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What 80 Artists, Musicians and Writers Are Starting Right Now

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What 80 Artists, Musicians and Writers Are Starting Right Now

Alice McDermott, 70, writer

There are three kinds of novels I’ve never taken to heart: science fiction, murder mysteries and novels about novelists. So I’ve decided to try my hand at each. If I fail, they’re probably not books I’d want to read anyway.

Thurston Moore, 65, musician and author

I’m putting the final touches on a new album, “Flow Critical Lucidity.” But after my memoir, “Sonic Life” (2023), came out, I realized my next mission was a novella, the working title of which is “Boomerang and Parsnip.” It concerns two madly in love youths in the wilds of Lower Manhattan circa 1981, and it’s wholly irreal, bordering on fantasy.

Courtesy of Samuel Delany

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Samuel R. Delany, 82, writer

I’m writing a guidebook for a set of tarot cards I designed with the artist Lissanne Lake.

Susan Cianciolo, 54, visual artist

I’m preparing a solo exhibition that will open at Bridget Donahue gallery next month, so I’m making new works and curating older ones. It’ll definitely feature a book of my watercolor tree paintings, “Tell Me When You Hear My Heart Stop.”

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Jenny Offill, 55, writer

I’m planning to start a band called Spacecrone. (I’ve stolen the name from a book of Ursula K. Le Guin essays.) It’ll be all female and 55-plus. Our faces will be made up like Ziggy Stardust, but we’ll wear sensible clothes and shoes. What’s kept me from starting it is that I can’t sing or play any instruments.

Alex Eagle, 40, creative director

We’re finessing our bag collection, which we’re trying to make as luxurious, but also as practical, as possible. And I’m planning to write a cookbook with my son Jack.

Jim Bennett/Wire Image, via Getty Images

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Earl Sweatshirt, 30, rapper and producer

Making more music — it’s the one thing I always find myself coming back to, though every time I do, I have to overcome intense feelings of self-doubt. I also want to try stand-up, but I’m scared because there’s no music to hide behind. I don’t want dogs-playing-poker laughs, either. You know the [paintings] of dogs playing cards? Like, “Oh, it’s a rapper doing stand-up.”

Alex Da Corte, 43, visual artist

I’ve been writing an opera for some years now based on Marisol Escobar’s [assemblage] “The Party” (1965-66). It’s set at a time when the sun only shines for one day a year, and the players at the party are all wondering how to move forward while holding on to their pasts.

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Danny Kaplan, 40, designer

While clay has been my faithful medium for years, I’ve lately been fueled to broaden the scope of my craft by embracing — and learning how to push the boundaries of — new materials like wood, metal and glass.

Kengo Kuma, 69, architect

Getting out of [Tokyo]. I’m doing my best to reduce the burden on big cities — I think humankind has reached a limit when it comes to congestion — and I’ve recently opened five satellite offices in places like Hokkaido and Okinawa.

Raul Lopez, 39, fashion designer, Luar

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The thing I’m always meaning to restart is my video blog “Rags to Riches: Dining With the Fabbest Bitches,” an exploration of how food, fashion, music and art all connect.

Charles Burnett, 80, filmmaker

Right now I’m involved in the development of two films. The first, “Edwin’s Wedding,” is the story of two cousins, separated by the Namibian armed struggle with South Africa, who are both planning their weddings. The second, “Dark City,” also set in Namibia, is more of an emotional roller coaster about betrayal and vengeance told in the Hitchcockian mold.

Ludovic Nkoth, 29, visual artist

I’m looking to experiment outside the confines of the canvas — sculpture and video have always been lingering in the back of my head.

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Elena Velez, 29, fashion designer

I want to start a series of salons to bring together great minds across multiple disciplines, while feeding the subculture that my work draws from.

Daniel Clowes, 63, cartoonist

I’ve always had the desire to do fakes of artworks I admire — to figure out how they were done, and so I could have otherwise unaffordable artwork hanging in my living room. Painting [with oil] is as frustrating and exhilarating as I remember it being when I was in art school 43 years ago, and my paintings look alarmingly not unlike the ones I did at 19.

