Culture
Why Padres' Robert Suarez is spamming fastballs — and why hitters still can't hit them
SAN DIEGO — Kyle Higashioka spent seven seasons crouching behind home plate for Aroldis Chapman, Gerrit Cole and other pitchers with rare arms and uncommon velocity, but in his first season with the Padres, the veteran catcher has found himself marveling at what feels like a true anomaly.
Robert Suarez, San Diego’s soft-spoken, hard-throwing closer, is spamming high heat like no other pitcher in the majors. His combined fastball usage has jumped almost 30 percentage points from last season. He has gone to his four-seamer, which averages 98.5 mph, just over 80 percent of the time. He has mixed in his sinker (97.9 mph average) on close to 11 percent of his pitches. And in one remarkable eight-game span last month, Suarez reached back for 79 fastballs in a row.
“People don’t even do that in high school,” said Higashioka, who played prep ball against Cole more than a decade before the two Southern California natives became batterymates on the New York Yankees. “It’s pretty crazy.”
It would be even more peculiar if Suarez, 33, were having limited success with such an approach. But the Venezuelan right-hander is neither stubborn nor unimaginative. Suarez owns a 0.52 ERA across 16 appearances. In an otherwise shaky Padres bullpen, he is tied for the major-league lead in games finished (16), saves (12) and saves of more than three outs (three). Opponents are hitting .250 (1-for-4) against his plus changeup and just .093 (4-for-43) against a four-seamer that has warranted the heavy usage.
“It’s got the ride, the characteristics, and he’s pitching at the top of the zone,” said Los Angeles Dodgers manager Dave Roberts. “You know what’s coming, but a lot of the swings, (batters) just can’t catch up to it. I don’t like when he comes into the game.”
Why has a frequently seen fastball been so unhittable?
“I’ve been helped a lot by (Padres pitching coach) Ruben Niebla in using all sorts of analytics towards my pitches, primarily the spin rate,” Suarez said recently through team interpreter Pedro Gutiérrez. “That’s allowed me to execute a little bit more.”
Saturday, hours after Suarez threw 11 four-seamers, two sinkers and nothing else in a perfect inning against the Dodgers, Niebla explained in more detail.
Suarez has acquired a practical understanding of spin efficiency, Niebla said, since San Diego signed him out of Japan’s top professional league after the 2021 season. While there is no proven way to significantly boost raw spin rate without the aid of banned foreign substances, Suarez has increased the active spin — a Statcast metric that measures spin that contributes to movement — on his four-seamer from 93.7 percent in 2022 to 95.9 percent this season. Since the end of 2023, the pitch has gained almost an inch of average vertical movement, the “ride” Roberts mentioned.
“If he starts working inside the ball a little bit too much, his four-seamer starts running and we’re going to lose spin efficiency,” Niebla said. “If it cuts a little bit, we’re going to lose spin efficiency. Right now, he seems to be clicking. Like, metrically, he’s behind the ball and really getting that pure backspin.”
More than 90 percent of Robert Suarez’s pitches this season have been fastballs. (Tim Nwachukwu / Getty Images)
Calibrating Suarez’s delivery has been key. Early in spring training, Niebla noticed that the pitcher was moving well down the mound with his lower half but also that his torso was “a little bit behind.” Suarez struggled in his first few Cactus League appearances, even as he and Niebla worked to address the root cause. It wasn’t until Suarez’s final spring outing in Arizona that Niebla felt the reliever had fully synced up his timing.
“Even when he went to Korea (for the season opener against the Dodgers) … I was still a little bit nervous, and then it was good,” Niebla said Saturday at Petco Park. “Then he came out here. And then you just track — I’m just tracking. But right now, I feel it’s pretty simple where I don’t even have to talk to him. It’s just like, ‘You’re in rhythm.’ I don’t even tell him that he is in rhythm.”
Higashioka played six seasons with Chapman, who still holds the Guinness World Record for the fastest major-league pitch, a 105.8 mph ball thrown to Tony Gwynn Jr. at Petco Park in 2010. “He’s pretty high-effort,” Higashioka said. “You could tell he was using every ounce of his strength to get everything behind it.” Suarez, meanwhile, possesses what approaches the textbook definition of “easy gas.”
“Sometimes,” said Padres starting catcher Luis Campusano, “it almost teleports into my glove.”
Those who have spent time around Suarez point out something else.
“He’s got really good command,” Roberts said.
“The first bullpen I caught, I was amazed at the command,” Higashioka said. “It was just, like, almost pinpoint. And for a guy to be throwing 100 with above-average command, I mean, that’s pretty special.”
“There’s a combination of being able to hit 100 but being able to hit 100 when this guy’s putting it to the top of the zone and then goes to the outer half of the zone, and all of a sudden there’s a two-seamer that he can lock you up on,” Niebla said. “It’s like, ‘Oh, s—, was that it or was that the other one?’”
