No, I'm not that old. Years ago I bought a Bert Kinister tape called Classics that featured real old-timers - Greenleaf, Hoppe, Erwin Rudolph, Frank Taberski, and others. I watched it again yesterday. The tape is assembled mainly from outtakes from old Movietone News films, which were news shorts that were shown in movie theaters in the days before television. The outtakes were largely missed trick shots or staged scenarios that wound up on the cutting room floor. The Kinister tape is not worth buying, but it does have a fair amount of Greenleaf footage (mostly trick shot practicing).
Greenleaf played with a very stylish stroke. It was a slip stroke - not a big one, just 3 inches or so. He used a very short bridge by today's standards and shot quickly, using two or three quick warm-up strokes. What I found interesting is how similar it was to Mosconi's stroke. I did see Mosconi play in person twice in the 60's - post-Hustler room opening exhibitions. In person Mosconi played quite a bit looser and quicker than he did on television.
In his autobiography Mosconi freely admits to copying Greenleaf, but I didn't know that his copying extended even to his stroke. Mosconi also used a small slip stroke after about two quick warm-up strokes. Greenleaf's rhythm on the tape also appears similar to Mosconi's - fast and loose rather than slow and deliberate.
Greenleaf played with a very stylish stroke. It was a slip stroke - not a big one, just 3 inches or so. He used a very short bridge by today's standards and shot quickly, using two or three quick warm-up strokes. What I found interesting is how similar it was to Mosconi's stroke. I did see Mosconi play in person twice in the 60's - post-Hustler room opening exhibitions. In person Mosconi played quite a bit looser and quicker than he did on television.
In his autobiography Mosconi freely admits to copying Greenleaf, but I didn't know that his copying extended even to his stroke. Mosconi also used a small slip stroke after about two quick warm-up strokes. Greenleaf's rhythm on the tape also appears similar to Mosconi's - fast and loose rather than slow and deliberate.