Piero Lissoni, 67, architect and designer

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I’ve started the design for several new buildings that will become government offices in Budapest. I’d like to start designing chairs, lights, skyscrapers, spacecraft. In truth, I’d like to start doing everything again.

Peter Paul Rubens’s “The Massacre of the Innocents” (circa 1610), Art Gallery of Ontario, Toronto

Robert Longo, 71, visual artist

I’ve been struggling to figure out how best to make sense of the overwhelming images in the news, so I’m turning to the past. I’m working on two monumental charcoal drawings based on paintings [about war]: Peter Paul Rubens’s “The Massacre of the Innocents” (circa 1610) and Francisco de Goya’s “The Third of May 1808” (1814).

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Gabriel Hendifar, 42, designer

I’m moving into a new apartment by myself after a series of long relationships. I’m excited to challenge my own ideas about how I want to live and to see how that affects the work of my design studio [Apparatus] as we begin our next collection.

Donna Huanca, 43, visual artist

I’m working on two solo exhibitions. One will be in a late 15th-century palazzo with underground vaulted rooms in Florence, Italy; the other in a modern white cube in Riga, Latvia. For years, I’ve tailored works to the architecture of their exhibition spaces, so I’m enjoying working within this duality.

Satoshi Kuwata, 40, fashion designer, Setchu

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We’re about to start offering shoes. I’ve thought of the design. Now I just have to go to the factory and see them in real life.

Aaron Aujla, 38, and Ben Bloomstein, 36, designers, Green River Project

We’re starting a new collection of furniture based on offcuts from the studio that are finished with a modified piano lacquer. Hopefully, a suite of these pieces will be ready for exhibition by fall. We also have a commission we’re excited to start — a large sculptural fireplace made from three unique logs of rare wood.

Adrianne Lenker, 32, musician, Big Thief

I want to start learning how to paint. The few times I’ve tried it, I loved it but also felt daunted by all I needed to learn. I often think of my songs in terms of paintings. My grandmother Diane Lee’s an amazing watercolorist. Recently she gave me a lesson all about gray.

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Melissa Cody’s “Power Up” (2023), courtesy of the artist and Garth Greenan Gallery, New York

Melissa Cody, 41, textile artist

I’m starting to create wall tapestries that incorporate my pre-existing designs, which were handwoven on a traditional Navajo/Diné loom, but these new works are highly detailed sampler compositions made on a digital Jacquard loom.

Josh Kline, 44, multidisciplinary artist

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I’m working toward shooting my first feature film — a movie, not a project for the art world.

Sally Breer, 36, interior decorator

My husband and I have started building some structures on a property we own in upstate New York — he has a construction company in Los Angeles. We’re using locally sourced wood and are 80 percent done with a studio-guesthouse, a simple 14-by-18-foot box set on foundation screws, tucked into a pine forest. This is the first time we’re really working together as a design-build team. He’s started referring to it as our “art project.”

Eddie Martinez, 47, visual artist

I’m restarting a group of large-scale paintings for an exhibition at the Parrish Art Museum [in Water Mill, N.Y.] this summer. They’re each 12 feet tall and based on a drawing of a butterfly. The series is called “Bufly” since that’s how my son, Arthur, mispronounced “butterfly” when he was younger. I’d put the paintings aside while I finished my work for the Venice Biennale. Now I’m locked in the studio, painting like a nut!

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Karin Dreijer, a.k.a. Fever Ray, 49, singer-songwriter

I’ve been thinking about learning to play the drums. They’ve always felt like a bit of a mystery to me.

Eric N. Mack, 36, visual artist

I’m starting to recharge in order to begin my next body of work. I journal, read, explore the Criterion Channel and get deep-tissue massages. I keep wishing I’d organize the fabrics in my studio.

Jenni Kayne, 41, fashion designer

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We’re starting the next iteration of the Jenni Kayne Ranch [the brand’s former property in Santa Ynez, Calif., where she’d invite guests for yoga, dining and spa experiences], only this time we’re heading to upstate New York. We’re calling it the Jenni Kayne Farmhouse, and it’ll include a self-care sanctuary where slow living is a genuine ritual.

