. OMG, OMG!" You've heard this before, right? (Perfect pitch, btw, is not to be confused with Relative pitch, the latter of which is the ability to identify other notes and intervals based on a reference note that you play for that person first, and he/she is able to identify the relation of that note to other notes, like thirds, fifths, sevenths, octaves, etc.)
What if I told you that even perfect pitch can be taught? Yes, that's right -- chew on that one for a bit, nature subscribers. All perfect pitch is, is being able to listen for the "chroma" in a certain note. All notes of the chromatic scale have a certain identity on the scale, that is unique to that note alone. While some people (1 in 10,000) are born with the "software" in their brains to hear the chroma (the chroma literally "jumps out at them"), it's not something you "have" to be born with. Being born with it certainly helps. But you can build it.
Here's an example: F# (F-sharp) and Eb (E-flat) are radical opposites in chroma, even though they are fairly-close neighbors on the chromatic scale in comparison to the other notes. That is to say, they are polar opposites to someone with perfect pitch cognitive abilities. Walk up to any piano in a quiet room, strike an F#, and listen carefully. Don't listen to the "scale" of the note (i.e. how high or low it is), but rather, listen deep into the sound itself. Do the same for an Eb. Alternate between them, striking an F#, letting the note die, and then hitting an Eb, and letting it die. Do you hear "Weeeeeeeeeerrrrrrrr" (somewhat buzzy) characteristic of the F#, and the "Wooooooooeeeeeeee" (dull) characteristic of the Eb? That's the chroma I'm speaking of, and this is the thing that jumps out at those with perfect pitch, where they're immediately able to identify and say "That's a F#." or "That's an Eb.". There's this famous story of a piano maker who pulled his hair out for decades trying to find out why the F# notes on his pianos were so bright and buzzy, and the Eb notes were so dull. He did everything to get to the root of it, using different materials, strengthening, using different materials for strings, etc. To no avail. One day, while fussing over this on one of his pianos, a piano player with perfect pitch cognitive abilities saw what he was doing, and asking him why he was fussing over such a beautifully-sounding piano. When the piano maker explained this "oddity" he was hearing between these two notes, the piano player explained that he was hearing the chroma in the notes
themselves -- that the piano maker had trained himself to hear this, and he was already on his way to learning perfect pitch.
Yes, I've taught myself perfect pitch, because I was interested in this "mysterious god-like ability" of these people, and I wanted to know more about it in the interests of being the hard-headed complete musician I wanted to be. But contrary to those nature subscribers, perfect pitch is
not an indicator of musical ability. In fact, it can be a detriment! For example, if a perfect pitch-cognizant musician is aware that a certain score is played in C# (as written and as commonly heard), and he/she hears it being played in a slightly different key (e.g. perhaps the orchestra has to play it in a different key that sounds better in the acoustics of the particular venue they're playing in), it will sound like fingernails on a chalkboard to the perfect pitch-cognizant ears. Perfect pitch is certainly useful, and does come in handy, but Relative Pitch is much, MUCH more useful, and is the cognitive ability that most who teach themselves an instrument breed in themselves. This is the ability that enables someone to hear a piece of music, hear the notes/chords/intervals, and immediately start to reproduce it.
Anyway, I think my point in all this, is that with enough dedicated, and I repeat, dedicated (did I mention dedicated?) effort, your brain WILL rewire itself. It's part of the adaptation of our species, and it's in our genes.
No, I'm not saying that if you "dedicate" yourself to being 7-feet tall (when you're only 5'8"), that you can achieve this. Let's be reasonable. I'm talking mainly things that involve the brain, directing the muscles. Other than feats of superhuman strength or speed due to physical muscle fiber makeup (e.g. more slow-twitch or more fast-twitch muscle fibers that are a genetic thing), the human being is a remarkable, adaptable machine. Only those machines programmed with chicken-little software limit themselves.
-Sean