During his run of 79 consecutive fastballs, Suarez threw 74 four-seamers and five sinkers. He allowed no runs, two singles and two walks. (The only run off Suarez this season came March 28 when Michael Conforto struck a changeup for a solo homer.) He recorded only five strikeouts, but he induced consistent weak contact and kept hitters off balance by varying the speed of his delivery.
Sometime around the 40th or 50th fastball in a row, a number of Suarez’s teammates began talking among themselves: Something different was happening.
“I think we were all just kind of monitoring,” Higashioka said. “We noticed that he wasn’t really throwing anything else but he was still dominating. It was pretty cool.”
“I know that fastball usage is high, but it’s been his best weapon. It is his best weapon,” Campusano, Suarez’s primary batterymate, said on April 22 before a game at Coors Field. “So, kind of just mixing up the whole times to the plate, it makes it really that much more effective. I feel very confident just using it until someone can prove they’re gonna put a good swing on it.
“You know 100’s coming. You just don’t know where it’s coming.”
Robert Suárez 100mph ⛽️⛽️ pic.twitter.com/ZMSQtDHInk
— Rob Friedman (@PitchingNinja) May 7, 2024
A prudent competitor, of course, never reveals too much. Several hours after Campusano spoke, the catcher called for a 1-2 changeup instead of what would have been Suarez’s 80th straight fastball. Sean Bouchard fouled it off. Then, against the next pitch, the Colorado Rockies outfielder doubled.
It was the lone extra-base hit Suarez had surrendered this season with his fastball. Now, three weeks later, it still is. And Suarez has only increased his usage of that pitch. So far in May, he is throwing the four-seamer nearly 90 percent of the time. Hitters this month are 0-for-14 against it.
“It’s like, this is my strength,” said Niebla, who maintains that Suarez continues to work between games on his changeup and cutter/slider, a pitch he has yet to throw in a game this year. “As a reliever, you got to use it.”
Since the pitch-tracking era began in 2008, only a dozen pitchers have thrown a four-seamer, a sinker or a cutter with at least 90 percent of their pitches (minimum 500 total pitches). Mariano Rivera, widely recognized as the greatest closer of all time, leads the way at 98.5 percent; his famous cutter comprised 87.6 percent of his pitches during that span.
Across the past 16 seasons, no one threw a four-seamer or sinker more than 86.7 percent of the time. In 2024, Suarez (68.3 percent over his big-league career) is at 91.3 percent. The only pitcher throwing non-cutter fastballs more often this season is former Padres reliever Tim Hill, and the left-hander’s average four-seamer is 8 mph slower than that of Suarez, who has logged 13 pitches of at least 100 mph.
There may come a time when opponents’ adjustments or other factors prompt Suarez to dial back the extreme fastball reliance. For now, who knows when his next off-speed pitch will come: One of baseball’s more automatic closers entered Sunday having thrown 32 consecutive fastballs.
(Top photo of Robert Suarez: Michael Reaves / Getty Images)
Culture
Finding Wisdom in a Poem by Wendy Cope
Where do you turn when you need advice? A chatbot? A life coach? A wise and trusted friend?
How about a poet? Poets may not be famous for making the best life choices, but because they subject the mess of human existence to the discipline of language, they can be as helpful as any therapist or mentor.
Good poets know the rules and when to break them, which is something they can teach the rest of us.
To wit:
Giving advice is a peculiar literary undertaking. It flourishes in certain popular genres — graduation speeches, newspaper columns, country and western songs and poems like this one — but what, in these contexts, is it really for?
I’m thinking of situations when you don’t urgently need help but nonetheless enjoy reading answers to questions you may not have thought to ask. What interests you isn’t the content of the advice — you could get all the life hacks you want from A.I. — so much as the voice of the person dispensing it.
Wendy Cope is an English poet, born in 1945, who has been a fixture of her country’s literary scene since the 1980s. More recently, her short, buoyant poem “The Orange” has been widely memed online, bringing her to the attention of new readers beyond Britain.
Cope favors rhyme, meter, brisk jokes and tart aperçus. She addresses romance, friendship and the petty absurdities of modern life with disarming good humor. The last line of “The Orange” is “I love you. I’m glad I exist.” Somehow she makes it the opposite of cringe.
This isn’t the kind of poetry you would describe as “confessional.” And yet …
Question 1/7
Stop, if the car is going “clunk”
Or if the sun has made you blind.
Don’t answer e–mails when you’re drunk.
Tap a word above to fill in the highlighted blank.Want to learn this poem by heart? We’ll help.
Fill in the missing words below. You can always refer to the reading by A.O. Scott and full
text above.Let’s start with the first stanza.
Culture
Can You Match the Places These Authors Lived With Settings in Their Books?
