Female Grunting is distracting to opponents

SCREAMING tennis players are a distraction for opponents and the current crop of female stars have taken the problem to new levels, US legend Chris Evert said in Sydney yesterday.

Number eight seed Victoria Azarenka and Portuguese teenager Michelle Larcher de Brito have been at the centre of fevered debate at this year’s Wimbledon about the decibel levels during matches.

Now the International Tennis Federation is believed to be considering outlawing such distractions as “noise hindrance” under its code of conduct.

Nine-time Wimbledon champion Martina Navratilova believes the scream queens are gaining an unfair advantage and Evert, her one- time great rival, agrees with her.

Evert, winner of 18 Grand Slam singles titles in the 1970s and 80s, said a particular concern was that the noise from grunters often appeared to increase on key shots.

“Grunting is one thing but the shrill sound that you hear with players nowadays and especially (when) they get louder when they hit a winner, that’s the thing that I observe as a player,” said Evert, in Sydney with golfer husband Greg Norman.

“It comes before they hit the shot. That’s the first thing you hear and you are thrown off-guard as a player and then before you know the ball gets past you.

“Really, the next time you watch, say Maria Sharapova, the grunting is consistent but all of a sudden when she has a set up, she has a winner, the grunting gets louder.

“That’s a distraction to me because you are hearing a loud grunt before you see the shot. Is it distracting for a player? Yes it is.”

Evert, 54, said tennis went through a similar problem with former world number one Monica Seles in the 1990s, but now it is more widespread.

“Because Monica Seles is such a lovely girl, we didn’t want to rub it in too much,” said Evert.

“But it is distracting when you are hearing this and I think the grunts are getting louder and more shrill now with the current players.

“I don’t know how you measure it, I don’t know what you do.”

Roger Federer playing hard in January

Roger Federer is set to play the most matches he has ever played in January.

First, Federer will start with a lucrative exhibition in Abu Dhabi this week that includes Rafael Nadal and Andy Murray.

He will then play in the Qatar Open before competing in the Kooyang Classic in Australia.

At this same time last year, Federer was afflicted with mono unknowingly and it affected his matches at the time.

This year he is hoping the do better than last facing rivals Nadal and Murray. Last year Federer was 1 and 7 against both.

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THE VOLLEY AND OVERHEAD SMASH

THE VOLLEY AND OVERHEAD SMASH.

The net attack is the heavy artillery of tennis. It is supposed to crush all defence. As such it must be regarded as a point-winning stroke at all times, no matter whether the shot is volley or smash.

Once at the net hit from the point at the first opportunity given to get the racquet squarely on the ball. All the laws of footwork explained for the drive are theoretically the same in volleying. In practice you seldom have time to change your feet to a set position, so you obviate trouble by throwing the weight on the foot nearest to the ball and pushing it in the shot.

Volleys are of two classes: (1) the low volley, made from below the waist; and (2) the high volley, from the waist to the head. In contradistinction to the hitting plane classification are the two styles known as (1) the deep volley and (2) the stop volley.

All low volleys are blocked. High volleys may be either blocked or hit. Volleys should never be stroked. There is no follow through on a low volley and very little on a high one.

You will hear much talk of "chop" volleys. A chop stroke is one where the racquet travels from above the line of flight of the ball, down and through it, and the angle made behind the racquet is greater than 45 degrees, and many approach 90 degrees. Therefore I say that no volleys should be chopped, for the tendency is to pop the ball up in the air off any chop. Slice volleys if you want to, or hit them flat, for both these shots are made at a very small angle to the flight-line of the ball, the racquet face travelling almost along its plane.

In all volleys, high or low, the wrist should be locked and absolutely stiff. It should always be below the racquet head, thus bracing the racquet against the impact of the ball. Allow the force of the incoming shot, plus your own weight, to return the ball, and do not strive to "wrist" it over. The tilted racquet face will give any required angle to the return by glancing the ball off the strings, so no wrist turn is needed.

Low volleys can never be hit hard, and owing to the height of the net should usually be sharply angled, to allow distance for the rise. Any ball met at a higher plane than the top of the net may be hit hard. The stroke should be crisp, snappy, and decisive, but it should stop as it meets the ball. The follow through should be very small. Most low volleys should be soft and short. Most high volleys require speed and length.