Christine Sun Kim, 43, multidisciplinary artist

I have a bit of an adverse reaction to people doing American Sign Language interpretations of popular songs on social media — they’re usually based entirely on the lyrics in English, when rhyming works differently in ASL. So I’ve been wanting to make a fully native ASL “music” video. One day.

Ellia Park, 40, restaurateur

I’ve started collaborating with the in-house designer at Atomix, one of the restaurants I run with my husband, Junghyun Park, on custom welcome cards for the guests that feature bespoke artwork.

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Awol Erizku, 35, visual artist

Awol Erizku’s “Pharrell, SSENSE” (2021), from “Awol Erizku: Mystic Parallax” (Aperture, 2023), courtesy of the artist

I’m focused on my exhibition “Mystic Parallax,” opening in May in Bentonville, Ark. [which will include concerts and portraits of such people as Solange and Pharrell Williams]. What I never seem to get around to is archiving all of my negatives in the studio.

Jeremiah Brent, 39, interior designer

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As I navigate the [effect of the] ever-so-saturated interior design algorithm, I’m challenging our team to expand the language we speak, diversifying design references by looking to the unexpected: playwrights, films, historians and science.

Vincent Van Duysen, 61, architect

I’m focusing on the 90th anniversary of [the Italian furniture company] Molteni & C. I’m also excited about our recent addition to the family — a black-and-tan dachshund called Vesta after the virgin goddess of the hearth and home.

Kwame Onwuachi, 34, chef

I’m working on launching a sparkling-water line — the proceeds of which will help bring clean water wells to African countries — and starting to write my third cookbook. I start everything I think of.

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Larissa FastHorse, 52, playwright and choreographer

I’m adapting a beloved American musical — I can’t say which — into a TV series. Which is scary because, even though I just adapted “Peter Pan” for the stage, the TV process is the opposite: Instead of cutting down a three-hour musical, I have to add hours and hours of content. So it feels like beginning over and over again.

Peter Halley, 70, visual artist

I’ve started to paint watercolors. Now that I’ve reached 70, I thought it was about time. The images are arranged in a grid like on a comic book page, but the narrative’s asynchronous. They’re based on images of one of my cells exploding, an obsession I’ve had going all the way back to the ’80s.

Darren Bader, 46, conceptual artist

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I want to start an art gallery called Post-Artist that regularly shows art but refuses to name who made it. No social media presence. I also want to do what Harmony Korine is doing, except with none of that content.

Jeff Tweedy, 56, musician, Wilco

I’m about to record an album of new music with my solo band, which isn’t really solo at all. I’m bringing my sons and the close friends and quasi family who’ve been playing with me live for the past 10 years or so into the studio. I’ve written songs that feel like they can be a vessel for all of our voices together: a miniature choir. There’s really no experience that compares to singing with other people. I think it tells us something about how to be in the world.

Charles Yu, 48, writer

I’m about to start promoting the “Interior Chinatown” series [based on Yu’s 2020 novel]. I’d like to get into music and service. My son’s a drummer, and he’s awakened some latent impulse in me. And my daughter and wife have been volunteering. I’m not exactly sure what’s been keeping me from either. I could say work, but I suspect the actual answer is nothing.

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Elyanna, 22, singer-songwriter

I’d love to improve my Spanish. I visit my family in Chile at least once a year and, every time I fly back to L.A., I realize that I need to keep practicing.

Boots Riley, 53, filmmaker and musician

I’m getting ready to start filming a feature I wrote about a group of professional female shoplifters who find a device called a situational accelerator that heightens the conflict of anything they shoot it at. I also have a sci-fi adventure: a janky, lo-fi epic space funk opera. My dream is to use the same crew and shoot the two movies back to back in Oakland, Calif. [where I live]. That’s one thing about being 53 — I want to be able to spend more time with my kids.

Damien Maloney/The New York Times

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Sable Elyse Smith, 37, visual artist

I’ve recently embarked on an operatic project. Yikes! MoMA invited me to make a sound piece that’ll open in July, and it’ll be a kind of prelude to a larger version. It’s titled “If You Unfolded Us.” It’s a queer love story and a coming-of-age story about two Black women.

