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Used Wilson Hammer Tour 4 1 2" Tennis Racquets

Wilson Racquet Sports Tennis Racquets

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Tennis Now Gear Review: Wilson Tour Passes A Decade Of Service

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Wilson 5.3 Hyper Hammer Tennis Racquet - Ecomomical All Court Racquet - Choice of Grip Size

Grip Size 3 - 4 3/8"

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About this item.

• Terrific high density carbon fiber racquet for intermediate and starting players
• The 5.3 is one of the world's best selling racqeuets
• Stability and control with modest power in a light comfortable racquet
• Head - 110. Strung Weight - 9 oz. Length - 25.5 inches. Balance - 8 head heavy
• Strung and ready to play. No cover

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Top Brand: WILSON

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The 5.3 is a terrific carbon fiber racquet suitable for a wide range of players. The 5.3 is one of the world's best selling racquets ever. It offers excellent stability and control with modest power in a light-weight, comfortable playing frame. The 5.3 OS suits 3.0-4.0 players with a modest up to a full swing. This is a "Wilson Hammer" type racquet which means it is balanced to be a bit head heavy; although the extra head weight is not particularly noticeable in the 5.3. Players with a very deep swing may find it a bit too powerful. It is maneuverable, the hammer head weighting is nice for following through the ball, and it is generally comfortable to use. .

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Wilson tour limited vs. hyper hammer 5.3 midplus

• Thread starter GHMI
• Start date Nov 12, 2018
• Nov 12, 2018

Just wanna share some experiences with the two wilson racquets: blx tour limited and hyper hammer 5.3 midplus with PH. Tour blx limited I used to play with blx tour limited. Honest to say it was really a great racquet. Very solid on ground stroke. Produced good consistent shot. At net it felt a little bit less of maneuverability, but could still get a good solid volley. Awesome racquet in short. Not much to complain about. The only thing I have to pick on is the stiffness. I felt like the stiffness made it more difficult for me to swing upwards when I served. I just couldn't generate enough racquet speed or it just didn't go with my serve style somehow. And there were times when I was in longer play I could feel sore/pain in my forearm. So then I decided to try out some other stick. Hyper hammer 5.3 midplus with PH I switched to this one and it has been my current racquet as well. Yes I know it is some OLD kind but this one, the midplus with power holes, is practically identical to the tour limited on the outside. Both 95 headsize with power holes; the same thickness of beams; same string pattern 16x20; same length of 27.5. (Well the HH 5.3 looked to be a couple of millimeters longer than the tour limited. Could be errors in manufacturing I guess.) The differences are the weight and balance. HH 5.3 is much lighter and also a head heavy one. But when I first got it, I was really surprised at how it didn't feel like a head heavy at all when I swung. It could almost pass for a even-balanced or even a head light when being swung. Something I would credit to the light weight. When I play with it, I can produce good power with decent speed, sometimes even too powerful that I have to be really conscious so as to harness the blend of power and control to keep the ball inside the baseline. And It's extremely maneuverable. At net, volley can be solid and with good speed at the same time. Compared to the tour limited, you can easily control the direction and also add some racquet speed to generate power to your volley without overhitting it. It's also more arm-friendly to serve. No longer have pained arm. The downside is that when handling attack shots, it isn't more effective than tour limited. With tour limited which is heavier, I could come up with a good half volley return just with the right direction which I faced the racquet towards. I didn't need to do much(can't either cuz usually not enough time for backswing), and just let the racquet work for itself to counter the offense shot back. However this is not the case with HH 5.3. I think it is too light so the stability isn't good enough to deal with faster and flatter attack shots with just the right placement. The ball tends to fly out, or land too short not being solid enough. Interesting come-across on fact of weight I started to customize it in an attempt to improve the stability and elevate the solid feel. There's a TW review on the 5.3 midplus which you can find in the link below that says it weighs 10 ounces/284g. Though mine is the version with power holes, I had always assumed it weighed somewhere around that too. https://www.tennis-warehouse.com/Reviews/53OS/53OSReview.html Not till I actually weighed it did I realize it should only weigh 271g... and that's when I already got some lead tapes on it!! After I did the math, deducting lead tapes(6g) and string weights, it should only weigh somewhere between 245~250g. If you remove the replacement grip it goes lower. Looking at the spec in that link, I think this midplus version of mine was produced with the same weight as that of 5.3 oversize version. This really came as a surprise to me lol I had no idea I was playing with a racquet that light during this time and still managed to keep up with my previous play. Has anyone here played with the same version and can share some experiences? I'm adding weights up gradually and seeing how it goes along the way. Now some lead tapes on the balance point, and also a little some at 11/1 o'clock. Don't wanna change the balance point too much which is currently at 37~37.5 cm and feels perfect. I've gone through articles on the forum and also used the customization worksheet at TW university so understood how to keep the same balance. But it'd be interesting to learn if anyone else has also used this find and how it worked out.  