The "stop" volley is nothing more than a shot blocked short. There is no force used. The racquet simply meets the oncoming ball and stops it. The ball rebounds and falls of its own weight. There is little bounce to such a shot, and that may be reduced by allowing the racquet to slide slightly under the ball at the moment of impact, thus imparting back spin to the ball.

Volleying is a science based on the old geometric axiom that a straight line is the shortest distance between two points. I mean that a volleyer must always cover the straight passing shot since it is the shortest shot with which to pass him, and he must volley straight to his opening and not waste time trying freakish curving volleys that give the base-liner time to recover. It is Johnston's great straight volley that makes him such a dangerous net man. He is always "punching" his volley straight and hard to the opening in his opponent's court.

A net player must have ground strokes in order to attain the net position. Do not think that a service and volley will suffice against first-class tennis.

Strive to kill your volleys at once, but should your shot not win, follow the ball 'cross and again cover the straight shot. Always force the man striving to pass you to play the hardest possible shot.

Attack with your volleys. Never defend the ball when at the net. The only defensive volley is one at your feet as you come in. It is a mid-court shot. Volleys should win with placement more than speed, although speed may be used on a high volley.

Closely related to the volley, yet in no way a volley stroke, is the overhead smash. It is the Big Bertha of tennis. It is the long range terror that should always score. The rules of footwork, position, and direction that govern the volley will suffice for the overhead. The swing alone is different. The swing should be closely allied to the slice service, the racquet and arm swinging freely from the shoulder, the wrist flexible and the racquet imparting a slight twist to the ball to hold it in court. The overhead is mainly a point winner through speed, since its bounce is so high that a slow placement often allows time for a recovery.

Do not leap in the air unnecessarily to hit overhead balls. Keep at least one foot, and when possible both feet, on the ground in smashing, as it aids in regulating the weight, and gives better balance. Hit flat and decisively to the point if desired.

Most missed overhead shots are due to the eye leaving the ball; but a second class of errors are due to lack of confidence that gives a cramped, half-hearted swing. Follow through your overhead shot to the limit of your swing.

The overhead is essentially a doubles shot, because in singles the chances of passing the net man are greater than lobbing over his head, while in doubles two men cover the net so easily that the best way to open the court is to lob one man back.

In smashing, the longest distance is the safest shot since it allows a greater margin of error. Therefore smash 'cross court when pressed, but pull your short lobs either side as determined by the man you are playing.

Never drop a lob you can hit overhead, as it forces you back and gives the attacking position to your opponent. Never smash with a reverse twist, always hit with a straight racquet face and direct to the opening.

Closely connected to the overhead since it is the usual defence to any hard smash, is the lob.

A lob is a high toss of the ball landing between the service-line and the baseline. An excellent lob should be within 6 feet of the baseline.

Lobs are essentially defensive. The ideas in lobbing are: (1) to give yourself time to recover position when pulled out of court by your opponent's shot; (2) to drive back the net man and break up his attack; (3) to tire your opponent; (4) occasionally to, win cleanly by placement. This is usually a lob volley from a close net rally, and is a slightly different stroke.

There is (1) the chop lob, a heavily under-cut spin that hangs in the air. This, is the best defensive lob, as it goes high and gives plenty of time to recover position. (2) The stroke lob or flat lob, hit with a slight top spin. This is the point-winning lob since it gives no time to, the player to run around it, as it is lower and faster than the chop. In making this lob, start your swing like a drive, but allow the racquet to slow up and the face to tilt upward just as you meet the ball. This, shot should seldom go above 10 feet in the air, since it tends to go out with the float of the ball.

The chop lob, which is a decided under cut, should rise from 20 to 30 feet, or more, high and must go deep. It is better to lob out and run your opponent back, thus tiring him, than to lob short and give him confidence by an easy kill. The value of a lob is mainly one of upsetting your opponent, and its effects are very apparent if you unexpectedly bring off one at the crucial period of a match.

THE PSYCHOLOGY OF SINGLES AND DOUBLES IN TENNIS

THE PSYCHOLOGY OF SINGLES AND DOUBLES IN TENNIS.

Singles, the greatest strain in tennis, is the game for two players. It is in this phase of the game that the personal equation reaches its crest of importance. This is the game of individual effort, mental and physical.

