Podcast appearances and mentions of stanislas wawrinka

Who else in literature today could be more interesting to interview than Brandon Taylor, the author of Real Life, Filthy Animals, and The Late Americans, as well as the author of popular reviews and the sweater weather Substack? We talked about so much, including: Chopin and who plays him best; why there isn't more tennis in fiction; writing fiction on a lab bench; being a scientific critic; what he has learned working as a publisher; negative reviews; boring novels; Jane Austen. You'll also get Brandon's quick takes on Iris Murdoch, Jonathan Franzen, Lionel Trilling, György Lukács, and a few others; the modern critics he likes reading; and the dead critics he likes reading.Brandon also talked about how his new novel is going to be different from his previous novels. He told me:I no longer really want to be starting my books, quote unquote, in media res. I want my books to feel like books. I don't want my books to feel like movies. And I don't want them to feel like treatments for film. And so I want to sort of bring back all of what a novel can do in terms of its structure and in terms of its form and stuff like that. And so it means starting books, you know, with this sort of Dickensian voice of God speaking from on high, sort of summing up an era. And I think also sort of allowing the narrators in my work to dare to sum up, allowing characters in my work to have ideologies and to argue about those ideologies. I feel like that is a thing that was sort of denuded from the American novel for a lot of millennials and just sort of like trying to put back some of that old fashioned machinery that was like stripped out of the novel. And seeing what of it can still function, seeing, trying to figure out if there's any juice left in these modes of representation.I have enjoyed Brandon's fiction (several people I recommend him to have loved Real Life) and I think he's one of the best critics working today. I was delighted to interview him.Oh, and he's a Dickens fan!Transcript (AI produced, lightly formatted by me)Henry: Today I am talking to Brandon Taylor, the author of Real Life, Filthy Animals, and The Late Americans. Brandon is also a notable book reviewer and of course he writes a sub stack called Sweater Weather. Brandon, welcome.Brandon: Yeah, thanks for having me.Henry: What did you think of the newly discovered Chopin waltz?Brandon: Um, I thought, I mean, I remember very vividly waking up that day and there being a new waltz, but it was played by Lang Lang, which I did not. I don't know that, like, he's my go-to Chopin interpreter. But I don't know, I was, I was excited by it. Um, I don't know, it was in a world sort of dominated by this ethos of like nothing new under the sun. It felt wonderfully novel. I don't know that it's like one of Chopin's like major, I don't know that it's like major. Um, it's sort of definitively like middle of the road, middle tier Chopin, I think. But I enjoyed it. I played it like 20 times in a row.Henry: I like those moments because I like, I like it when people get surprised into realizing that like, it's not fixed what we know about the world and you can even actually get new Chopin, right?Brandon: I mean, it felt a little bit like when Beyonce did her first big surprise drop. It was like new Chopin just dropped. Oh my God. All my sort of classical music nerd group texts were buzzing. It felt like a real moment, actually.Henry: And I think it gives people a sense of what art was like in the past. You can go, oh my God, new Chopin. Like, yes, those feelings are not just about modern culture, right? That used to happen with like, oh my God, a new Jane Austen book is here.Brandon: Oh, I know. Well, I mean, I was like reading a lot of Emile Zola up until I guess late last year. And at some point I discovered that he was like an avid amateur photographer. And in like the French Ministry of Culture is like digitized a lot of his glass plate negatives. And one of them is like a picture that Zola has taken of Manet's portrait of him. And it's just like on a floor somewhere. Like he's like sort of taken this like very rickety early camera machinery to this place where this portrait is and like taken a picture of it. It's like, wow. Like you can imagine that like Manet's like, here's this painting I did of you. And Zola's like, ah, yes, I'm going to take a picture to commemorate it. And so I sort of love that.Henry: What other of his photos do you like?Brandon: Well, there's one of him on a bike riding toward the camera. That's really delightful to me because it like that impulse is so recognizable to me. There are all these photos that he took of his mistress that were also just like, you can like, there are also photographs of his children and of his family. And again, those feel so like recognizable to me. He's not even like a very good photographer. It's just that he was taking pictures of his like daily life, except for his kind of stunt photos where he's riding the bike. And it's like, ah, yes, Zola, he would have been great with an iPhone camera.Henry: Which pianists do you like for Chopin?Brandon: Which pianists do I love for Chopin? I like Pollini a lot. Pollini is amazing. Pollini the elder, not Pollini the younger. The younger is not my favorite. And he died recently, Maurizio Pollini. He died very recently. Maybe he's my favorite. I love, I love Horowitz. Horowitz is wonderful at Chopin. But it's obviously it's like not his, you know, you don't sort of go to Horowitz for Chopin, I guess. But I love his Chopin. And sometimes Trifonov. Trifonov has a couple Chopin recordings that I really, really like. I tend not to love Trifonov as much.Henry: Really?Brandon: I know it's controversial. It's very controversial. I know. Tell me why. I, I don't know. He's just a bit of a banger to me. Like, like he's sort of, I don't know, his playing is so flashy. And he feels a bit like a, like a, like a keyboard basher to me sometimes.Henry: But like, do you like his Bach?Brandon: You know, I haven't done a deep dive. Maybe I should do a sort of more rigorous engagement with Trifonov. But yeah, I don't, he's just not, he doesn't make my heart sing. I think he's very good at Bach.Henry: What about a Martha Argerich?Brandon: Oh, I mean, she's incredible. She's incredible. I bought that sort of big orange box out of like all of her, her sort of like masterwork recordings. And she's incredible. She has such feel for Chopin. But she doesn't, I think sometimes people can make Chopin feel a little like, like treacly, like, like a little too sweet. And she has this perfect understanding of his like rhythm and his like inner nuances and like the crispness in his compositions. Like she really pulls all of that out. And I love her. She has such, obviously great dexterity, but like a real sort of exquisite sensitivity to the rhythmic structures of Chopin.Henry: You listen on CD?Brandon: No, I listen on vinyl and I listen on streaming, but mostly vinyl. Mostly vinyl? Yeah, mostly vinyl. I know it's very annoying. No, no, no, no, no.Henry: Which, what are the good speakers?Brandon: I forget where I bought these speakers from, but I sort of did some Googling during the pandemic of like best speakers to use. I have a U-Turn Audio, U-Turn Orbital record player. And so I was just looking for good speakers that were compatible and like wouldn't take up a ton of space in my apartment because I was moving to New York and had a very tiny, tiny apartment. So they're just from sort of standard, I forget the brand, but they've served me well these past few years.Henry: And do you like Ólafsson? He's done some Chopin.Brandon: Who?Henry: Víkingur Ólafsson. He did the Goldbergs this year, but he's done some Chopin before. I think he's quite good.Brandon: Oh, that Icelandic guy?Henry: Yeah, yeah, yeah. With the glasses? That's right. And the very neat hair.Brandon: Yes. Oh, he's so chic. He's so chic. I don't know his Chopin. I know his, there's another series that he did somewhat recently that I'm more familiar with. But he is really good. He has good Beethoven, Víkingur.Henry: Yeah.Brandon: And normally I don't love Beethoven, but like—Henry: Really? Why? Why? What's wrong with Beethoven? All these controversial opinions about music.Brandon: I'm not trying to have controversial opinions. I think I'm, well, I'm such a, I'm such, I mean, I'm just like a dumb person. And so like, I don't, I don't have a really, I feel like I don't have the robust understanding to like fully appreciate Beethoven and all of his sort of like majesty. And so maybe I've just not heard good Beethoven and I need to sort of go back and sort of get a real understanding of it. But I just tend not to like it. It feels like, I don't know, like grandma's living room music to me sometimes.Henry: What other composers do you enjoy?Brandon: Oh, of course.Henry: Or other music generally, right?Brandon: Rachmaninoff is so amazing to me. There was, of course, Bach. Brahms. Oh, I love Brahms, but like specifically the intermezzi. I love the intermezzi. I recently fell in love with, oh, his name is escaping me now, but he, I went to a concert and they sort of did a Brahms intermezzi. And they also played this, I think he was an Austrian composer. And his music was like, it wasn't experimental, but it was like quite, I had a lot of dissonance in it. And I found it like really interesting and like really moving actually. And so I did a sort of listening to that constantly. Oh, I forget his name. But Brahms, Chopin, Rachmaninoff, love Rachmaninoff. I have a friend who says that Rachmaninoff writes Negro spirituals. And I love that theory that Rachmaninoff's music is like the music of the slaves. It just, I don't know. I really, that really resonates with me spiritually. Which pieces, which Rachmaninoff symphonies, concertos? Yeah, the concertos. But like specifically, like I have a friend who said that Rach II sounded to her like the sort of spiritual cry of like the slaves. And we were at like a hangout with like mostly Black people. And she like stopped playing like Juvenile, like the rapper. And she put on Rach II. And we just like sat there and listened. And it did feel like something powerful had entered the room. Yeah, but he's my guy. I secretly really, really love him. I like Liszt, but like it really depends on the day and the time for him. He makes good folk music, Liszt. I love his folky, his folk era.Henry: What is it that you enjoy about tennis?Brandon: What do I enjoy about tennis? I love the, I love not thinking. I love being able to hit the ball for hours on end and like not think. And like, it's the one part of my life. It's the one time in my life where my experience is like totally unstructured. And so like this morning, I went to a 7am drill and play class where you do drills for an hour. Then you play doubles for an hour. And during that first hour of drills, I was just like hitting the ball. I was at the mercy of the guy feeding us the ball. And I didn't have a single thought about books or literature or like the status of my soul or like the nature of American democracy. It was just like, did I hit that ball? Well, did I hit it kind of off center? Were there tingles in my wrist? Yes or no. Like it was just very, very grounding in the moment. And I think that is what I love about it. Do you like to watch tennis? Oh, yeah, constantly. Sometimes when I'm in a work meeting, the Zoom is here and the tennis is like playing in the background. Love tennis, love to watch, love to play, love to think about, to ponder. Who are the best players for you? Oh, well, the best players, my favorite players are Roger Federer, Serena Williams, Stanislas Wawrinka, love Wawrinka. And I was a really big Davydenko head back in the day. Nikolai Davydenko was this Russian player who had, he was like a metronome. He just like would not miss. Yeah, those are my favorites. Right now, the guy I'm sort of rooting for who's still active is Kasper Rud, who's this Norwegian guy. And I love him because he just looks like some guy. Like he just looks like he should be in a seminary somewhere. I love it. I love, I love his normalness. He just looks like an NPC. And I'm drawn to that in a tennis player.Henry: It's hard to think of tennis in novels. Why is that?Brandon: Well, I think a lot of people don't, well, I think part of it is a lot of novelists. Part of it is a lot of novelists don't play sports. I think that they, at least Americans, I can't speak for other parts of the world, but in America, a lot of novelists are not doing sports. So that's one. And I think two, like, you know, like with anything, I think that tennis has not been subjected to the same schemes of narrativization that like other things are. And so like it's, a lot of novelists just like don't see a sort of readily dramatizable thing in tennis. Even though if you like watch tennis and like listen to tennis commentary, they are always erecting narratives. They're like, oh yeah, she's been on a 19 match losing streak. Is this where she turns it around? And to me, tennis is like a very literary sport because tennis is one of those sports where it's all about the matchup. It's like your forehand to my backhand, like no matter how well I play against everyone else, like it's you and me locked in the struggle. And like that to me feels incredibly literary. And it is so tied to your individual psychology as well. Like, I don't know, I endlessly am fascinated by it. And indeed, I got an idea for a tennis novel the other day that I'm hopefully going to write in three to five years. We'll see.Henry: Very good. How did working in a lab influence your writing?Brandon: Well, somewhat directly and materially in the case of my first book, because I wrote it while I was working in the lab and it gave me weirdly like time and structure to do that work where I would be pipetting. And then while I was waiting