Satoshi Kondo, 39, fashion designer, Issey Miyake

My latest experiment with washi, or traditional Japanese paper, is blending fibers extracted from the remaining fabrics of past clothing collections with the pulp mixture from which washi is made. It’s a way of playing with color and texture.

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Laila Gohar, 35, chef and artist

Almost all of my work has used food as a medium and has therefore been ephemeral. Making work that isn’t — namely, sculptures — is an idea I’ve been toying with for a while, but I haven’t been able to jump into it yet. I once read something an artist said about how she thought male artists are more concerned with legacy than female artists, and that female artists are more comfortable creating ephemeral work. This rang true for me, but now I feel slightly more confident about making things that might outlive me.

Patricia Urquiola, 62, architect and designer

I was nominated [last year] as a member of the Royal Academy of Fine Arts of San Fernando in Madrid, so now I’m writing the acceptance thesis, or discurso de ingreso. It’s an occasion to reflect on ideas — for example, I reread the philosopher Bruno Latour, who argues that design “is never a process that begins from scratch: To design is always to redesign.”

Luke Meier, 48, and Lucie Meier, 42, fashion designers, Jil Sander

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We’ve started making some objects — glass and ceramics. We aren’t at all experienced in these fields, so it’s invigorating to play again.

Kevin Baker/Courtesy of Number 9 Films.

Marianne Elliott, 57, director

I’ve always wanted to do a film, but it requires so much time and theater is a hungry beast, so it’s eluded me until now: “The Salt Path,” starring Gillian Anderson, is based on a true story about a remarkable English couple [who embark on a 630-mile hike].

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Samuel D. Hunter, 42, playwright

Last year, I was approached by Joe Mantello and Laurie Metcalf, who wanted someone to write a play for Joe to direct and Laurie to star in. I’d never met either of them but, if I had to pick one actor on earth to write a role for, it would be Laurie. “Little Bear Ridge Road,” a dark comedy about an estranged aunt and nephew who are forcibly reunited after the passing of a troubled family member, will go into rehearsals in May.

Thebe Magugu, 30, fashion designer

When I was 16, I began writing a novel, taking place between the small South African towns of Kimberley and Kuruman, that I’ve contributed to every year since. It currently sits as a huge slab of a book — around 80,000 words — and I’ve been meaning to rewrite and polish the earlier chapters. I’ve given myself the next 10 years [to finish the project]. It’ll be a gift I give to myself when I turn 40.

Misha Kahn, 34, designer and sculptor

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I have an idea for this toothpaste project called Zaaams that’s expanded, of its own volition, into an entire cinematic universe. Sometimes an idea can grow so big that it’s unmanageable and nearly unstartable. Sometimes I’ll really start working on it, but I get overwhelmed by the seismic rift in society it would cause and feel dizzy. Crest, if you’re reading this, call me.

Nell Irvin Painter, 81, visual artist and writer

I’m way too old to be a beginner. I’m 81 and have already written and published a million (OK, 10) books. But a very different kind of project’s been tugging at me: something like an autobiographical Photoshop document with layers from different phases of my life in the 1960s and ’70s — spent in France, Ghana, the American South. I’d have to be myself at different ages.

Courtesy of Nell Irvin Painter

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Sharon Van Etten, 43, singer-songwriter

In 2020, I became familiar with the work of Susan Burton, the founder of A New Way of Life, which provides formerly incarcerated women with the care and community they need to get their lives back on track, and was so moved by her story I asked my record label if it was OK to use money from my music video budget to produce a minidocumentary on the organization, “Home to Me.” I still have a lot to learn about filmmaking, but I think it’s the beginning of something beautiful.

Piet Oudolf, 79, garden designer

I’m starting the planting design for Calder Gardens, a new center dedicated to the work of the artist Alexander Calder in Philadelphia. I’m working on it with Herzog & de Meuron architects, and it’ll include a four-season garden that will evolve with the months. Early in the year, it’s about ephemerals (bulbs). Spring is when woodland flowers are important. Summer will be the high point of the prairie-inspired areas, and in fall and winter there’ll be seed heads and skeletons. I think a good, harmonious garden is like a piece of living art.