A hard 5-set singles match is the greatest strain on the body and nervous system of any form of sport. Singles is a game of daring, dash, speed of foot and stroke. It is a game of chance far more than doubles. Since you have no partner dependent upon you, you can afford to risk error for the possibility of speedy victory. Much of what I wrote under match play is more for singles than doubles, yet let me call your attention to certain peculiarities of singles from the standpoint of the spectator.

A gallery enjoys personalities far more than styles. Singles brings two people into close and active relations that show the idiosyncrasies of each player far more acutely than doubles. The spectator is in the position of a man watching an insect under a microscope. He can analyse the inner workings.

The freedom of restraint felt on a single court is in marked contrast to the need for team work in doubles. Go out for your shot in singles whenever there is a reasonable chance of getting it. Hit harder at all times in singles than in doubles, for you have more chance of scoring and can take more risk.

Singles is a game of the imagination, doubles a science of exact angles.

Doubles is four-handed tennis. Enough of this primary reader definition.

It is just as vital to play to your partner in tennis as in bridge. Every time you make a stroke you must do it with a definite plan to avoid putting your partner in trouble. The keynote of doubles success is team work; not individual brilliancy. There is a certain type of team work dependent wholly upon individual brilliancy. Where both players are in the same class, a team is as strong as its weakest player at any given time, for here it is even team work with an equal division of the court that should be the method of play. In the case of one strong player and one weaker player, the team is as good as the strong player can make it by protecting and defending the weaker. This pair should develop its team work on the individual brilliancy of the stronger man.

The first essential of doubles play is to PUT the ball in play. A double fault is bad in singles, but it is inexcusable in doubles. The return of service should be certain. After that it should be low and to the server coming in. Do not strive for clean aces in doubles until you have the opening. Remember that to pass two men is a difficult task.

Always attack in doubles. The net is the only place in the court to play the doubles game, and you should always strive to attain the net position. I believe in always trying for the kill when you see a real opening. "Poach" (go for a shot which is not really on your side of the court) whenever you see a chance to score. Never poach unless you go for the kill. It is a win or nothing shot since it opens your whole court. If you are missing badly do not poach, as it is very disconcerting to your partner.

The question of covering a doubles court should not be a serious one. With all men striving to attain the net all the time every shot should be built up with that idea. Volley and smash whenever possible, and only retreat when absolutely necessary.

When the ball goes toward the side-line the net player on that side goes in close and toward the line. His partner falls slightly back and to the centre of the court, thus covering the shot between the men. If the next return goes to the other side, the two men reverse positions. The theory of court covering is two sides of a triangle, with the angle in the centre and the two sides running to the side-lines and in the direction of the net.

Each man should cover overhead balls over his own head, and hit them in the air whenever possible, since to allow them to drop gives the net to the other team. The only time for the partner to protect the overhead is when the net man "poaches," is outguessed, and the ball tossed over his head. Then the server covers and strives for a kill at once.

Always be ready to protect your partner, but do not take shots over his head unless he calls for you to, or you see a certain kill. Then say "Mine," step in and hit decisively. The matter of overhead balls, crossing under them, and such incidentals of team work are matters of personal opinion, and should be arranged by each team according to their joint views. I only offer general rules that can be modified to meet the wishes of the individuals.

Use the lob as a defence, and to give time to extricate yourself and your partner from a bad position. The value of service in doubles cannot be too strongly emphasized since it gives the net to the server. Service should always be held. To lose service is an unpardonable sin in first-class doubles. All shots in doubles should be low or very high. Do not hit shoulder-high as it is too easy to kill. Volley down and hard if possible. Every shot you make should be made with a definite idea of opening the court.

Hit down the centre to disrupt the team work of the opposing team; but hit to the side-lines for your aces.

Pick one man, preferably the weaker of your opponents, and centre your attack on him and keep it there. Pound him unmercifully, and in time he should crack under the attack. It is very foolish to alternate attack, since it simply puts both men on their game and tires neither.

If your partner starts badly play safely and surely until he rounds to form. Never show annoyance with your partner. Do not scold him. He is doing the best he can, and fighting with him does no good. Encourage him at all times and don't worry. A team that is fighting among themselves has little time left to play tennis, and after all tennis is the main object of doubles.

Offer suggestions to your partner at any time during a match; but do not insist on his following them, and do not get peevish if he doesn't. He simply does not agree with you, and he may be right. Who knows?

Every doubles team should have a leader to direct its play; but that leader must always be willing to drop leadership for any given point when his partner has the superior position. It is policy of attack not type of stroke that the leader should determine.