for an assay or a experiment to run or finish, I would have 30 minutes to sit down and write.Henry: So you were writing like at the lab bench?Brandon: Oh, yeah, absolutely. One thousand percent. I would like put on Philip Glass's score for the hours and then just like type while my while the centrifuge was running or whatever. And and so like there's that impression sort of baked into the first couple books. And then I think more, I guess, like spiritually or broadly, it influenced my work because it taught me how to think and how to organize time and how to organize thoughts and how to sort of pursue long term, open ended projects whose results may or may not, you know, fail because of something that you did or maybe you didn't do. And that's just the nature of things. Who knows? But yeah, I think also just like discipline, the discipline to sort of clock in every day. And to sort of go to the coalface and do the work. And that's not a thing that is, you know. That you just get by working in a lab, but it's certainly something that I acquired working in a lab.Henry: Do you think it's affected your interest in criticism? Because there's there are certain types of critic who seem to come from a scientific background like Helen Vendler. And there's something something about the sort of the precision and, you know, that certain critics will refuse to use critical waffle, like the human condition. And they won't make these big, vague gestures to like how this can change the way we view society. They're like, give me real details. Give me real like empirical criticism. Do you think this is — are you one of these people?Brandon: Yeah, yeah, I think I'm, you know, I'm all about what's on the page. I'm all about the I'm not gonna go rooting in your biography for not gonna go. I'm not I'm not doing that. It's like what you brought to me on the page is what you've brought to me. And that is what I will be sort of coming over. I mean, I think so. I mean, very often when critics write about my work, or when people respond to my work, they sort of describe it as being put under a microscope. And I do think like, that is how I approach literature. It's how I approach life. If there's ever a problem or a question put to me, I just sort of dissect it and try to get down to its core bits and its core parts. And and so yeah, I mean, if that is a scientific way of doing things, that's certainly how I but also I don't know any other way to think like that's sort of that's sort of how I was trained to think about stuff. You've been to London. I have. What did you think of it? The first time I didn't love it. The second and third times I had a good time, but I felt like London didn't love me back. London is the only place on earth I've ever been where people have had a hard time understanding me like I like it's the only place where I've like attempted to order food or a drink or something in a store or a cafe or a restaurant. And the waiters like turned to my like British hosts and asked them to translate. And that is an entirely foreign experience for me. And so London and I have like a very contentious relationship, I would say.Henry: Now, you've just published four classic novels.Brandon: Yes.Henry: George Gissing, Edith Wharton, Victor Hugo and Sarah Orne Jewett. Why did you choose those four writers, those four titles?Brandon: Oh, well, once we decided that we were going to do a classics imprint, you know, then it's like, well, what are we going to do? And I'm a big Edith Wharton fan. And there are all of these Edith Wharton novels that Americans don't really know about. They know Edith Wharton for The Age of Innocence. And if they are an English major, they maybe know her for The House of Mirth. Or like maybe they know her for The Custom of the Country if they're like really into reading. But then they sort of think of her as a novelist of the 19th century. And she's writing all of these books set in the 1920s and about the 1920s. And so it felt important to show people like, oh, this is a writer who died a lot later than you think that she did. And whose creative output was, you know, pretty, who was like a contemporary of F. Scott Fitzgerald in a lot of ways. Like, these books are being published around the same time as The Great Gatsby. And to sort of, you know, bring attention to a part of her over that, like, people don't know about. And like, that's really exciting to me. And Sarah Orne Jewett, I mean, I just really love The Country of the Pointed Furs. I love that book. And I found it in like in a 10 cents bin at a flea market one time. And it's a book that people have tried to bring back. And there have been editions of it. But it just felt like if we could get two people who are really cool to talk about why they love that book, we could sort of have like a real moment. And Sarah Orne Jewett was like a pretty big American writer. Like she was a pretty significant writer. And she was like really plugged in and she's not really read or thought about now. And so that felt like a cool opportunity as well to sort of create a very handsome edition of this book and to sort of talk about a bit why she matters. And the guessing of it all is we were going to do New Grub Street. And then my co-editor thought, well, The Odd Women, I think, is perhaps more relevant to our current moment than New Grub Street necessarily. And it would sort of differentiate us from the people, from the presses that are doing reissues of New Grub Street, because there's just been a new edition of that book. And nobody in America really knows The Odd Women. And it's a really wonderful novel. It's both funny and also like really biting in its satire and commentary. So we thought, oh, it'll be fun to bring this writer to Americans who they've never heard of in a way that will speak to them in a lot of ways. And the Victor Hugo, I mean, you know, there are Hugos that people know all about. And then there are Hugos that no one knows about. And Toilers of the Sea was a passion project for my co-editor. She'd read it in Guernsey. That's where she first discovered that book. And it really meant a lot to her. And I read it and really loved it. I mean, it was like Hugo at his most Hugo. Like, it's a very, it's a very, like, it's a very abundant book. And it's so wild and strange and changeful. And so I was like, oh, that seems cool. Let's do it. Let's put out Toilers of the Sea. So that's a bit of why we picked each one.Henry: And what have you learned from being on the other side of things now that you're the publisher?Brandon: So much. I've learned so much. And indeed, I just, I was just asked by my editor to do the author questionnaire for the novel that I have coming out next. And I thought, yes, I will do this. And I will do it immediately. Because now I know, I know how important these are. And I know how early and how far in advance these things need to be locked in to make everyone's life easier. I think I've learned a bit about the sometimes panicked scramble that happens to get a book published. I've learned about how hard it is to wrangle blurbs. And so I think I'm a little more forgiving of my publishers. But they've always been really great to me. But now I'm like, oh, my gosh, what can I do for you? How can I help you make this publication more of a success?Henry: Do you think that among literary people generally, there's a lack of appreciation of what business really involves in some of the senses you're talking about? I feel like I see a lot of either indifferent or hostile attitudes towards business or commerce or capitalism, late stage capitalism or whatever. And I sometimes look at it and I'm like, I don't think you guys really know what it takes to just like get stuff done. You know what I mean? Like, it's a lot of grind. I don't think it's a big nasty thing. It's just a lot of hard work, right?Brandon: Yeah, I mean, 1000%. Or if it's not a sort of misunderstanding, but a sort of like disinterest in like, right, like a sort of high minded, like, oh, that's just the sort of petty grimy commerce of it all. I care about the beauty and the art. And it's just like, friend, we need booksellers to like, sell this. I mean, to me, the part of it that is most to me, like the most illustrative example of this in my own life is that when I first heard how my editor was going to be describing my book, I was like, that's disgusting. That's horrible. Why are you talking about my race? Why are you talking about like my sexuality? Like, this is horrible. Why can't you just like talk about the plot of the book? Like, what is the matter with you? And then I had, you know, I acquired and edited this book called Henry Henry, which is a queer contemporary retelling of the Henry ad. And it's a wonderful novel. It's so delightful. And I had to go into our sales conference where we are talking to the people whose job it is to sell that book into bookstores to get bookstores to take that book up. And I had to write this incredibly craven description of this novel. And as I was writing it, I was like, I hope Alan, the author, I hope Alan never sees this. He never needs to hear how I'm talking about this book. And as I was doing it, I was like, I will never hold it against my editor again for writing this like, cheesy, cringy copy. Because it's like you, like, you so believe in the art of that book, so much that you want it to give it every fighting chance in the marketplace. And you need to arm your sales team with every weapon of commerce they need to get that book to succeed so that when readers pick it up, they can appreciate all of the beautiful and glorious art of it. And I do think that people, you know, like, people don't really kind of, people don't really understand that. And I do think that part of that is publishing's fault, because they are, they've been rather quick to elide the distinctions between art and commerce. And so like publishing has done a not great job of sort of giving people a lot of faith in its understanding that there's a difference between art and commerce. But yeah, I think, I think there's a lot of misapprehension out there about like, what goes into getting bookstores to acquire that book.Henry: What are the virtues of negative book reviews?Brandon: I was just on a panel about this. I mean, I mean, hopefully a negative book review, like a positive review, or like any review, will allow a reader or the audience to understand the book in a new way, or to create a desire in the reader to pick up the book and see if they agree or disagree or that they, that they have something to argue with or push against as they're reading. You know, when I'm writing a negative review, when I'm writing a review that I feel is trending toward negative, I should say, I always try to like, I don't know, I try to always remember that like, this is just me presenting my experience of the book and my take of the book. And hopefully that will be productive or useful for whoever reads the review. And hopefully that my review won't be the only thing that they read and that they will in fact, go pick up the book and see if they agree or disagree. It's hopefully it creates interesting and potentially divergent dialogues or discourses around the text. And fundamentally, I think not every critic feels this way. Not every piece of criticism is like this. But the criticism I write, I'm trying to create the conditions that will refer the reader always back to the text, be it through quotation, be it through, they're so incensed by my argument that they're going to go read the book themselves and then like, yell at me. Like, I think that that's wonderful, but like, always keeping the book at the center. But I think a negative review can, you know, it can start a conversation. It can get people talking about books, which in this culture, this phase of history feels like a win. And hopefully it can sort of be a corrective sometimes to less genuine or perceived less genuine discourses that are existing around the book.Henry: I think even whether or not it's a question of genuine, it's for me, it's just a question of if you tell people this book is good and they give up their time and money and they discover that it's trash, you've done a really bad thing to that person. And like, there might be dozens of them compared to this one author who you've been impolite to or whatever. And it's just a question of don't lie in book, right?Brandon: Well, yeah. I mean, hopefully people are honest, but I do feel sometimes that there is, there's like a lack of honesty. And look, I think that being like, well, I mean, maybe you'll love this. I don't love it, you know, but at least present your opinion in that way. At least be like, you know, there are many interpretations of this thing. Here's my interpretation. Maybe you'll feel differently or something like that. But I do think that people feel that there have been a great number of dishonest book reviews. Maybe there have been, maybe there have not been. I certainly have read some reviews I felt were dishonest about books that I have read. And I think that the negative book review does feel a bit like a corrective in a lot of ways, both, you know, justified or unjustified. People are like, finally, someone's being honest about this thing. But yeah, I think it's interesting. I think it's all really, I think it's all fascinating. I do think that there are some reviews though, that are negative and that are trying to be about the book, but are really about the author. There are some reviews that I have read that have been ostensibly about reviewing a text, but which have really been about, you don't like that person and you have decided to sort of like take an axe to them. And that to me feels not super productive. I wouldn't do it, but other people find it useful.Henry: As in, you can tell that from the review or you know that from background information?Brandon: I mean, this