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Meet the Team That Tennis Pros Pay $40K a Year to String Their Racquets

During matches, Federer changes racquets each time the balls are changed, which happens after the first seven games and then every nine games thereafter. Nine racquets would be more than sufficient to see him through his opening match. The already strung rackets were arranged in a row against a dresser. Each had a small piece of white tape on its throat indicating the day it had been strung and the level of string tension. Federer had texted Yu the night before with his specifications: he had asked for three racquets to be strung at twenty-six kilos (“Roger wants it in kilos, not pounds,” Ferguson explained), five at 26.5, and one at twenty-seven. Spools of racquet string and rolls of grip tape were strewn across the dresser.

Yu, who was dressed in khaki shorts, a light-blue T-shirt, and sandals, was working at one of the four Babolat Star 4 stringing machines that he and Ferguson had brought to New York (they have two other stringers working with them during the Open). Although the Star 4 dates back to the nineteen-eighties and is no longer in production, they continue to use it because it is light and easy to travel with. “Once these break down, we’re retiring,” Yu joked, as he ran a strand of natural-gut string through the top of the racquet head (Federer was using natural gut for the sixteen main strings and polyester for the nineteen cross strings). After Yu finished, he clipped ten tiny plastic string savers into the string bed of each racquet. Federer likes the string savers because they supposedly reduce friction. Yu, who estimates that he has strung racquets more than five thousand times for Federer, is skeptical. “I don’t think it does much,” he said. “But these guys don’t like to change things,” Ferguson added. After punching in the string savers, Yu stencilled a red Wilson logo on each racquet, wrapped them individually in long plastic bags, sealed the bags with blue tape, then stuck a large decal bearing Federer’s logo (a stylized “RF”) on each bag.

— Michael Steinberger in a post for The New Yorker, on Priority 1, the stringing and racquet customization company that is used by tennis pros like Roger Federer, Novak Djokovic and Andy Murray. The players pay $40,000 a year for the service.

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Photo: Edwin Martinez

What It Means For a Lucha Libre Wrestler To Be Unmasked

Photo: Angeloux, Flickr

Unlike most sports, pro wrestling is unconcerned with numbers. Nobody seems to have a win-loss record. In lucha libre, the truly important matches, the bouts that make up one’s official record, are not even world championships. They are, rather, Mask vs. Mask matches, or Hair vs. Hair, or Hair vs. Mask. Luchadores wager their masks or their hair on the outcome of a fight. The mask is the more serious wager. When a wrestler is defeated and unmasked, his face is seen by the public for the first time. His name and his birthplace are published in the papers. His mask, which symbolized his honor, is retired and cannot be used again.

The loser in a Hair match is publicly shaved and humiliated, but lives to fight again. Hair grows back. Cassandro, whose hair is resplendent—it is currently dark blond and swept into what he calls his “Farrah Fawcett look” (“I’m so stuck in the seventies”)—has fought and won many Hair vs. Hair matches, as well as a couple of Hair vs. Masks. He has also lost a couple of Hair matches, including one to Hijo del Santo in the Los Angeles Sports Arena, in 2007. Videos of his public haircuts make for painful watching. Cassandro cries inconsolably and, with his cropped hair, seems to turn into a small, unhappy boy. Of course, unmasking Hijo del Santo was never going to happen. And the payday for losing that match—twenty-five thousand dollars—was a comfort.

William Finnegan writing in the New Yorker about Cassandro, the drag queen star of Mexican wrestling.

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‘Troll Slayer’ Mary Beard on Internet Abuse Against Women and Its Historical Context

In February, Mary Beard, a classics professor at the University of Cambridge, gave a lecture at the British Museum titled “Oh Do Shut Up Dear!” With amiable indignation, she explored the many ways that men have silenced outspoken women since the days of the ancients. Her speech, which was filmed by the BBC, was learned but accessible—a tone that she has regularly displayed on British television, as the host of popular documentaries about Pompeii and Rome. She began her talk with the Odyssey, and what she referred to as the first recorded instance of a man telling a woman that “her voice is not to be heard in public”: Telemachus informing his mother, Penelope, that “speech will be the business of men” and sending her upstairs to her weaving. Beard progressed to Ovid’s Metamorphoses, in which Tereus rapes Philomela and then cuts out her tongue so that she cannot denounce him. Beard alighted on Queen Elizabeth and Sojourner Truth before arriving at Jacqui Oatley, a BBC soccer commentator repeatedly mocked by men who were convinced that a woman couldn’t possibly understand the sport. A columnist for The Spectator, Beard noted, currently runs an annual competition to name the “most stupid woman” to appear on the current-affairs show “Question Time.”

Finally, Beard arrived at the contemporary chorus of Twitter trolls and online commenters. “The more I’ve looked at the details of the threats and the insults that women are on the receiving end of, the more some of them seem to fit into the old patterns of prejudice and assumption that I have been talking about,” she said. “It doesn’t much matter what line of argument you take as a woman. If you venture into traditional male territory, the abuse comes anyway. It’s not what you say that prompts it—it’s the fact that you are saying it.”

In The New Yorker, Rebecca Mead profiles Beard, who has helped confront the online and Twitter abuse that women face. (Beard’s full lecture is here.)