Pick a partner and stick to him. He should be a man you like and want to play with, and he should want to play with you. This will do away with much friction. His style should not be too nearly your own, since you double the faults without greatly increasing the virtues.

THE PSYCHOLOGY OF PHYSICAL FITNESS

THE PSYCHOLOGY OF PHYSICAL FITNESS.
Physical fitness is one of the great essentials of match play. Keenness can only be acquired if the physical, mental, and nervous systems are in tune. Consistent and systematic training is essential to a tournament player.

Regular hours of sleep, and regular, hearty food at regular hours are necessary to keep the body at its highest efficiency. Food is particularly important. Eat well, but do not over-eat, particularly immediately before playing. I believe in a large hearty breakfast on the day of a big match. This should be taken by nine-thirty. A moderate lunch at about one o'clock if playing at three. Do not eat very rich food at luncheon as it tends to slow you up on the court. Do not run the risk of indigestion, which is the worst enemy to dear eyesight. Rich, heavy food immediately before retiring is bad, as it is apt to make you "loggy" on the court the next day.

It is certain injury to touch alcoholic drink in any form during tournament play. Alcohol is a poison that affects the eye, the mind, and the wind three essentials in tennis. Tobacco in moderation does little harm, although it, too, hits eye and wind. A man who is facing a long season of tournament play should refrain from either alcohol or tobacco in any form. Excesses of any kind are bad for physical condition, and should not be chanced.

"Staleness" is the great enemy of players who play long seasons. It is a case of too much tennis. Staleness is seldom physical weariness. A player can always recover his strength by rest. Staleness is a mental fatigue due often to worry or too close attention to tennis, and not enough variety of thought. Its symptoms are a dislike for the tennis game and its surroundings, and a lack of interest in the match when you are on the court. I advocate a break in training at such a time. Go to the theatre or a concert, and get your mind completely off tennis. Do your worrying about tennis while you are playing it, and forget the unpleasantness of bad play once you are off the court. Always have some outside interest you can turn to for relaxation during a tournament; but never allow it to interfere with your tennis when you should be intent on your game. A nice balance is hard to achieve, but, once attained is a great aid to a tournament player.

The laws of training should be closely followed before and after a match. Do not get chilled before a match, as it makes you stiff and slow. Above all else do not stand around without a wrap after a match when you are hot or you will catch cold.

Many a player has acquired a touch of rheumatism from wasting time at the close of his match instead of getting his shower while still warm. That slight stiffness the next day may mean defeat. A serious chill may mean severe illness. Do not take chances.

Change your wet clothes to dry ones between matches if you are to play twice in a day. It will make you feel better, and also avoid the risk of cold.

Tournament players must sacrifice some pleasures for the sake of success. Training will win many a match for a man if he sticks to it. Spasmodic training is useless, and should never be attempted.

The condition a player is, in is apt to decide his mental viewpoint, and aid him in accustoming himself to the external conditions of play.

All match players should know a little about the phenomenon of crowd-psychology since, as in the case of the Church-Murray match I related some time back, the crowd may play an important part in the result.

It seldom pays to get a crowd down on you. It always pays to win its sympathy. I do not mean play to the gallery, for that will have the opposite effect than the one desired.

The gallery is always for the weaker player. It is a case of helping the "under-dog." If you are a consistent winner you must accustom yourself to having the gallery show partiality for your opponent. It is no personal dislike of you. It is merely a natural reaction in favour of the loser. Sometimes a bad decision to one play will win the crowd's sympathy for him. Galleries are eminently just in their desires, even though at times their emotions run away with them.

Quite aside from the effect on the gallery, I wish to state here that when you are the favoured one in a decision that you know is wrong, strive to equalize it if possible by unostentatiously losing the next point. Do not hit the ball over the back stop or into the bottom of the net with a jaunty air of "Here you are." Just hit it slightly out or in the net, and go on about your business in the regular way. Your opponent always knows when you extend him this justice, and he appreciates it, even though he does not expect it. Never do it for effect. It is extremely bad taste. Only do it when your sense of justice tells you you should.

The crowd objects, and justly so, to a display of real temper on the court. A player who loses his head must expect a poor reception from the gallery. Questioned decisions by a player only put him in a bad light with the crowd and cannot alter the point. You may know the call was wrong, but grin at it, and the crowd will join you. These things are the essence of good sportsmanship, and good sportsmanship will win any gallery. The most unattractive player in the world will win the respect and admiration of a crowd by a display of real sportsmanship at the time of test.