is all projection, of course, but like there have been some reviews where I've read, like, for example, some of the Lauren Oyler reviews, I think some of the Lauren Oyler reviews were negative and were exclusively about the text. And they sort of took the text apart and sort of dissected it and came to conclusions, some of which I agreed with, some of which I didn't agree with, but they were fundamentally about the text. And like all the criticisms referred back to the text. And then there were some that were like projecting attitudes onto the author that were more about creating this sort of vaporous shape of Lauren Oyler and then sort of poking holes in her literary celebrity or her stature as a critic or what have you. And that to me felt less productive as like a book review.Henry: Yes. Who are your favorite reviewers?Brandon: Ooh, my favorite reviewers. I really love Christian Lawrence. And he does my, of the critics who try to do the sort of like mini historiography of like a thing. He's my favorite because he teaches me a lot. He sort of is so good at summing up an era or summing up a phase of literary production without being like so cringe or so socialist about it. I really love, I love it when he sort of distills and dissects an era. I really like Hermione Hobie. I think she's really interesting. And she writes about books with a lot of feeling and a lot of energy. And I really love her mind. And of course, like Patricia Lockwood, of course, everyone, perhaps not everyone, but I enjoy Patricia Lockwood's criticism. You don't?Henry: Not really.Brandon: Oh, is it because it's too chatty? Is it too, is it too selfie?Henry: A little bit. I think, I think that kind of criticism can work really well. But I think, I think it's too much. I think basically she's very, she's a very stylized writer and a lot of her judgments get, it gets to the point where it's like, this is the logical conclusion of what you're trying to do stylistically. And there are some zingers in here and some great lines and whatever, but we're no longer, this is no longer really a book review.Brandon: Yeah.Henry: Like by the, by the end of the paragraph, this, like, we didn't want to let the style go. We didn't want to lose the opportunity to cap that off. And it leads her into, I think, glibness a lot of the time.Brandon: Yeah. I could see that. I mean, I mean, I enjoy reading her pieces, but do I understand like what's important to her at a sort of literary level? I don't know. I don't, and in that sense, like, are they, is it criticism or is it closer to like personal essay, humorous essay? I don't know. Maybe that's true. I enjoy reading them, but I get why people are like, this is a very, very strong flavor for sure.Henry: Now you've been reading a lot of literary criticism.Brandon: Oh yeah.Henry: Not of the LRB variety, but of the, the old books in libraries variety. Yes. How did that start? How did, how did you come to this?Brandon: Somewhat like ham-fistedly. I, in 2021, I had a really bad case of writer's block and I thought maybe part of the reason I had writer's block was that I didn't know anything about writing or I didn't know anything about like literature or like writing. I'd been writing, I'd published a novel. I was working on another novel. I'd published a book of stories, but like, I just like truly didn't know anything about literature really. And I thought I need some big boy ideas. I need, I need to find out what adults think about literature. And so I went to my buddy, Christian Lorenzen, and I was like, you write criticism. What is it? And what should I read? And he gave me a sort of starter list of criticism. And it was like the liberal imagination by Lionel Trilling and Guy Davenport and Alfred Kazin who wrote On Native Grounds, which is this great book on the American literary tradition and Leslie Fiedler's Love and Death in the American Novel. And I, and then Edmund Wilson's Axel's Castle. And I read all of those. And then as each one would sort of refer to a different text or person, I sort of like followed the footnotes down into this rabbit hole of like literary criticism. And now it's been a sort of ongoing project of the last few years of like reading. I always try to have a book of criticism on the go. And then earlier this year, I read Jameson's The Antimonies of Realism. And he kept talking about this Georg Lukács guy. And I was like, I guess I should go read Lukács. And so then I started reading Lukács so that I could get back to Jameson. And I've been reading Lukács ever since. I am like deep down the Lukács rabbit hole. But I'm not reading any of the socialism stuff. I told myself that I wouldn't read any of the socialism stuff and I would only read the literary criticism stuff, which makes me very different from a lot of the socialist literary critics I really enjoy because they're like Lukács, don't read in that literary criticism stuff, just read his socialism stuff. So I'm reading all the wrong stuff from Lukács, but I really, I really love it. But yeah, it sort of started because I thought I needed grown up ideas about literature. And it's been, I don't know, I've really enjoyed it. I really, really enjoy it. It's given me perhaps terrible ideas about what novels should be or do. But, you know, that's one of the side effects to reading.Henry: Has it made, like, what specific ways has it changed how you've written since you've acquired a set of critical principles or ideas?Brandon: Yeah, I mean, I think part of it is, part of it has to do with Lukács' idea of the totality. And, you know, I think that the sort of most direct way that it shows up in a sort of really practical way in my novel writing is that I no longer really want to be starting my books, quote unquote, in media res. Like, I don't want, I want my books to feel like books. I don't want my books to feel like movies. And I don't want them to feel like treatments for film. And so I want to sort of bring back all of what a novel can do in terms of its structure and in terms of its form and stuff like that. And so it means starting books, you know, with this sort of Dickensian voice of God speaking from on high, sort of summing up an era. And I think also sort of allowing the narrators in my work to dare to sum up, allowing characters in my work to have ideologies and to argue about those ideologies. I feel like that is a thing that was sort of denuded from the American novel for a lot of millennials and just sort of like trying to put back some of that old fashioned machinery that was like stripped out of the novel. And seeing what of it can still function, seeing, trying to figure out if there's any juice left in these modes of representation and stuff like that. And so like that, that's sort of, that's sort of abstract, but like in a concrete way, like what I'm kind of trying to resolve in my novel writing these days.Henry: You mentioned Dickens.Brandon: Oh, yes.Henry: Which Dickens novels do you like?Brandon: Now I'm afraid I'm going to say something else controversial. We love controversial. Which Dickens? I love Bleak House. I love Bleak House. I love Tale of Two Cities. It is one of the best openings ever, ever, ever, ever in the sweep of that book at once personal and universal anyway. Bleak House, Tale of Two Cities. And I also, I read Great Expectations as like a high school student and didn't like it, hated it. It was so boring. But now coming back to it, I think it, honestly, it might be the novel of our time. I think it might accidentally be a novel. I mean, it's a novel of scammers, a novel of like, interpersonal beef taken to the level of like, spiritual conflict, like it's about thieves and class, like it just feels like like that novel could have been written today about people today, like that book just feels so alive to today's concerns, which perhaps, I don't know, says something really evil about this cultural stagnation under capitalism, perhaps, but I don't know, love, love Great Expectations now.Henry: Why are so many modern novels boring?Brandon: Well, depends on what you mean by boring, Henry, what do you mean? Why?Henry: I mean, you said this.Brandon: Oh.Henry: I mean, I happen to agree, but this is, I'm quoting you.Brandon: Oh, yes. I remember that. I remember that review.Henry: I mean, I can tell you why I think they're boring.Brandon: Oh, yes, please.Henry: So I think, I think what you said before is true. They all read like movies. And I think I very often I go in, I pick up six or seven books on the new book table. And I'm like, these openings are all just the same. You're all thinking you can all see Netflix in your head. This is not really a novel. And so the dialogue is really boring, because you kind of you can hear some actor or actress saying it. But I can't hear that because I'm the idiot stuck in the bookshop reading your Netflix script. Whereas, you know, I think you're right that a lot of those traditional forms of storytelling, they like pull you in to the to the novel. And they and they like by the end of the first few pages, you sort of feel like I'm in this funny place now. And to do in media res, like, someone needs to get shot, or something, something weird needs to be said, like, you can't just do another, another standard opening. So I think that's a big, that's a big point.Brandon: Well, as Lukasz tells us, bourgeois realism has a, an unholy fondness for the, the average, the merely average, as opposed to the typical. And I think, yeah, a lot of it, a lot of why I think it's boring echoes you, I think that for me, what I find boring, and a lot of them is that it feels like novelists have abandoned any desire to, to have their characters or the novels themselves integrate the sort of disparate experiences within the novel into any kind of meaningful hole. And so there isn't this like sense of like things advancing toward a grander understanding. And I think a lot of it is because they've, they are writing under the assumption that like the question of why can never be answered. There can never be like a why, there can never be a sort of significance to anything. And so everything is sort of like evacuated of significance or meaning. And so you have what I've taken to calling like reality TV fiction, where the characters are just like going places and doing things, and there are no thoughts, there are no thoughts about their lives, or no thoughts about the things that they are doing, there are no thoughts about their experiences. And it's just a lot of like, like lowercase e events in their lives, but like no attempt to organize those events into any sort of meaningful hole. And I think also just like, what leads to a lot of dead writing is writers who are deeply aware that they're writing about themes, they're writing about themes instead of people. And they're working from generalities instead of particularities and specificities. And they have no understanding of the relationship between the universal and the particular. And so like, everything is just like, like beans in a can that they're shaking around. And I think that that's really boring. I think it's really tedious. Like, like, sure, we can we can find something really profound in the mundane, but like, you have to be really smart to do that. So like the average novelist is like better off like, starting with a gunshot or something like do something big.Henry: If you're not Virginia Woolf, it is in fact just mundane.Brandon: Indeed. Yeah.Henry: Is there too much emphasis on craft? In the way, in the way, in like what's valued among writers, in the way writers are taught, I feel like everything I see is about craft. And I'm like, craft is good, but that can just be like how you make a table rather than like how you make a house. Craft is not the guarantor of anything. And I see a lot of books where I think this person knows some craft. But as you say, they don't really have an application for it. And they don't. No one actually said to them, all style has a moral purpose, whether you're aware of it or not. And so they default to this like pointless use of the craft. And someone should say to them, like, you need to know history. You need to know tennis. You need to know business. You need to know like whatever, you know. And I feel like the novels I don't like are reflections of the discourse bubble that the novelist lives in. And I feel like it's often the continuation of Twitter by other means. So in the Rachel Kong novel that I think it came out this year, there's a character, a billionaire character who comes in near the end. And everything that he says or that is said about him is literally just meme. It's online billionaire meme because billionaires are bad because of all the things we all know from being on Twitter. And I was like, so you just we literally have him a character as meme. And this is the most representative thing to me, because that's maybe there's craft in that. Right. But what you've chosen to craft is like 28 tweets. That's pointless.Brandon: 28 tweets be a great title for a book, though, you have to admit, I would buy that book off the new book table. 