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Photo: YouTube

The Top 5 Longreads of the Week

Below, our favorite stories of the week. Kindle users, you can also get them as a Readlist.

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The Spy Who Loved Me

Longreads Pick

Jacqui met Bob Lambert at an animal-rights protest in 1984, when she was twenty-two. Their son was born the next year. Two years after that, Bob disappeared from their lives, seemingly without a trace. In this piece for The New Yorker, Lauren Collins investigates who Bob Lambert really was: a British police officer part of a massive undercover operation, whose officers— known as “deep swimmers,”—spent years surveilling different radical groups.

Source: New Yorker
Published: Aug 25, 2014
Length: 35 minutes (8,783 words)

Where the Spirit Meets the Bone: A Memoir by Lucinda Williams

Lucinda Williams, with Benjamin Hedin  | Radio Silence | March 2014 | 11 minutes (2,690 words)

Radio SilenceFor this week’s Longreads Member Pick, we are thrilled to share a first-time-ever memoir by the great Lucinda Williams from Radio Silence, a San Francisco-based magazine of literature and rock & roll. Subscribe, and download the free iOS app.

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‘I Will Try to Hold on to the Intense Feeling’

It’s been a meta-­adolescence. Tavi has enacted a camera-ready high-school life, one in which her fashion experimentations looked fantastic rather than just ill-fitting and strange, and the whole thing was seen as a lark, hilarity worth preserving. She’s been adopted by the pop intelligentsia, who perhaps see in her a younger version of themselves, either real or idealized and imagined. Zadie Smith, whom she met after speaking at The New Yorker Festival, wrote her an email urging her not to skip college, and Stevie Nicks, whom Tavi met after mentioning her in a TED talk, gave her a cashmere blanket to wrap herself in whenever she felt like she needed a hug. Ask her if she’ll miss being a teenager and she says, “I will try to hold on to the intense feeling. I will both be glad that that’s no longer happening and kind of miss it. When you’re 14, you’re basically on drugs all the time—the hormones in your body are so crazy. But I really loved and appreciated the intensity of that. And you’re experiencing everything for the first time, so everything feels like an epiphany. And, like, I really liked the experience of having a crush, because I was like, this is my thing and it doesn’t have to do with you and you’re just some dummy boy for me to project on.”

– Amy Larocca profiles Tavi Gevinson for New York Magazine’s fall fashion issue.

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Photo: YouTube/LA Review of Books

The Top 5 Longreads of the Week

Below, our favorite stories of the week. Kindle users, you can also get them as a Readlist.

Sign up to receive this list free every Friday in your inbox.

* * *

Read more…

What It Was Like to Hear Nina Simone Live

Nina Simone’s explosiveness was well known. In concert, she was quick to call out anyone she noticed talking, to stop and glare or hurl a few insults or even leave the stage. Yet her performances, richly improvised, were also confidingly intimate—she needed the connection with her audience—and often riveting. Even in her best years, Simone never put many records on the charts, but people flocked to her shows. In 1966, the critic for the Philadelphia Tribune, an African-American newspaper, explained that to hear Simone sing “is to be brought into abrasive contact with the black heart and to feel the power and beauty which for centuries have beat there.” She was proclaimed the voice of the movement not by Martin Luther King but by Stokely Carmichael and H. Rap Brown, whose Black Power philosophy answered to her own experience and inclinations. As the sixties progressed, the feelings she displayed—pain, lacerating anger, the desire to burn down whole cities in revenge—made her seem at times emotionally disturbed and at other times simply the most honest black woman in America.

Claudia Roth Pierpont, in The New Yorker, on the life and career of Nina Simone.

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Photo: scarlatti2004_images, Flickr

The Novel That Was a Key to Solving a Polish Murder Mystery

Bala had since moved abroad, and could not be easily reached, but as Wroblewski checked into his background he discovered that he had recently published a novel called “Amok.” Wroblewski obtained a copy, which had on the cover a surreal image of a goat—an ancient symbol of the Devil. Like the works of the French novelist Michel Houellebecq, the book is sadistic, pornographic, and creepy. The main character, who narrates the story, is a bored Polish intellectual who, when not musing about philosophy, is drinking and having sex with women.

Wroblewski, who read mostly history books, was shocked by the novel’s contents, which were not only decadent but vehemently anti-Church. He made note of the fact that the narrator murders a female lover for no reason (“What had come over me? What the hell did I do?”) and conceals the act so well that he is never caught. Wroblewski was struck, in particular, by the killer’s method: “I tightened the noose around her neck.” Wroblewski then noticed something else: the killer’s name is Chris, the English version of the author’s first name. It was also the name that Krystian Bala had posted on the Internet auction site. Wroblewski began to read the book more closely—a hardened cop turned literary detective.

— This recently unlocked New Yorker story comes recommended by Eva Holland, a writer based in Whitehorse, Yukon who writes:

David Grann’s “True Crime,” is a strange story of a Polish detective who becomes fixated on a disturbing, provocative, postmodern novel that may be the key to a brutal unsolved murder. The story is fascinating and layered, and I’m guessing I’m not the only ex-liberal arts student who will find aspects of the main suspect’s character uncomfortably familiar.

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Photo: Via YouTube