First of all I want to let you know how much I enjoy your web page. Great job. Secondly I want to talk about your thoughts on the “perfect technique.” In your Roger Federer video you show how he uses a lot of different stances, not stepping through and things like that and is able to still make great shots. Then you also mention that the way he swings the racquet at contact in all of these examples is why he plays so good. In my opinion it IS because he has practiced the “perfect technique” so much that when he is put into those difficult situations he is able to bring the racquet through the ball the correct way all the time. Because regardless of what your body does your arm still has to produce the shot. All the other stuff like tack back, follow through and stepping through are just helpers to be more consistent. The way I teach my students is to “never change your stroke through the ball no matter how out of position you get.” Can you do this 100% of the time? No, but when you make THAT effort you will be amazed at how well it improves their footwork effort.
In 2001, the Australian Open replaced the deciding third set of mixed doubles with an eighteen-point "match tiebreak" (first to ten points and win by two points wins the match). Despite some criticism of the change by fans and former pros, the US Open and the French Open have since gone on to join the Australian Open in using the same format for mixed doubles. Wimbledon continues to play a traditional best of three match, requiring an advantage set for the third set.
The origin of the term "racket" is unclear. According to a popular belief first published by tennis player Malcolm Whitman in 1932, the expression comes from the Arabic term rahat al-yad, meaning "palm of hand". Modern research however, holds this thesis in a highly questionable light. Instead, the term is more likely to be derived from the Flemish word "raketsen" which is itself derived from Middle French "rachasser", meaning "to strike (the ball) back".
During the 19th century the Royal Tennis Court played a variety of different roles. It served as a theatre storeroom, a workshop and storage space, and a studio for the painters Antoine-Jean Gros and then Horace Vernet. It was listed as a national monument in 1848, then became a games room again under the Second Empire. Approaching the centenary of the oath, under the Third Republic, architect Edmond Guillaume was invited to restore it and convert it into a museum of the French Revolution. The architect used original engravings to reconstitute the spirit of the room, which had been modified and had deteriorated over the course of the century. The museum housed the statue of Bailly, busts of the most important signatories of the oath, and a monumental canvas by Luc-Olivier Merson, based on Jacques-Louis David's preparatory drawing. The museum was inaugurated on 20 June 1883 in the presence of Jules Ferry.
^ Lorde (2013). Lyrical Influences (VEVO LIFT): Brought to You By McDonald's (video). VEVO/YouTube. Event occurs at 2:25. Retrieved 22 November 2013. When I wrote "Tennis Court", I was looking at a lot of photography by this guy called Gregory Crewdson who, um, makes these huge, super intricate, really beautiful photographs. They kind of just, like, depict human life, and there is this an emptiness to them and there is a suburbia to them which I find really compelling. And so I was definitely thinking of that visually.
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