28 tweets. I would. I would buy that. Yeah, I do think. Well, I think it goes both ways. I think it goes both ways. I somewhat famously said this about Sally Rooney that like she her books have no craft. The craft is bad. And I do think like there are writers who only have craft, who are able to sort of create these wonderfully structured books and to sort of deploy these beautiful techniques. And those books are absolutely dead. There's just like nothing in them because they have nothing to say. There's just like nothing to be said about any of that. And on the other hand, you have these books that are full of feelings that like would be better had someone taught that person about structure or form or had they sort of had like a rigorous thing. And I would say that like both of those are probably bad, like depending on who you are, you find one more like, like easier to deal with than the other. I do think that like part of why there's such an emphasis on craft is because not to sort of bring capitalism back in but you can monetize craft, you know what I mean? Like, craft is one of those things that is like readily monetizable. Like, if I'm a writer, and I would like to make money, and I can't sell a novel, I can tell people like, oh, how to craft a perfect opening, how to create a novel opening that will make agents pick it up and that will make editors say yes, but like what the sort of promise of craft is that you can finish a thing, but not that it is good, as you say, there's no guarantor. Whereas you know, like it's harder to monetize someone's soul, or like, it's harder to monetize like the sort of random happenstance of just like a writer's voice sort of emerging from from whatever, like you can't turn that into profit. But you can turn into profit, let me help you craft your voice. So it's very grind set, I think craft has a tendency to sort of skew toward the grind set and toward people trying to make money from, from writing when they can't sell a book, you know. Henry: Let's play a game. Brandon: Oh dear.Henry: I say the name of a writer. You give us like the 30 second Brandon Taylor opinion of that writer.Brandon: Okay. Yeah.Henry: Jonathan Franzen.Brandon: Thomas Mann, but like, slightly more boring, I think.Henry: Iris Murdoch.Brandon: A friend of mine calls her a modern calls her the sort of pre Sally Rooney, Sally Rooney. And I agree with that.Henry: When I'm at parties, I try and sell her to people where I say she's post-war Sally Rooney.Brandon: Yes, yes. And like, and like all that that entails, and so many delightful, I read all these like incredible sort of mid century reviews of her novels, and like the men, the male critics, like the Bernard Breganzis of the world being like, why is there so much sex in this book? It's amazing. Please go look up those like mid-century reviews of Iris Murdoch. They were losing their minds. Henry: Chekhov.Brandon: Perfect, iconic, baby girl, angel, legend. Can't get enough. 10 out of 10.Henry: Evelyn Waugh.Brandon: So Catholic, real Catholic vibes. But like, scabrously funny. And like, perhaps the last writer to write about life as though it had meaning. Hot take, but I'll, I stand by it.Henry: Yeah, well, him and Murdoch. But yeah, no, I think I think there's a lot in that. C.V. Wedgwood.Brandon: Oh, my gosh. The best, a titan, a master of history. Like, oh, my God. I would not be the same without Wedgwood.Henry: Tell us which one we should read.Brandon: Oh, the 30 Years War. What are you talking about?Henry: Well, I think her books on the English Civil War… I'm a parochial Brit.Brandon: Oh, see, I don't, not that I don't, I will go read those. But her book on the 30 Years War is so incredible. It's, it's amazing. It's second to like, Froissart's Chronicles for like, sort of history, history books for me.Henry: Northrop Frye.Brandon: My father. I, Northrop Frye taught me so much about how to see and how to think. Just amazing, a true thinker in a mind. Henry: Which book? Brandon: Oh, Anatomy of Criticism is fantastic. But Fearful Symmetry is just, it will blow your head off. Just amazing. But if you're looking for like, to have your, your mind gently remapped, then Anatomy of Criticism.Henry: Emma Cline.Brandon: A throwback. I think she's, I think she's Anne Beattie meets John Cheever for a new era. And I think she's amazing. She's perfect. Don't love her first novel. I think her stories are better. She's a short story writer. And she should stay that way.Henry: Okay, now I want you to rank Jane Austen's novels.Brandon: Wait, okay. So like, by my preference, or by like, what I think is the best?Henry: You can do both.Brandon: Okay. So in terms, my favorite, Persuasion. Then Mansfield Park. Sense and Sensibility. Pride and Prejudice. And then Emma, then Northanger Abbey. Okay.Henry: Now, how about for which ones are the best?Brandon: Persuasion. Pride and Prejudice. Mansfield Park. Emma,.Sense and Sensibility. Northanger Abbey.Henry: Why do people not like Fanny Price? And what is wrong with them?Brandon: Fanny Price is perfect. Fanny Price, I was just talking to someone about this last night at dinner. Fanny Price, she's perfect. First of all, she is, I don't know why people don't like her. She's like a chronically ill girl who's hot for her cousin and like, has deep thoughts. It seems like she would be the icon of literary Twitter for like a certain kind of person, you know? And I don't know why they don't like her. I think I'm, I am becoming the loudest Mansfield Park apologist on the internet. I think that people don't like Fanny because she's less vivacious than Mary Crawford. And I think that people are afraid to see themselves in Fanny because she seems like she's unfun or whatever. But what they don't realize is that like Fanny Price, Fanny Price has like a moral intelligence and like a moral consciousness. And like Fanny Price is one of the few Austen characters who actually argues directly and literally about the way the world is. Like with multiple people, like the whole, the whole novel is her sort of arguing about, well, cities are this and the country is this. And like, we need Parsons as much as we need party boys. Like, like she's arguing not just about, not just about these things like through the lens of like marriage or like the sort of marriage economy, but like in literal terms, I mean, she is so, she's like a moral philosopher. I love Fanny Price and she's so smart and so sensitive and so, and I guess like maybe it's just that people don't like a character who's kind of at the mercy of others and they view her as passive. When in fact, like a young woman arguing about the way the world should be, like Mary Crawford's, Mary Crawford's like kind of doing the above, not really, not like Fanny. But yeah, I love her. She's amazing. I love Fanny Price. And I also think that people love Margaret Hale from North and South. And I think that when people are saying they hate Fanny Price, what they're picturing is actually how Margaret Hale is. Margaret Hale is one of the worst heroines of a novel. She's so insufferable. She's so rude. She's so condescending. And like, she does get her comeuppance and like Gaskell does sort of bring about a transformation where she's actually able to sort of like see poor people as people first and not like subjects of sympathy. But Margaret is what people imagine Fanny is, I think. And we should, we should start a Fanny Price, like booster club. Henry, should we? Let's do it. It begins here. I just feel so strongly about her. I feel, I love, I love Fanny.Henry: She's my favorite of Austen's characters. And I think she is the most representative Austen character. She's the most Austen of all of them, right?Brandon: Yeah, I mean, that makes great deal of sense to me. She's just so wonderful. Like she's so funny and so observant. And she's like this quiet little girl who's like kind of sickly and people don't really like her. And she's kind of maybe I'm just like, maybe I just like see myself in her. And I don't mind being a sort of annoying little person who's going around the world.Henry: What are some good principles for naming literary characters?Brandon: Ooh, I have a lot of strong feelings about this. I think that names should be memorable. They should have like, like an aura of sort of literariness about them. I don't mean, I mean, taken to like hilarious extremes. It's like Henry James. Catherine Goodwood, Isabelle Archer, Ralph Touchett, like, you know, Henry had a stack pole. So like, not like that. But I mean, that could be fun in a modern way. But I think there's like an aura of like, it's a name that you might hear in real life, but it sort of add or remove, it's sort of charged and elevated, sort of like with dialogue. And that it's like a memorable thing that sort of like, you know, it's like, you know, memorable thing that sort of sticks in the reader's mind. It is both a name, a literary, a good literary name is both a part of this world and not of this world, I think. And, yeah, and I love that. I think like, don't give your character a name like you hear all the time. Like, Tyler is a terrible literary name. Like, no novel has ever, no good novel has ever had a really important character named Tyler in it. It just hasn't. Ryan? What makes a good sentence? Well, my sort of like, live and let live answer is that a good sentence is a sentence that is perfectly suited to the purpose it has. But I don't know, I like a clear sentence, regardless of length or lyric intensity, but just like a clear sentence that articulates something. I like a sentence with motion, a sense of rhythm, a sense of feel without any bad words in it. And I don't mean like curse words, I mean like words that shouldn't be in literature. Like, there's some words that just like don't belong in novels.Henry: Like what?Brandon: Squelch. Like, I don't think the word squelch should be in a novel. That's a gross word and it doesn't sound literary to me. I don't want to see it.Henry: I wouldn't be surprised if it was in Ulysses.Brandon: Well, yes.Henry: I have no idea, but I'm sure, I'm sure.Brandon: But so few of us are James Joyce. And that novel is like a thousand bodily functions per page. But don't love it. Don't love it.Henry: You don't love Ulysses?Brandon: No, I don't… Listen, I don't have a strong opinion, but you're not going to get me cancelled about Ulysses. I'm not Virginia Woolf.Henry: We're happy to have opinions of that nature here. That's fine.Brandon: You know, I don't have a strong feeling about it, actually. Some parts of it that I've read are really wonderful. And some parts of it that I have read are really dense and confusing to me. I haven't sort of given it the time it needs or deserves. What did you learn from reading Toni Morris? What did I learn? I think I learned a lot about the moral force of melodrama. I think that she shows us a lot about the uses of melodrama and how it isn't just like a lesion of realism, that it isn't just a sort of malfunctioning realism, but that there are certain experiences and certain lives and certain things that require and necessitate melodrama. And when deployed, it's not tacky or distasteful that it actually is like deeply necessary. And also just like the joy of access and language, like the sort of... Her language is so towering. I don't know, whenever I'm being really shy about a sentence being too vivid or too much, I'm like, well, Toni Morrison would just go for it. And I am not Toni Morrison, but she has given me the courage to try.Henry: What did you like about the Annette Benning film of The Seagull?Brandon: The moment when Annette Benning sings Dark Eyes is so good. It's so good. I think about it all the time. And indeed, I stole that moment for a short story that I wrote. And I liked that part of it. I liked the set design. I think also Saoirse Ronan, when she gives that speech as Nina, where she's like, you know, where the guy's like, what do you want from, you know, what do you want? Why do you want to be an actress? And she's like, I want fame. You know, like, I want to be totally adored. And I'm just like, yeah, that's so real. That's so, that is so real. Like Chekhov has understood something so deep, so deep about the nature of commerce and art there. And I think Saoirse is really wonderful in that movie. It's a not, it's not a good movie. It's maybe not even a good adaptation of The Seagull. But I really enjoyed it. I saw it like five times in a theater in Iowa City.Henry: I don't know if it's a bad adaptation of The Seagull, because it's one of the, it's one of the Chekhov's I've seen that actually understands that, like, the tragic and the and the comic are not meant to be easily distinguishable in his work. And it does have all this lightheartedness. And it is quite funny. And I was like, well, at least someone's doing that because I'm so sick of, like, gloomy Chekhov. You know what I mean? Like, oh, the clouds and the misery. Like, no, he wants you, he wants you to laugh and then be like, I shouldn't laugh because it's kind of tragic, but it's also just funny.Brandon: Yeah. Yes, I mean, all the moments were like, like Annette Bening's characters, like endless stories, like she's just like constantly unfurling a story and a story and a story and a story. Every scene kind of was like, she's in the middle of telling another interminable anecdote. And of course, the sort of big tragic turn at the end is like, where like, Kostya kills himself. And she's like, in the middle of like, another really long anecdote while they're in the other room playing cards. Like, it's so, it's so good. So I love that. I enjoy watching that movie. I still think it's maybe not. It's a little wooden, like as a movie, like it's a little, it's a little rickety.Henry: Oh, sure, sure, sure, sure. But for someone looking to like, get a handle on Chekhov, it's actually a good place to go. What is the best make of Fountain Pen?Brandon: That's a really good, that's a really, really, really good question. Like, what's your Desert Island Fountain Pen? My Desert Island Fountain Pen. Right now, it's an Esterbrook Estee with a needlepoint nib. It's like, so, I can use that pen for hours and hours and hours and hours. I think my favorite Fountain Pen, though, is probably the Pilot Custom 743. It's a really good pen, not too big, not too small. It can hold a ton of ink, really wonderful. I use, I think, like a Soft Fine nib, incredible nib, so smooth. Like, I, you could cap it and then uncap it a month later, and it just like starts immediately. It's amazing. And it's not too expensive.Henry: Brandon Taylor, thank you very much.Brandon: Thanks for having me. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk/subscribe