A strong sense of place can deeply influence a story, and in some cases, the setting can even feel like a character itself. This week’s literary geography quiz highlights places where authors were born (or lived) that later became locations in their books. To play, just make your selection in the multiple-choice list and the correct answer will be revealed. At the end of the quiz, you’ll find links to the works if you’d like to do further reading.
Culture
Book Review: ‘America, U.S.A.,’ by Eddie S. Glaude Jr.
AMERICA, U.S.A.: How Race Shadows the Nation’s Anniversaries, by Eddie S. Glaude Jr.
For those of us in the national memory-keeping business, anniversaries hold near-totemic power. Satisfyingly round units of time, ideally bearing fancy, Latin-derived names, serve as the overburdened pegs on which to hang think pieces and museum exhibits, revisionist documentaries and maudlin public ceremonies. The arbitrary nature of such occasions is precisely what gives them their charge, inviting us to set aside complacency and submit to a comprehensive check-in.
In his new book, “America, U.S.A.,” Eddie S. Glaude Jr. presents an intriguing variation on the genre, seeing the country’s 250th birthday as an anniversary of anniversaries: 50 years since the malaise-ridden, schlock-heavy Bicentennial. A century since the subdued Prohibition-era Sesquicentennial. A century and a half since telegraphed reports of George Armstrong Custer’s defeat by the Lakota and Cheyenne at Little Bighorn rudely interrupted the Gilded Age Republic’s 100th birthday party.
If an anniversary offers a snapshot of a moment, the core of Glaude’s book is an old-timey photo album, a collection of notable episodes from earlier national reckonings, long-ago glances in the mirror. An estimable scholar of Black history, politics and religion at Princeton — best known for “Begin Again,” his 2020 meditation on James Baldwin’s relevance for our times — Glaude focuses, as his subtitle puts it, on “how race shadows the nation’s anniversaries.”
Such celebrations, he contends, have never really been the moments for honest self-reflection they are often advertised to be. Instead, the nation usually shatters the mirror, refusing to accept what it prefers not to see. “American anniversaries are often moments to turn a blind eye to the evils of the past and the present,” Glaude writes, “to suppress the fact of America’s divided soul.”
It’s a clever concept, and, needless to say, perfectly timed. Last year, Glaude notes, the Trump administration executed a hostile takeover of the government’s studiously bipartisan 250th anniversary planning. It is now preparing a program that is certain to conceal more than it reveals about the country ostensibly being celebrated.
Glaude, in no mood for celebration, argues that such omissions and evasions also defined commemorations in the past. In 1875, Frederick Douglass predicted “one grand Centennial hosannah of peace and good will to all the white race of this country.” He was right: The nation reached 100 years old at a crucial moment in the post-Civil War fight over racial equality, with white Northerners ready to give up on Southern Reconstruction. The occasion would help the once-warring sections to reunite around a shared commitment to white supremacy. On May 10, 1876, at the opening of the Centennial Exposition in Philadelphia, the police tried to bar Douglass from the grandstand, until a white politician vouched for him.
The 150th anniversary came soon after a resurgent Ku Klux Klan successfully pushed for a restrictive immigration law aimed at keeping America a “Nordic” nation. At the lavishly funded, lightly attended celebrations in Philadelphia, Black veterans of World War I were excluded from marching in the opening parade. A writer with The Associated Negro Press wondered “what was in the breast of those black men who fought to make America safe for Democracy and on Monday stood on the sidelines, forgotten, as the Nordic strode by in all his vain pride.”
By 1976, when the nation marked its Bicentennial, the violence of the ’60s had destroyed any semblance of consensus. Vietnam and Watergate had eroded trust in the government. The commission initially tasked with organizing the anniversary was disbanded amid reports of corruption. Corporations filled the vacuum, Glaude explains, with “star-spangled whoopee cushions; patriotic toilet seats; Liberty hamburgers; red, white and blue beer cans.” The author, around 8 years old at the time, dimly remembers donning a pair of tricolor trousers.
A half-century later, Glaude is refreshingly honest about the depths of his despair. “I do not love America, and never have, especially now,” he writes in one of the more startling opening sentences I’ve read in some time. He dismisses this year’s Semiquincentennial as reaching back “to a storybook America that requires either the banishment of Black people from view or the reduction of our role in the country’s history, so as to affirm America’s ongoing quest to be a more perfect union.”
Undoubtedly true. But Trump doesn’t own the country, at least not yet, nor the 250th anniversary of one of the most radically liberatory and confusingly contradictory events in world history — an inspiration, as Glaude shows, even to critical observers of the American experiment, like Douglass. Far from the revanchist MAGA-palooza in Washington, I suspect this summer’s unasked-for invitation to national soul-searching may surprise us yet.
Despite his despair, Glaude concludes that “the past still offers resources for us to freedom-dream.” So, too, does this book.
AMERICA, U.S.A.: How Race Shadows the Nation’s Anniversaries | By Eddie S. Glaude Jr. | Crown | 270 pp. | $31
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