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A History of The Actors Studio

Written by Andreas Manolikakis

The Actors Studio was founded in New York by Elia Kazan, Cheryl Crawford and Robert Lewis in 1947. For seven decades it has been devoted to the service and development of theatre artists –actors, directors and playwrights. To our members, who are primarily actors, The Actors Studio offers free lifetime membership, with no fee or tuition required, which entitles them to a unique opportunity to explore and improve their craft in a safe, laboratory environment with colleagues with whom they share the same process of work.

The roots of The Actors Studio go back to the Group Theatre (1931-1941) whose work was inspired by the discoveries of the great Russian actor and director Konstantin Stanislavski and his best student Eugene Vakhtangov as revealed in the legendary productions that the Moscow Art Theatre toured in America in 1923. In fact Stanislavski’s dedication to his book, ‘My Life in Art,’ (1924) reads: “I DEDICATE THIS BOOK IN GRATITUDE TO HOSPITABLE AMERICA AS A TOKEN AND A REMEMBRANCE FROM THE MOSCOW ART THEATRE WHICH SHE TOOK SO KINDLY TO HER HEART.”

When the Moscow Art Theatre ended its American tour, several members of the theatre stayed behind and trained artists, including Lee Strasberg, Harold Clurman and Stella Adler, who would go on to form the Group Theatre along with other artists such as Elia Kazan, Sanford Meisner and Robert Lewis. These artists studied, explored, developed and improved the work of the Russian masters with extraordinary results that were unique in the history of the American theatre and a new kind of acting was born.

After the Group Theatre closed, in 1941, many of its members went their separate ways. Elia Kazan has stated that one of the principal reasons he created The Actors Studio, in 1947, was in order to preserve and develop this new American acting. He wanted to create a not-for-profit organization that would provide a laboratory, a private workshop in which the professional actor could work on his or her craft, far away from the commercial pressures of casting, rehearsal and performance. It was to be a place that would offer its member-artists an ongoing training, a continuity of work and the feeling of an artistic home like they had at the Group Theatre.

At the Studio, it was eventually decided that membership should be achieved through an audition process of preliminary and then final auditions where the only requirements are talent and the possibility of improvement.

In 1948, Lee Strasberg was asked by Elia Kazan to join the Studio as one of its teachers and in 1951 he became its Artistic Director, a position he maintained until his death in 1982. Strasberg’s deep understanding of the Stanislavski System and the reformulations of Vakhtangov, together with his own personal discoveries and improvements on the acting process, provided the foundation on which The Actors Studio based its work.

At the same time, the work of Elia Kazan as a theatre and film director demonstrated in the most powerful way the extraordinary results of the deep and personal process of acting espoused by The Actors Studio.

For seven decades, the very existence of The Actors Studio, the principles and values that it represents, the methodology of its work process, its consistency and long life have established the Studio as a unique theatre organization and a guiding light for actors, directors and playwrights around the world. For many it is considered the temple of the acting process.

Today the work that is done at The Actors Studio continues the Stanislavski-Vakhtangov-American approach, and most of the leading members of the Studio today have studied with more than one of these great American teachers: Lee Strasberg, Harold Clurman, Elia Kazan, Stella Adler, Sanford Meisner and Robert Lewis.

Currently, Ellen Burstyn, Alec Baldwin and Al Pacino serve as co-Presidents of the Studio. Beau Gravitte serves as Artistic Director in New York and Salome Jens and Lou Antonio serve as interim co-Associate Artistic Directors in West Hollywood at our Actors Studio West branch, which opened in 1966. The Actors Studio is governed by a Board of Directors comprised of members from both coasts.

After 70 years, The Actors Studio continues to thrive because it is needed. Goethe has said that, “The actor’s career develops in public, but his art develops in private.” The Studio provides its members with this special kind of privacy, along with a group of colleagues who share the same passion for what Studio members refer to as “The Work.”