The weather put a damper on things, as play didn't start on the outside courts until after 1pm, but Day 3 saw Coco Gauff, Frances Tiafoe and Jasmine Paolini all secure impressive victories. Gael Monfils also leads Stanislas Wawrinka. Christopher Eubanks and Felix Auger-Aliassime both came up short in different ways in the first round. While Sloane Stephens just has doubles to focus on now and Naomi Osaka can look ahead to the Olympics. Listen out for interview snippets from Gauff, Tiafoe and Paolini. And to close we go through Day 4's order of play where Madison Keys, Ben Shelton and Robin Montgomery among others all feature.

Et si on (re)démocratisait le temps long ? ⏰ Aujourd'hui, la levée de fonds ressemble souvent à une course de vitesse. Edwige Michau, l'a elle-même vécue… et a dû pivoter entre ses deux levées pour accélérer. Heureusement, ses investisseurs l'ont suivie, mais elle en garde un apprentissage : « rien ne sert de courir, il faut partir à point ! ». Oui, en levée de fonds tout est une histoire de timing… et il vaut mieux prendre le temps ! En 2021, Edwige a cofondé Barooders, la plus grande marketplace de vélos reconditionnés en Europe. En 2 ans et demi, elle a réalisée 2 levées de fonds pour un total de 3M€ auprès d'investisseurs prestigieux et cerise sur le gâteau, elle a également onboardé de super ambassadeurs comme Mike Horn, Nikola Karabatic ou encore Stanislas Wawrinka. Alors elle nous raconte :

I den här seriens sista del så gästar Magnus Norman, världstvåa med 12 ATP-titlar i bagaget, en av grundarna till Good to Great Tennis Academy samt mångårig coach för Robin Söderling och Stanislas Wawrinka samt utsedd till ATP Coach of the year 2016. Han samtalar med Magnus Larsson, sju ATP-titlar i bagaget och idag tränare i Växjö TS. Ämnen för dagens avsnitt är: * Träningspartners * Träningsmängd Plus, en liten bonus där Larsson och Norman bjuder på vad de tror var deras stora nycklar till att de nådde världstoppen och vad de gjorde bra under sina karriärer, samt vad de hade gjort annorlunda om de fått göra om sina resor. Missa inte detta! https://www.patreon.com/linuspabaslinjen/membership Swish: 0730240031

Magnus "Gusten" Gustafsson, 14 ATP-titlar och grundare av Små Lirare samt Klein Players är en av svensk tennis stora spelare genom tiderna. Han samtalar idag med Magnus Norman, världstvåa med 12 ATP-titlar i bagaget, en av grundarna till Good to Great Tennis Academy samt mångårig coach för Robin Söderling och Stanislas Wawrinka samt utsedd till ATP Coach of the year 2016. Ämnen för dagens avsnitt är inga mer eller mindre än följande två: * Att hantera motgångar * Strukturen inom svensk tennis

Lucy and Eugene talk about what they've been up to, including applying for Wimbledon 2023 accreditation, interviewing Erick Mathelier (Furi Sports co-founder) and also touch on Wimbledon's decision to lift the ban on Russian and Belarusian players. Alycia Parks' stunned in Lyon beat top seed Caroline Garcia in the final to claim her biggest title to date (WTA 250). Since then she's been experimenting with her set-up – was working with Jarmere Jenkins during the Sunshine Double as well as strength and conditioning trainer Josh Evenden. Coco Gauff's been going along nicely – reached a few quarter-finals, won a couple doubles titles with Jessica Pegula too including Miami where Taylor Townsend and Leylah Fernandez were fellow finalists. Robin Montgomery secured her first win on the WTA Tour in Miami and then faced Madison Keys in the second round where she put up a good fight. Clervie Ngounoue won the prestigious girls' event in Indian Wells. Ngounoue also won the doubles event with partner Qavia Lopez. Arthur Fils is about to crack the top 100 after making back-to-back semi-finals at ATP 250 level – picked up some big wins en route including one over Stanislas Wawrinka. Young Frenchman is such a joy to watch. Christopher Eubanks was the story in Miami and is now a top 100 player for the first time after a career fortnight at the Masters 1000 event where he reached the quarter-finals after coming through qualifying. Was very emotional after the win that confirmed his place in top 100. Frances Tiafoe reached his first Masters 1000 semi-final in Indian Wells – didn't drop a set en route before going down 5-7, 6-7 to eventual runner-up Daniil Medvedev. Jill Smoller also has him signing all the endorsement deals too and rightly so. Felix Auger-Aliassime, defending champ in Rotterdam, reached the quarters – lost to eventual champion Medvedev. Went on to reach the semis in Qatar the following week where he lost to Medvedev again who went on to win the tournament. Gael Monfils returned to the tour in the US after seven months away due to a foot injury. Lost in the first round in Indian Wells and was forced to retire from his first-round match in Miami due to a wrist injury. To close, we quickly preview clay-court events in Charleston, Houston, Estoril and Marrakech. Don't forget to subscribe and share your comments. #BlackSpinGlobal

Magnus Norman, världstvåa med 12 ATP-titlar i bagaget, en av grundarna till Good to Great Tennis Academy samt mångårig coach för Robin Söderling och Stanislas Wawrinka samt utsedd till ATP Coach of the year 2016, är en av deltagarna i den här veckans avsnitt tillsammans med Magnus Ennerberg, coach på Academy of KLTK och en av landets mest ansedda tennistränare.  I det här avsnittet diskuterar vi följande ämnen inskickade från lyssnare: * Tennis och skola - en stor utmaning för många att kombinera båda. * Hur skiljer sig ledarskapet och träningsmodellerna åt beroende på om man tränar seniorer eller juniorer? https://www.patreon.com/linuspabaslinjen/membership Swish: 0730240031

Ils ont fait des lancements de NFT pour des grandes marques de luxe comme Bugatti, Christian Lacroix et Frédérique Constant. Ils ont construit une communauté de +90k membres sur Discord. Auprès de laquelle ils ont levé 570 ETH via une émission de 3k NFT donnant divers avantages sur le moyen terme. Ils ont également levé 2,2M€ en 2021 notamment auprès de Tioga Capital (Venly, Tropee, gem.xyz, NYM) puis 5M€ en 2022. Ils ont un studio dédié pour développer des expériences immersives dans +10 métaverses. Ils ont créé 25 îles VIP sur The Sandbox qu'ils ont revendues 20 ETH en moyenne à des sportifs comme Marco Verratti ou Stanislas Wawrinka. Ils ont créé des penthouses sur-mesure de 500m2 dans le métaverse Spatial qui sont aujourd'hui utilisés pour des événements pro et perso. Grâce au bear market, ils ont eu l'idée de créer un CRM Web3 pour aider les marques à créer et engager une communauté via les NFT. Pour ce 13ème épisode dans les coulisses du Web3, j'ai eu le plaisir d'accueillir Pierre Guigourèse, co-fondateur et directeur des opération d'Exclusible. Exclusible, c'est un studio spécialisé dans les NFT et le métaverse pour des projets de luxe.