Any player who really enjoys a match for the game's sake will always be a fine sportsman, for there is no amusement to a match that does not give your opponent his every right. A player who plays for the joy of the game wins the crowd the first time he steps on the court. All the world loves an optimist.

THE PSYCHOLOGY OF MATCH PLAY IN TENNIS

THE PSYCHOLOGY OF MATCH PLAY IN TENNIS.

The first and most important point in match play is to know how to lose. Lose cheerfully, generously, and like a sportsman. This is the first great law of tennis, and the second is like unto it to win modestly, cheerfully, generously, and like a sportsman.

The object of match play is to win, but no credit goes to a man who does not win fairly and squarely. A victory is a defeat if it is other than fair. Yet again I say to win is the object, and to do so, one should play to the last ounce of his strength, the last gasp of his breath, and the last scrap of his nerve. If you do so and lose, the better man won. If you do not, you have robbed your opponent of his right of beating your best. Be fair to both him and yourself.

"The Play's the thing," and in match play a good defeat is far more creditable than a hollow victory. Play tennis for the game's sake. Play it for the men you meet, the friends you make, and the pleasure you may give to the public by the hard working yet sporting game that is owed them by their presence at the match.

Many tennis players feel they owe the public nothing, and are granting a favour by playing. It is my belief that when the public so honours a player that they attend matches, that player is in duty bound to give of his best, freely, willingly, and cheerfully, for only by so doing can he repay the honour paid him. The tennis star of today owes his public as much as the actor owes the audience, and only by meeting his obligations can tennis be retained in public favour. The players get their reward in the personal popularity they gain by their conscientious work.

There is another factor that is even stronger than this, that will always produce fine tennis in championship events. It is the competitive spirit that is the breath of life to every true sportsman: the desire to prove to himself he can beat the best of the other man; the real regret that comes when he wins, and feels the loser was not at his best.

The keen competitive spirit that stimulates a match player also increases the nervous strain. This should be recognized by tournament committees, and the conditions of play should be as nearly standardized as weather permits.

The first thing to fix firmly in your mind in playing a match, is never to allow your opponent to play a shot he likes if it is possible to force him to make one he does not. Study your opponent both on and off the court. Look for a weakness, and, once finding it, pound it without mercy. Remember that you do not decide your mode of attack. It is decided for you by the weakness of your opponent. If he dislikes to meet a netman, go to the net. If he wants you at the net, stay back and force him to come in. If he attacks viciously, meet his attack with an equally strong offensive.

Remember that the strongest defence is to attack, for if the other man is occupied in meeting your attack, he will have less time to formulate his own system.

If you are playing a very steady man, do not strive to beat him at his own game. He is better at it than you in many cases, so go in and hit to win. On the other hand, if you find that your opponent is wild and prone to miss, play safe and reap the full crop of his errors. It saves you trouble and takes his confidence.

Above all, never change a winning game.
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Always change a losing game, since, as you are getting beaten that way, you are no worse off and may be better with a new style.

The question of changing a losing game is a very serious thing. It is hard to say just when you are really beaten. If you feel you are playing well yet have lost the first set about 3-6 or 4-6, with the loss of only one service, you should not change. Your game is not really a losing game. It is simply a case of one break of service, and might well win the next set. If, however, you have dropped the first set in a 2 out of 3 match with but one or two games, now you are outclassed and should try something else.

Take chances when you are behind, never when ahead. Risks are only worth while when you have everything to win and nothing to lose. It may spell victory, and at least will not hasten defeat. Above all, never lose your nerve or confidence in a match. By so doing you have handed your opponent about two points a game a rather hard handicap to beat at your best.

Never let your opponent know you are worried. Never show fatigue or pain if it is possible to avoid, since it will only give him confidence. Remember that he feels just as bad as you, and any sign of weakening on your part encourages him to go on. In other words, keep your teeth always in the match.

Don't worry. Don't fuss. Luck evens up in the long run, and to worry only upsets your own game without affecting your opponent. A smile wins a lot of points because it gives the impression of confidence on your part that shakes that of the other man. Fight all the time. The harder the strain the harder you should fight, but do it easily, happily, and enjoy it.