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meeting and three hundred people showed up. They said, ‘We don’t care how many Japanese die of pneumonia, we don’t want your bloody changing room.’ Every change is resisted, regardless of its merits. So Beveridge is not a popular chap.” It would be hard to imagine Old Tom getting worked up about changing rooms. He was a man who walked to the sea every morning, including the winter months, and went for a quick dip—three strokes out, three strokes in. It was his elixir. Then he’d walk across the first and last holes of the Old Course, dripping, and return to his flat above his shop. “The Old Course is a phenomenon,” Beveridge said. “The New Course is a better course, per se, a better test of golf, but you cannot convince the people of that. It is simply not the Old Course. People have been conditioned by books and articles on the Open to think of the Old Course as truly the Home of Golf, as the course every golfer must play, as Mecca. They come here with this great feeling of anticipation, with this idea that they’re going to savor their every shot, and document a goodly portion of their round on film or videotape. They must complete every hole, no matter what kind of score they run up, so they can have all the boxes in their scorecard filled up, so they can keep their scorecard. They’ll say, ‘I shot a hundred and thirteen on the Old Course, and I counted every last stroke.’ “The ultimate beauty of the Old Course is that it is not fair, and in that it approximates life. You can do all the planning you like, but in the end the Old Course has the final say. If you make a shot, you must accept the outcome. You can’t play it again. That is preparation
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