Mike James is a tennis performance analyst and have the last years worked with multiple top players on tour such as Stanislas Wawrinka, Holger Rune and Iga Swiatek and are today also a part of the Mouratoglou Analytics team. This episode was super interesting to record! In our hour long chat we covered a lot of topics, for example: - what tennis analysis and performance analysis actually is - what kind of statistics that makes a difference between winning and losing - why Mike mostly talk with the coaches about his analys - if most of the videos and statistics Mike provides to the teams is about his players or about the opponent - how you can use statistics for injury preventions - in what age statistics start become useful - Mikes take on the discussion about rally lengths and how much you need to practice longer rallies and intervals @mikejamestennis on Instagram and Twitter

A notícia já era esperada. Mas ninguém tinha pressa em ouvir. O anúncio feito por Roger Federer de que iria se aposentar das quadras de tênis no final de setembro sacudiu o mundo do esporte e desencadeou uma avalanche mundial de homenagens a um dos maiores nomes da história do tênis.   Em um comunicado divulgado na última quinta-feira (15) e também por meio de uma mensagem de vídeo, Roger Federer explicou as razões que o levaram, aos 41 anos, a dizer adeus ao circuito profissional, após o torneio Laver Cup, a ser disputado em Londres, entre os dias 23 e 25 de setembro. "Como muitos de vocês sabem, os últimos três anos trouxeram desafios em forma de lesões e cirurgias. Trabalhei muito para voltar em plena forma de maneira competitiva. Mas também sei da capacidade e limites do meu corpo e os sinais para mim, ultimamente, têm sido claros. Eu tenho 41 anos de idade, já joguei mais de 1.500 partidas em 24 anos. O tênis tem me tratado com mais generosidade do que eu jamais sonharia. E agora devo reconhecer que é o momento de terminar a minha carreria competitiva".   Federer admitiu que foi uma decisão que trouxe sentimentos contraditórios. "Esta é uma decisão amarga e doce ao mesmo tempo, porque vou sentir falta de tudo o que o circuito me proporcionou. Mas, ao mesmo tempo, há muito o que comemorar. Eu me considero uma das pessoas mais sortudas da Terra. Recebi um talento especial para jogar tênis e o fiz em um nível que nunca imaginei, por muito mais tempo do que jamais imaginei ser possível", disse o jogador. O anúncio da despedida emocionou os milhões de fãs no mundo inteiro, o universo do tênis e seus principais rivais. Pelas redes sociais, dois de seus maiores adversários expressaram admiração pelo suíço. Nadal e Djokovic O espanhol Rafael Nadal se referiu a ele como um amigo e rival. E disse: "gostaria que esse dia nunca chegasse. Foi um prazer, mas também uma horna e um privilégio compartilhar todos esses anos com você vivendo tantos momentos incríveis dentro e fora de quadra".  Novak Djokovic demorou 24 horas para se exprimir. Mas no texto no Instagram, escreveu: " sua carreira deu o tom para o que significa alcançar a excelência e liderar com integridade e equilíbrio. É uma honra conhecê-lo dentro e fora do circuito por muitos anos ainda". O suíço e o espanhol protagonizaram alguns dos duelos mais inesquecíveis das últimas décadas. Djokovic e Federer se enfrentaram 50 vezes, com vantagem para o sérvio que venceu 27 partidas, sendo 11 em Grand Slams. A mais memorável delas foi na final de 2019, quando Djokovic salvou dois match points antes de vencer a final mais longa da história de Wimbledon (4h57), privando o suíço do 21° título de Grande Slam. Na despedida de Federer, na Laver Cup, os dois vão jogar juntos na equipe europeia ao lado de Rafael Nadal e Andy Murray contra uma equipe formada de tenistas de outras regiões do mundo. Carreira Roger Federer começou no circuito profissional em 1998, antes de completar 18 anos, em seu país natal. Acumulou diversos recordes nos mais de 24 anos de carreira. Foram mais de 1500 jogos, e um total de 103 títulos só em torneios de simples. Até o momento, foram 1.251 vitórias nas quadras, pouco atrás de Jimmi Connor (1274) e de Martina Navratilova (1442). Terminou como o número 1 do mundo em cinco ocasiões: de 2004 a 2007 e em 2009. E o maior feito na sua vitoriosa carreira: erguer um total de 20 títulos de Grand Slam, sendo 8 em Wimbledon, onde marcou a história do torneio londrino como maior vencedor individual. Ao lado de Stanislas Wawrinka ergueu a única Copa Davis para a Suíça, em 2014. Terminou a temporada como número 1 do mundo em cinco ocasiões (2004, 2005, 2006, 2007, 2009). Federer também foi o sexto jogador a conquistar os quatro torneios de Grand Slams e maior feito na sua vitoriosa carreira: ergueu no total 20 títulos de Grand Slams, sendo 8 em Wimbledon, onde marcou a história do torneio londrino como o maior vencedor individual.  Além de Wimbledon (2003, 2004, 2005, 2006, 2007, 2009, 2012, 2017), foram 6 títulos do Aberto da Austrália (2004, 2006, 2007, 2010, 2017, 2018), 5 do US Open (2004, 2005, 2006, 2007, 2008) e apenas 1 Roland-Garros (2009). Com seu adeus, uma página da história do tênis será virada. Ela ficará registrada como a realização de um sonho de um menino suíço, que quando era catador de bolas, aos 8 anos, sonhou em se tornar profissional. Nas quadras, será lembrado pelo estilo de jogo elegante, o respeito pelos adversários, além claro, das inúmeras conquistas. Homenagens de brasileiros Para o tenista brasileiro Bruno Soares, o suíço marcou uma era do esporte e não apenas nas quadras. “Federer transformou o mundo do esporte e não apenas do tênis. Não é em números, mas provavelmente é o melhor de todos os tempos em vários quesitos: talento, elegância, humildade e carisma. Ele marcou o esporte e o mundo do entretenimento de um modo geral", disse. "Ele é um ícone não apenas para o tênis e uma referência mundial. É um dia triste para o tênis porque a gente perde esse privilégio de mais de 20 anos que foi acompanhar o maestro jogando. Foi uma das coisas mais bonitas que o esporte já proporcionou. Fica a história que ele fez e ele sempre vai estar no coração de todo mundo perpetuando tudo o que ele conquistou", finalizou. Para a tenista número 1 do Brasil, Bia Haddad Maia, Roger Federer foi um exemplo: "Ele sempre foi um cara que agregou muitos valores humanos. Ele sempre demonstrou muito amor, carinho pelo tênis e seus adversários. Ele conseguiu jogar em alto nível por duas gerações diferentes e completas. O que ele fez é incrível”, resumiu. Para quem teve o prazer de ver de perto o suíço jogar, fica um momento que nunca se apagará da lembrança. É o caso da roteirista de cinema mineira Isabel Borges, uma fã incondicional de Federer. Ela conta que já viajou à Suíça só para ver o ídolo jogar. “Viajei do Brasil para a Basileia, cidade natal do Federer para vê-lo jogar lá, no torneio onde começou como gandula. Foi muito especial este momento”, recordou. Ela disse ter chorado ao saber da notícia da aposentadoria do tenista. “Minha primeira reação foi de lágrimas, comecei a chorar. É triste pensar que a gente não mais vai vê-lo jogar. Por outro lado, foi um privilégio ter acaompanhado a carreira dele que é incrível”, destaca.   Em números, a carreira de Federer também lhe rendeu muito dinheiro. Ele foi o esportista mais bem pago do mundo entre 1° de junho de 2019 e 10 de junho de 2020 com um ganho total de US$ 106,3 milhões, segundo a revista Forbes, sendo US$ 100 milhões de contratos publicitários e patrocinadores privados. Ele terá a partir do último torneio, mais tempo para se dedicar à família e aos projetos pessoais. Se depender da sua últimas palavras e promessa ao anunciar sua aposentadoria, ele não deverá ficar tão distante do esporte que o consagrou. "Quero agradecer do fundo do meu coração a todos os que, ao redor do mundo, me ajudaram a tornar realidade os sonhos de um jovem suíço que era catador de bolas. Finalmente, para o jogo de tênis...  eu te amo e nunca vou deixá-lo”, disse.

Black Spin Global was officially accredited for this year's cinch Championships.  Friend of the pod Tumaini Carayol joins for this quick episode recorded on day 3 in the Queen's Club press room. Eugene had the pleasure of seeing Brit Paul Jubb get two top 100 wins in qualifying and put up a good fight in a first-round defeat to Botic van de Zandschulp – spoke to Jubb in press afterwards. Also met Frances Tiafoe for the first time in person which was special. The American was involved in a high quality battle with Stanislas Wawrinka. Serena Williams is back! We talk about the 23-time Grand Slam champion's return to the tour at Eastbourne where she is scheduled to play doubles with Ons Jabeur. Tumaini also talks about his French Open experience and how it differed from 2019 and Coco Gauff. Plus, a shout out for Alycia Parks who secured her first top 50 win in Berlin. Don't forget to subscribe and share your comments! Please also subscribe to our YouTube channel if you haven't already. We appreciate you!

Ça parle des sacrifices du métier d'humoriste, de coloc sans eau chaude, de louper une pub, du Théâtre d'Edgar, de casseroles à chauffer, du Maroc, de galère premium, de se rappeler d'où l'on vient, de l'honnêteté de nos amis, du confort de l'eau courante et de l'électricité, de Roméo et Juliette, d'avoir un mentor, de mélanger le théâtre avec le hip-hop et l'escrime, de la baisse des subventions à cause de la crise, de la Compagnie Parallèle, de Kylian Mbappé, de Stanislas Wawrinka, de jouer dans un centre de vacances en avril, de spectateurs qui s'échappent entre deux sketches, de filmer ses passages, de la négativité qui peut se transmettre au public, de Franjo, de Jim Carrey, de Tex Avery, du côté naturel de l'impro, de Kheiron, de Sugar Sammy, de Yann Guillarme, de Patrick Chanfray, d'Edgar-Yves Monnou, de Benjamin Tranié, de TikTok, et de Vine... Retrouvez Jo Brami : ⚫Facebookhttps://www.facebook.com/jobrami.page ⚫Instagramhttps://instagram.com/jo_brami Et bien sûr vous pouvez également me retrouver sur les réseaux sociaux: ⚫Facebookhttps://www.facebook.com/SofianeHumoriste ⚫Instagramhttps://www.instagram.com/sofiane_ettai ⚫Twitterhttps://twitter.com/SofianeETTAI ⚫YouTubehttps://www.youtube.com/channel/UC6ZmnGo-1bsiK8t2CptHn1g ⚫TikTokhttps://vm.tiktok.com/ZMe12uJ1G/

Namn: Peter Lundgren  Ålder: 56 år  Arbetsroll idag: Under Covid-19 avvaktat nästa tränaruppdrag  Tenniskoppling: Var själv rankad 25 i världen på ATP som spelare. Som coach arbetat med spelare som Roger Federer, Marat Safin, Marcelo Rios, Grigor Dimitrov och Stanislas Wawrinka.  Ni har möjlighet att båda se och höra mer av Peter Lundgren i fyra videoklipp som läggs ut på www.linuspabaslinjen.com. Där pratar jag, Peter och Richard Hansson om ett nytt ämne i varje avsnitt.   www.linuspabaslinjen.com  linus.se.eriksson@gmail.com Det här avsnittet görs i samarbete med vår huvudpartner House of Bontin som erbjuder smarta produkter som förbättrar ditt spel. Använd koden "Linus" för 15% rabatt på deras sortiment. www.houseofbontin.se

Révélation française de cette édition 2020 de Roland-Garros, il a réalisé un parcours exemplaire en battant notamment Stanislas Wawrinka. Éliminé en huitième de finale face à Dominic Thiem après un match spectaculaire en cinq sets, Hugo Gaston est l'invité de Matthieu Belliard ce lundi matin.

