Category Archives: rafael nadal

Ole!

Tennis might not realize what it will miss most about Rafael Nadal now that he has announced his retirement following the November Davis Cup finals. Beyond his barely comprehensible success—22 major tournament titles (second all-time among men) in spite of chronic injury; beyond his delightful rivalry with Roger Federer that somehow never included a head-to-head match at the U.S. Open; beyond the early quirky beachcomber pants and sleeveless shirts and ongoing OCD attention to assuring his refreshment bottles were precisely placed courtside, there was a Nadal humility and respect rare among elite champions.

After a shocking early upset loss at the 2015 U.S. Open to journeyman Italian Fabio Fognini, Nadal’s analysis was typical, simply acknowledging that Fognini “played great. It was not a match that I lost, even if I had opportunities. It’s a match that he wins. So, accept. Not happy that he played better than me, but that’s what happened. That’s it.”

As his career began to wind down and he stalked Federer’s then-record 20 Grand Slam tournaments championships, Nadal was both philosophical and reasonable. “As I always say to you and is true: I would love to be the one to have more, yes. But you cannot be all day frustrated, or all day thinking about what’s your neighbor have better than you. You have to be happy with yourself. You have to do your way. If you are the one to achieve more, fantastic. If not, at least I give my best during all of my career. That’s all.”

Head-to-head, he eventually came out ahead of Federer, 24-16, though Novak Djokovic—the third of the 21st Century’s Big Three in men’s tennis—has passed them both with 24 major titles. But what made Nadal so appealing was his commitment to the moment, rather than history. He always was a one-point-at-a-time, one stroke-at-a-time player, and his disposition never changed.

He surpassed $60 million in career earnings, yet old champion Jimmy Connors once noted how “Nadal plays like he’s broke.”

There was a menace in his tennis, a dastardly persistence enhanced by a forehand groundstroke that could make your top spin. John Yandell, who for years used high-speed cameras to study tennis-ball rotation, pinpointed how it took “about a second for Rafa’s ball to get to [his opponent’s] strings. From .85 to 1.2 seconds. In that time, the ball turns over 50 to 60 times”—which worked out to between 3,000 and 3,600 revolutions per minute.

“It’s hard to believe that could actually be true,” But the topspin it produced was so severe that the ball “surged up from Nadal’s toes, more of an arc,” Yandell analyzed, “heavier but just as fast….If you look at his big bolo swing…my hypothesis is he’s increasing the sidespin as well” so that opponents were forced to strike the ball “at shoulder level or higher at times, and they may be a foot off the ground when they hit it….The full effect of the spin destroys your contact point.”

And still the fascinating dichotomy was how Nadal’s charging-bull-at-Pamplona playing style—goring opponents competitively and psychologically—didn’t jive with his declaration that he was having such a great time. “I love the sport like a spectator,” he often said. “So to have a chance to go on court in big stadiums that I saw on the TV when I was a kid always is really special for me.”

Each match, each point, Nadal said, was “not about experience, not about pressure or any of that stuff. It’s always about playing well. That’s it.”

There was a lot to appreciate about Nadal, who turned pro as a teen and played the tour for 23 years. (In 2017, South African veteran Kevin Anderson, then 31, made it to the U.S. Open final only to be thrashed by Nadal and said to him, “I know we’re the same age, but I fell I’ve been watching you my whole life.”)

Nadal had hip surgery, tendinitis in both knees; wrist, back, forearm, elbow, ankle and foot maladies as well as an abdominal tear that forced him out of a Wimbledon semifinal—and still made it to 38 with a high-intensity physical style. If his body hadn’t reached the moment where, as he put it, “raises a white flag,” he said he would have carried on. “Even though your head wants to keep going, your body says this is as far as it goes.”

It’s what has been described as the “little death” that awaits all athletes, long before they will shuffle off this mortal coil. But, boy, it was fun while it lasted. And not just for Nadal. That’s it.

Rafael Nadal vs. poetic license

Once again, tennis star Rafael Nadal has been dragged into the made-up world of creative writing. This time, it was an Off Off Broadway production in which a gay playwright imagines himself in what the New York Times described as “a searing romance with Nadal.” Completely fabricated stuff.

Neither Nadal, who has had Xisca Perello as a steady girlfriend for 12 years, nor his representatives were asked for permission to use him as a character in the show, which just finished a short run. And I’m thinking of the “Seinfeld” episode in which Jerry and George decided it would be a good idea to feed an eavesdropper the false notion that they were homosexuals—until their little joke showed up in print as fact.

“Not that there’s anything wrong with it,” they kept saying. But the point was that they were not happy about a falsehood going public.

Last May, in another bit of fabrication, the novel “Trophy Son” introduced a professional tennis trainer who claimed that almost all of the top men’s tennis players use performance-enhancing drugs, and specifically named Nadal, along with Novak Djokovic, Andy Murray and David Ferrer, as cheaters.

There is no evidence whatsoever that any those players have doped. Nadal, in fact, last month was awarded $11,800 in damages after suing a French minister of health and sport who had said Nadal’s seven-month injury layoff in 2012 was “probably due to a positive doping test.”

That French minister is a real person. The “Trophy Son” trainer is not. Does that make a difference?

In that book, and in “The Rafa Play” at New York City’s Flea Theater, were the story lines involving Nadal acceptable as poetic license? Of artists taking the liberty to deviate from fact to achieve a desired effect? Are such parodies of a public figure therefore protected from libel and defamation claims?

As a sports journalist for a half-century, I am not naïve about the use of illegal substances among professional jocks, having reported on steroid abuse as long ago as 1972. But only when such abuse could be substantiated. I am aware, too, of whispers in the macho sports world about some players’ sexual orientation, though I argue that that is nobody’s business unless a specific player wants to acknowledge his or her situation.

Gossip and supposition are strictly out of bounds.

These days, with the nation’s highest elected officials trafficking in so many barefaced non-facts and conspiracy theories, and so much of the public either unable—or unwilling—to separate rumor from reality, works such as “The Rafa Play” and “Trophy Son” are, in effect, guilty of putting Rafael Nadal’s personal life and reputation through the woodchipper.

If “The Rafa Play” creator really felt so taken with Nadal, why would he put Nadal into a dreamed-up scenario that could cause unthinking fans—and bottom-line-conscious endorsers—to reject him?

In “Trophy Son,” the protagonist—a tennis prodigy modeled after Andre Agassi—is fictional; the trainer who makes the doping charges and nudges the hero into doping is fictional; the top player beaten by the protagonist is fictional. Why bring real players into the fantasy and brand them as phonies?

Those are explosive narratives, bombs not easily defused. Maybe that playwright, and that author—I’ll skip the names to deny them any free publicity—are the ones to be unmasked as frauds.