In spite of the presence of The Actors Studio over many years and its extensive influence in America and worldwide, there still persist many misunderstandings of the Studio, its mentors, its philosophy and its process. These errors most often arise from discussions by some academics, theoreticians, historians and even by some theatre professionals who attempt to analyze and interpret a process of work that they have never learned through serious practice. The work of Stanislavski, Vakhtangov and The Actors Studio was arrived at through deep and lengthy practical experiments that elude rational analysis by non-practitioners.

In 1994 The Actors Studio entered a major new phase with the creation of The Actors Studio Drama School MFA (Master of Fine Arts) Program in acting, directing and playwriting, in order to bring the Studio’s method into a university setting. In September 2006, the Actors Studio Drama School moved to Pace University in downtown New York City, which also is the home of one of the program’s most visible teaching platforms, INSIDE THE ACTORS STUDIO, hosted by James Lipton.

Andreas Manolikakis is a Board Member of The Actors Studio and Chair of The Actors Studio Drama School at Pace University in New York City.

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Classical Christian Education

Christ-centered.

In all its levels, programs, and teaching, Logos School seeks to: Teach all subjects as parts of an integrated whole with the Scriptures at the center (II Timothy 3:16-17); Provide a clear model of the biblical Christian life through our staff and board (Matthew 22:37-40); Encourage every student to begin and develop his relationship with God the Father through Jesus Christ (Matthew 28:18-20, Matthew 19:13-15).

In all its levels, programs, and teaching, Logos School seeks to: Emphasize grammar, logic, and rhetoric in all subjects (see definitions below); Encourage every student to develop a love for learning and live up to his academic potential; Provide an orderly atmosphere conducive to the attainment of the above goals.

Grammar : The fundamental rules of each subject. Logic : The ordered relationship of particulars in each subject. Rhetoric : How the grammar and logic of each subject may be clearly expressed.

What Do We Mean by Classical?

In the 1940’s the British author, Dorothy Sayers, wrote an essay titled The Lost Tools of Learning . In it she not only calls for a return to the application of the seven liberal arts of ancient education, the first three being the “Trivium” – grammar, logic, rhetoric, she also combines three stages of children’s development to the Trivium. Specifically, she matches what she calls the “Poll-parrot” stage with grammar, “Pert” with logic, and “Poetic” with rhetoric (see The Lost Tools Chart ). At Logos, the founding board members were intrigued with this idea of applying a classical education in a Christian context. Doug Wilson, a founding board member explained the classical method further in his book, Recovering the Lost Tools of Learning. Logos School has been committed to implementing this form of education since the school’s inception.

Wilson Hyper Hammer 5.3 Stretch Racquet Review

Hyper hammer 5.3 midplus, hyper hammer 5.3 midplus technical & statistical data, technical specifications, babolat rdc ratings, hyper hammer 5.3 oversize review, hyper hammer 5.3 oversize technical & statistical data, playtester profiles.

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Rock trailblazer Heart reunites for a world tour and a new song

FILE - Nancy Wilson, left, and Ann Wilson, right, of the band Heart perform as Heart is inducted into the Rock and Roll Hall of Fame during the Rock and Roll Hall of Fame Induction Ceremony at the Nokia Theatre on Thursday, April 18, 2013 in Los Angeles. Heart — the pioneering band that melds Nancy Wilson’s shredding guitar with her sister Ann’s powerhouse vocals — is hitting the road this spring for a world tour that Nancy Wilson describes as “the full-on rocker size.” (Photo by Danny Moloshok/Invision/AP, File)

FILE - Nancy Wilson, left, and Ann Wilson of Heart perform on opening night of the Heartbreaker Tour at the Cruzan Amphitheater in West Palm Beach, Fla., June 17, 2013. Heart — the pioneering band that melds Nancy Wilson’s shredding guitar with her sister Ann’s powerhouse vocals — is hitting the road this spring for a world tour that Nancy Wilson describes as “the full-on rocker size.” (Photo by Jeff Daly/Invision/AP, File)

FILE - Nancy and Ann Wilson of the classic rock band Heart perform in concert at the American Music Theater on Monday, March 24, 2014, in Lancaster, Pa. Heart — the pioneering band that melds Nancy Wilson’s shredding guitar with her sister Ann’s powerhouse vocals — is hitting the road this spring for a world tour that Nancy Wilson describes as “the full-on rocker size.” (Photo by Owen Sweeney/Invision/AP, File)

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NEW YORK (AP) — Heart — the pioneering band that melds Nancy Wilson’s shredding guitar with her sister Ann’s powerhouse vocals — is hitting the road this spring and fall for a world tour that Nancy Wilson describes as “the full-on rocker size.”