Ce vendredi, le dernier français du tournoi homme tentera d'accéder aux huitièmes de finale. Hugo Gaston affrontera Stanislas Wawrinka. Côté femmes, Caroline Garcia affrontera Elise Mertens à 14h15 sur le Court Philippe-Chatrier.

Ce vendredi, le dernier français du tournoi homme tentera d'accéder aux huitièmes de finale. Hugo Gaston affrontera Stanislas Wawrinka. Côté femmes, Caroline Garcia affrontera Elise Mertens à 14h15 sur le Court Philippe-Chatrier.

Pour la première fois depuis 2010, il n'y aura qu'un seul Français au troisième tour de Roland-Garros. Hugo Gaston, 239e mondial, affrontera Stanislas Wawrinka qui a déjà gagné le tournoi.

Magnus Norman, född 1976, var som professionell spelare rankad 2:a i världen, vann 12 ATP-titlar och var i final i Franska Öppna 2000. Som coach har han bland andra tränat Thomas Johansson, Robin Söderling och Stanislas Wawrinka. Söderling nådde han två finaler i Franska Öppna ihop med och med Wawrinka har han varit med och vunnit tre Grand Slam titlar. 2016 blev han utsedd till ATP Coach of the year. Tillsammans med Nicklas Kulti och Mikael Tillström har han grundat tennisakademin Good to Great. I det här avsnittet berättar Magnus bland annat: - hur de bästa juniorerna i världens upplägg och satsningar ser ut - resonemanget kring att Wawrinka gett Magnus godkänt att bli varnad för coaching från läktaren - hur många taktiska punkter tränarteamet går igenom med Wawrinka inför matcher - vad som förvånat Magnus med att driva en egen akademi - vad han menar med att det inte skiljer sig åt att träna Wawrinka eller en svensk futurespelare Vill ni komma i kontakt med mig, maila linus.eriksson@tennismagasinet.se eller besök www.tennismagasinet.se. Ni kan också följa mig på Instagram där jag heter linus_se_eriksson.

In this episode we revisit the first Instagram interview that I think happened when tennis was first canceled. It’s the conversation between world number #1 Novak Djokovic and grand slam champion Stanislas Wawrinka. You really get a sense of how playful and fun they are together and how much respect they have for each other. I love the insider locker room thoughts they share about playing grand slams and their nerves getting ready to take center court. They both discuss playing Roger Federer and Rafael Nadal and I feel like it’s a conversation that could have only been shared in a time of COVID. I hope you enjoy this audio-only broadcast of their interview. If you want to hear more content like this let us know on social @lovesetmatch and make sure to follow so we can connect! Visit tennispal.com to download the tennis app everyone is talking about and access the show notes! Send an email to pk@tennispal.com for more information. Download from iTunes here Thanks for recommending and listening!

I den här veckans avsnitt kommer ni få lyssna på tourcoachen Peter Lundgren. Peters cv innehåller bland annat: - Som spelare själv tre ATP-titlar och en 25:e plats på ATP-rankingen. Som coach har två Grand Slam titlar, en med Roger Federer i Wimbledon 2003 och en med Marat Safin 2005. Med Federer vann han även Masters-slutspelet 2003. Förutom ovan nämnda spelare har han även coachat bland andra Grigor Dimitrov, Stanislas Wawrinka och Daniella Hantuchova.  I avsnittet pratar vi om hur han anpassat sitt ledarskap efter personlighet på spelaren han coachar, hur han hanterat de olika spelarnas varierande humör och attityd på banan, vilken skillnad det är på att träna dam- och herrspelare, vad som är viktigt när han tar sig an ett nytt uppdrag, om toppspelarna mestadels tränar styrkor eller svagheter och givetvis lite om hur nöjd Safins racketleverantör var med Peter när han lyckades nästan halvera Safins mängd knäckta racketar per säsong.  Vill ni komma i kontakt med mig, maila mig på linus.eriksson@tennismagasinet.se. Alla nya prenumeranter har mellan 12 juni till 12 juli 2020 20% rabatt på en årsprenumeration om ni uppger koden "Linus20". Surfa in på www.tennismagasinet.se för att signa upp!

Le monde du sport en deuil après la mort de Kobe Bryant dans un accident d'hélicoptère, le futur transfert d'Hatem Ben Arfa à Valladolid, club détenu par le Brésilien Ronaldo, le retour en très grande forme de Stanislas Wawrinka à l'Open d'Australie et l'ascension fulgurante du pilier droit Mohamed Haouas qui pourrait connaitre sa première sélection avec le XV de France face à l'Angleterre … Retrouvez toute l'actualité sportive dans votre Flash l'Équipe.

Descarga este episodio HOY ES MIÉRCOLES 5 DE JUNIO   El Día Mundial del Medio Ambiente que se celebra desde 1973. Este día fue ganando relevancia y ahora, es una plataforma mundial de divulgación pública con amplia repercusión en todo el globo. El país anfitrión del Día Mundial del Medio Ambiente, donde tienen lugar las celebraciones oficiales, varía anualmente. Este año es China y el tema para 2019 gira en torno a la "Contaminación del aire"; una llamada a la acción con que ayudar a combatir un grave problema que afecta a millones de personas en todo el mundo.   DÍA DE FIESTA PARA LOS MUSULMANES. Los musulmanes celebran hoy la fiesta del Eid Al Fitr o de la ruptura del ayuno que da fin al mes sagrado de Ramadán. Por la mañana temprano, la comunidad en conjunto realiza diferentes oraciones y celebra un desayuno que marca el fin del ayuno del mes más importante para el mundo Islámico. El día entero es celebrado por los creyentes visitando los hogares y comiendo los platos especiales cocinados en esta ocasión. La forma de desear una feliz fiesta es pronunciando las palabras: ¡Eid Mubarak! https://elfarodeceuta.es/eid-al-fitr-2019-oficial-ruptura-ayuno-este-miercoles-ceuta/   REUNIÓN RUSIA-CHINA. Los presidentes de Rusia y China, Vladímir Putin y Xi Jinping, se reunirán el 5 de junio en Moscú, comunicó el asesor presidencial ruso Yuri Ushakov. Los presidentes examinarán la situación en Venezuela y Siria, así como las relaciones con Estados Unidos, comunicó Ushakov. XINHUA   SEPHORA CIERRA EN TODO EE.UU. Casi mil tiendas en Estados Unidos pertenecientes a la cadena de cosméticos francesa Sephora estarán cerradas al público durante la mañana de este miércoles 5 de junio. En un mensaje publicado en Facebook el pasado 23 de mayo, la empresa anunció que el cierre obedece a que realizarán "talleres de inclusión" social destinados a los empleados de los comercios, de sus centros de distribución y de sus oficinas corporativas. La noticia se produjo poco más de tres semanas después de que la compañía fuera señalada de discriminación racial por parte de SZA (Sizza), una cantante afroestadounidense de R&B. La empresa de cosméticos, que en Estados Unidos tiene casi 400 locales y más de 600 puestos de venta dentro de la tienda por departamentos JC Penney, negó a la agencia Reuters que la actividad programada para esta semana tuviera "relación con algún evento" aunque dijo estar al tanto del incidente con SZA. El pasado 1 de mayo, la artista dijo en Twitter que mientras estaba comprando en una tienda Sephora a las afueras de Los Ángeles una empleada a quien identificó como "Sandy" había llamado a seguridad para asegurarse de que ella no estaba robando. EURONEWS   NBA CIERRA ACUERDO CON FACEBOOK, TWITTER Y YOUTUBE. La NBA busca abrir nuevos caminos alrededor de todo el mundo y la India es uno de los mercados que más atención les llama a todos. Por eso llegaron a un acuerdo con Facebook, Twitter y YouTube para transmitir los partidos de las finales entre Raptors y Warriors a través de esas redes sociales por primera vez. NBA IN   HOMENAJE A GABRIELA SABATINI Más de dos décadas pasaron desde que Gabriela Sabatini pisó por última vez una cancha para disputar un partido como profesional. Sin embargo su figura sigue generando admiración y reconocimiento allí por donde va. Este martes, la ex tenista argentina recibió en París el Premio Philippe Chatrier en reconocimiento a su carrera. TN   CLÁSICO DEL TENIS MUNDIAL El tenista español Rafa Nadal volverá a verse las caras con el suizo Roger Federer en Roland Garros, ocho años después de su último duelo en la capital francesa tras solventar sus compromisos de cuartos de final ante el japonés kei Nishikori y el también suizo Stanislas Wawrinka, respectivamente. La Philippe Chatrier acogerá este viernes el gran duelo. EL DATO: Desde 2009, en Madrid, Federer -que disputará su semifinal número 44 en un 'grande'- no vence al español en tierra batida y jamás ha sido capaz de conseguirlo sobre la tierra parisina. ABC   LÍNEA CORPORAL DE XBOX. Microsoft forjó una alianza con Lynx (una filial de Axe en Australia) para presentar Lynx Xbox: una línea de productos de aseo personal inspirados en su famosa consola.   Así es, ahora como los niños pueden elegir entre el jabón de Spider-Man o la pasta de dientes de Paw Patrol, los fanáticos de la consola de Microsoft podrán comprar el spray corporal, el desodorante o el  gel de ducha de Xbox. UNOCERO   NETFLIX TIENE NUEVA JUGADA. El gigante de streaming  NETFLIX anunció su siguiente jugada: una serie animada derivada de la saga cinematográfica de Jurassic World. Según información que ha dado a conocer el portal Comicbook, este nuevo proyecto fue creado en una colaboración entre Netflix y DreamWorks Animation. El spin-off será lanzado en 2020 y llevará por título Jurassic World: Camp Cretaceous.   BEIJING ALERTA SOBRE TIROTEOS EN EE.UU. Las autoridades de Beijing emitieron un aviso de viaje para sus ciudadanos que planean ir a los Estados Unidos, citando frecuentes tiroteos y robos en Estados Unidos, según la agencia oficial de noticias Xinhua. Un portavoz del ministerio dijo que las "circunstancias actuales" fueron el motivo de la advertencia, después de los informes de un mayor escrutinio de los académicos chinos en los Estados Unidos y las restricciones a las visas de estudio. A primera vista, esto parece ser solo el último movimiento en la guerra comercial cada vez más hostil entre las dos economías más grandes del mundo. DF   BEYONCÉ ES NALA. Desde el primer tráiler, se dio a conocer que Beyoncé formaría parte de la nueva película de ‘El Rey León’ como una de las voces principales, sin embargo, aún no se había mostrado ninguna participación hasta ahora que hizo aparición en el nuevo trailer, realizando las voces de Nala. Para disfrutar de ‘El Rey León’, habrá que esperar hasta su estreno el 19 de julio en todos los cines. HOBBY CONSOLAS   NUEVO TEMA DE OZUNA. El reggaetonero Ozuna, publicó su nuevo sencillo titulado “Amor Genuino”, que forma parte del próximo disco ‘Nibiru’, el cual publicará este mismo año. Esta vez decidió apostar por lo romántico que sin duda fue uno de los factores que más le funcionó en su más reciente disco ‘Aura’.   YOUTUBE  

Nous sommes à Melbourne en 2012, c'est le deuxième tour de l'Open d'Australie. Le chypriote Marcos Baghdatis affronte Stanislas Wawrinka, un joueur suisse, et le match se passe mal. Wawrinka mène à tous les sets, et Baghdatis ne fait que perdre pieds. Jusqu'au moment de trop, où pendant une minute et demi de pause, le joueur chypriote est si frustré qu'il passe ses nerfs sur son matériel et casse, en l'espace de 40 secondes, quatre raquettes –dont deux, encore emballées. Frustré par son jeu et la défaite qui se profil, il pète complètement les plombs sous les huées du public.Ce genre de moment où on désespère de faire quelque chose, où les choses ne marchent pas comme on voudrait, tout le monde en connaît. La frustration monte, comme la pression dans une cocotte minute, jusqu'au moment où vous n'en pouvez plus, et c'est l'éruption.Il y a une discipline où la frustration se fait énormément sentir, et où elle est particulièrement dangereuse… c'est le poker. Cette frustration qui monte, parce que les choses ne se passent pas comme prévues, et qui donne envie de tout envoyer balader, de tout casser, dans le poker, ça a un nom : c'est ce qu'on appelle, le tilt.Guillaume Darcourt, ancien joueur de poker professionnel et champion international, nous raconte l'un de ses tilts les plus mémorables, ce moment où la frustration prend le dessus. Nous rencontrons également Axelle Moreau, psychologue clinicienne et chercheuse en psychopathologie à l'université de Laval au Québec, qui est experte du phénomène du tilt au poker. Pier Gauthier, le coach mental de Guillaume Darcourt mais aussi celui de joueurs de tennis comme Sébastien Grosjean et Gaël Monfils, nous éclaire sur manière dont il les aide à désamorcer la frustration pour réussir à continuer à se concentrer sur la partie.Enfin nous faisons aussi un détour par l'esport, où le tilt est aussi un risque, avec Kayane, championne internationale de jeux de combats comme SoulCalibur. Sean Ross, analyste de données à Facebook, auteur pendant son temps libre du site d'analyse de données Datallama et joueur de League of Legends, nous explique quelles conclusions il a tirées a analysé plusieurs millions de parties de League of Legends pour comprendre l'impact du tilt sur son jeu et trouver comment y remédier.Un grand merci à Laurent Dumont, Club Poker et Club Poker Radio pour leur aide sur cet épisode.Et vous, êtes-vous sujet au tilt, à la frustration ? S'il vous est arrivé une histoire forte en lien avec une émotion, vous pouvez nous écrire sur Instagram, Twitter ou hello@louiemedia.com. See acast.com/privacy for privacy and opt-out information.

Kevin Anderson shocked Andy Murray in New York last night, taking out the Brit in four sets on Louis Armstrong and he'll be hoping to produce the same quality of tennis against Stanislas Wawrinka in the quarter-final. Sky Sports commentator, Nick Lester, reflects on Anderson's victory and previews the other quarter-finals on both the men's and women's side on this edition of the podcast. Enjoy. #tennis #USOpen #betting #Murray #Federer #Djokovic

Andy Murray will take on Novak Djokovic in the Men's Australian Open final after his four set win over Tomas Berdych and commentator Nick Lester joins Dave Kelner to preview the match on this edition of the tennis podcast. Djokovic was forced to dig deep against Stanislas Wawrinka on Friday morning but eventually secured his final berth, winning 6-0 in the fifth. This will be the pair's fifth meeting in a Grand Slam final. Dave and Nick discuss the match-up and also preview the Women's Australian Open final between Serena Williams and Maria Sharapova. Enjoy. #AndyMurray #MariaSharapova #AusOpen #podcast #NovakDjokovic #tennis #betting

Sportbladets Henrik Ståhl och Andreas Käck pekar ut Stanislas Wawrinka som finalfavorit – men både podden och schweizaren får bita i gruset. Tillbaka till ritbordet kring Madrid Masters i allmänhet och Dominic Thiem i synnerhet... See acast.com/privacy for privacy and opt-out information.

Stanislas Wawrinka of Switzerland celebrates winning championship point in his men's final match against Rafael Nadal of Spain during day 14 of the 2014 Australian Open at Melbourne Park on January 26, 2014 in Melbourne, Australia. Stanislas Wawrinka wins the Men's Australia Open 2014 final against Rafael Nadal in four sets 6-3 6-2 3-6 6-3.

The Australian Open for 2014 is at an end, and we have a new Grand Slam tennis champion with victory for Stanislas Wawrinka over an injured Rafael Nadal. Catherine and David ask if the crowd were out of order to boo Rafa, and revel in Stan's performance and Li Na's victory speech. See acast.com/privacy for privacy and opt-out information.

We're down to the final two in the Australian Open and whilst Stanislas Wawrinka makes his first appearance in a Grand Slam final, he takes on a man bidding for his fourteenth Slam in the shape of Rafael Nadal. Sky Sports commentator Nick Lester joins Lee Phelps to look ahead to the action, with Nick offering his predicitions and best bets for the Final. http://serve.williamhill.com/promoRedirect?member=audiobooUK&campaign=DEFAULT&channel=will_tennis&zone=1484068949&lp=0

Nick Lester is back to prewview the Australian Open Finals. Na Li takes on Dominika Cibulkova and Rafael Nadal faces Stanislas Wawrinka. http://serve.williamhill.com/promoRedirect?member=audiobooUK&campaign=DEFAULT&channel=will_tennis&zone=1484068949&lp=0

Stanislas Wawrinka gained the biggest success of his career on Thursday evening, trouncing Andy Murray in straight sets to reach the US Open semi-final. He will now meet Novak Djokovic, who has now won 34 straight pre-semi-final matches at hard court majors. Listen to the thoughts of Sky Sports commentator Nick Lester as he joins Dave Kelner to preview the men's and women's semi-finals as we draw towards the end of the season's last slam at Flushing Meadows.

Novak Djokovic dropped just three points on serve in his fourth round match against Marcel Granollers, routing the Spaniard 6-3, 6-0, 6-0. Next up for the world number one is Mikhail Youzhny. Andy Murray will feel fortunate to have avoided a quarter-final date with Tomas Berdych, however his conqueror, Stanislas Wawrinka, will pose a serious threat to the defending Champion. Sky Sports commentator Nick Lester looks at the men's quarter-final matches, two women's quarter-final matches and the semi-final between Serena Williams and Na Li on this edition of the podcast.

With the Australian Open in its second week, we speak to the great Martina Hingis, who reached the final six times in a row. Can anyone stop Serena Williams? What would she advise a player to do against Williams? And what is her opinion of some of the up-and-coming stars? Are the age rules right these days given that Hingis was the World No.1 at 16 and retired at 22? What does she think of Andy Murray, and the impact of Ivan Lendl, and would she ever like to take a similar coaching role? All questions answered. After the five-set classic between Stanislas Wawrinka and Novak Djokovic, we also ask you whether it’s time for a 5th set tie-break in the final set of all Grand Slam tournaments. See acast.com/privacy for privacy and opt-out information.

James Waterson reports the news from last weekend’s Davis Cup results. Rafael Nadal and Spain cruised to a 4-1 win against France, while Argentina beat Serbia in Belgrade 3-2. Nadal dominated both of his singles matches, while Novak Djokovic had to retire in the fourth rubber against Juan Martin del Potro because of a back injury he picked up during the US Open. Meanwhile, Stanislas Wawrinka beat Lleyton Hewitt in five sets to clinch Switzerland’s return to the World Group, while Kei Nishikori helped Japan re-enter the top tier for the first time since 1985. Finally, Andy Murray and Rafael Nadal have been vocal critics of the tournament schedule lately, and that dispute may come to a head when the players meet next month.

James Waterson reports on news from the US Open. Maria Sharapova has been eliminated from the US Open. She hit 60 unforced errors and 12 double faults en route to a 6-3, 3-6, 6-4 loss to Flavia Pennetta of Italy. On the men's side, Donald Young scored the biggest win of his career when he outlasted Stanislas Wawrinka 7-6, 3-6, 2-6, 6-3, 7-6, while Andy Murray came back from a two-set deficit to beat Robin Haase. Rafal Nadal had an easy day, as his opponent, Nicolas Mahut, retired with Nadal leading 6-2, 6-2.

James Waterson and Lauren Lynch report on today’s Wimbledon Results. Rafael Nadal survived a slow start to steamroll Michael Russell 6-4, 6-2, 6-2, Andy Murray rallied from a set down and Mardy Fish, Tomas Berdych, Gael Monfils and Stanislas Wawrinka advanced. On the women’s side, Venus Williams won in an hour, and Vera Zvonareva dropped a set to American Alison Riske. Finally, check out our new contest, in which you can win a trip for two to New York City just by doing an impression of a tennis player!