“I’ve been strengthening. I’ve got my trainer,” she says. “You go one day at a time and you strengthen one workout session at a time. It’s a lot of work, but it’s the only job I know how to do.”

The Rock & Roll Hall of Famers who gave us classic tracks like “Magic Man,” “Crazy on You” and “Alone” will be playing all the hits, some tracks from of their solo albums — like Ann Wilson’s “Miss One and Only” and Nancy Wilson’s “Love Mistake” — and a new song called “Roll the Dice.”

Nancy Wilson, left, and Ann Wilson perform on opening night of the Heartbreaker Tour in West Palm Beach, Fla., June 17, 2013. (Photo by Jeff Daly/Invision/AP, File)

“I like to say we have really good problems because the problem we have is to choose between a bunch of different, really cool songs that people love already,” says Nancy Wilson.

Like “Barracuda,” a sonic burst which first appeared on the band’s second album, “Little Queen” and is one of the band’s most memorable songs.

“You can’t mess with ‘Barracuda.’ It’s just the way it is. It is great. You get on the horse and you ride. It’s a galloping steed of a ride to go on. And for everybody, including the band.”

The tour kicks off Saturday at the Bon Secours Wellness Arena in Greenville, South Carolina, and will hit cities including Atlanta, Boston, Baltimore, Pittsburgh, Milwaukee, Cleveland, Detroit, as well as the New Orleans Jazz and Heritage Festival and Red Rocks Amphitheater in Morrison, Colorado. International dates include stops in London, Oslo, Berlin, Stockholm, Montreal and Glasgow.

The band’s Royal Flush Tour will have Cheap Trick as the opening act for many stops, but Def Leppard and Journey will join for three stadium dates in Cleveland, Toronto and Boston this summer.

Ann and Nancy Wilson will be filled out by Ryan Wariner (lead and rhythm guitar), Ryan Waters (guitars), Paul Moak (guitars, keyboards and backing vocals), Tony Lucido (bass and backing vocals) and Sean T. Lane (drums).

The tour is the first in several years for Heart, which was rocked by a body blow in 2016 when Ann Wilson’s husband was arrested for assaulting Nancy’s 16-year-old twin sons. Nancy Wilson says that’s all in the past.

“We can take any kind of turbulence, me and Ann, and we’ve always been OK together,” she says. “We’re still steering the ship and happy to do it together. So we’re tight.”

The new tour will take them to Canada, which was warm to the band when they were starting out as what Nancy Wilson calls “a couple of chicks from Seattle.” She recalls Vancouver embracing Heart, and touring in one van across Canada in the dead of winter on two lane highways.

The Wilsons at the American Music Theater on Monday, March 24, 2014, in Lancaster, Pa. (Photo by Owen Sweeney/Invision/AP, File)

The Wilson sisters broke rock’s glass ceiling in the ‘70s and Nancy Wilson says they only had male influences to look to, like Led Zeppelin, Pink Floyd, the Beatles, the Rolling Stones and the Moody Blues.

Now she says she looks out and loves seeing generations of female rockers. “You have boygenius and you have Billie Eilish and you have Olivia Rodrigo and so many amazing women — Maggie Rogers and Sheryl Crow, who calls us her big influence. And then Billie Eilish might have Sheryl Crow as her influence. So it’s a really nice legacy to pass along. I like to say we’re the OG — the original gangsters — of women and rock.”

Heart has made it into the Rock Hall, won Grammys, sold millions of albums and rocked hundreds of thousands of fans but Nancy Wilson has one place she’d still like to shine.

Next year will mark the 50th anniversary of their debut album, “Dreamboat Annie,” which was the same year that “Saturday Night Live” started. “So we’re actually kind of putting it out there — Heart never played on ‘Saturday Night Live.’ But what about the 50th birthday party with Heart?”

Mark Kennedy is at http://twitter.com/KennedyTwits