Rafael de Cárdenas, 49, designer

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As a consummate shopper, I’ve always thought the best way to bring my interests together would be with a store — a lab for testing things out and creating a connoisseurship in the process. I’m thinking Over Our Heads (the second iteration of Edna’s Edibles in [the 1979-88 sitcom] “The Facts of Life”) meets Think Big! (a now-closed shop in SoHo) meets [the London gallery] Anthony d’Offay meets [the defunct clothing store] Charivari meets [the old nightclub] Palladium.

Gaetano Pesce, 84, architect and designer

I’m working on a possible collaboration with a jewelry company from Italy. I can’t say the name yet, but the pieces stand to be very innovative. Also, another collaboration with the perfume company Amouage inspired by time I spent in Oman’s Wadi Dawkah and the beautiful frankincense trees there.

John Cale, 82, musician and composer

Ever since I played viola in the National Youth Orchestra of Wales, I’ve been hypnotized by the thought of the discipline needed to conduct. My attention soon wandered — from John Cage to rock music. Now, 60 years on, it’s finally time.

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Nona Hendryx, 79, interdisciplinary artist and musician

I’m working on the Dream Machine Experience, a magical 3-D environment that’ll be filled with music, sound, images and gamelike features. It’ll premiere at Lincoln Center this June. [My idea was] to create an imaginative world inspired by Afro-Futurism that encourages a wide, multigenerational audience to share.

Faye Toogood, 47, designer and visual artist

I’d like to develop a jewelry collection, but I haven’t. Is it because no one’s asked — no phone call from Tiffany! — or because I’m struggling to understand how adornment fits into our current world?

Freddie Ross Jr., a.k.a. Big Freedia, 46, musician

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I’m recording a kids’ album and publishing a picture book for early readers. Much of my art is about language and the unique colloquialisms that we have in bounce culture. Children respond to its snappy rhymes and phrases.

Danzy Senna, 53, writer

Every time I write a novel, I think, “This is the most masochistic experience I’ve ever had — I’m going to quit this racket.” But I feel incomplete without this depressive object to feel beholden to. I just finished editing one book [“Colored Television”] and have the sinking feeling I’m about to start another.

Jackie Sibblies Drury, 42, playwright

I’m starting, hopefully in earnest, to write a play in collaboration with the director Sarah Benson inspired by action movies. We were intrigued by the problem of trying to put chase scenes or action sequences onstage, where it’s difficult to build momentum or suspense because in theater we have less control over the viewer’s eye, among other things. But hopefully the play will be about what it means to see ourselves in these macho cis men who often get hurt pretending to almost die for our entertainment — or something like that?

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Lindsey Adelman, 55, designer

I’m putting together a digital archive of my work and ephemera — about 30 years’ worth — revisiting everything from the sculpture I made as a student at RISD to the paper lights David Weeks and I sold for $25 to datebooks where I scribbled notes about things I wished would come true and then did. I hope it’ll encourage others to start something. I want them to understand, “Oh, this was the first step … this beautiful, finished thing was inspired by a piece of garbage dangling from a streetlamp.”

Elizabeth Diller, 69, architect, Diller Scofidio + Renfro

Since 2012, when my studio was doing research for a contemporary staging of Benjamin Britten’s chamber opera of Henry James’s “The Turn of the Screw,” I’ve been meaning to start a book about ghosts. While ghosts are a well-trod literary device, their visual representation on stage and screen also has a rich history that can be told through the lens of an architect. Despite the fact that ghosts transcend the laws of physics, they’re stubbornly site-specific — they live in walls, closets, attics and other marginal domestic settings, and they rarely stray from home.

David Oyelowo, 48, actor

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Something that three friends and I are in the process of building and developing is a streaming platform that we launched last year called Mansa. The idea — born out of growing frustration with making things that I love and then having to use some kind of distribution mechanism where the decision makers are almost always people who don’t share my demographic — is Black culture for a global audience. Essentially, we started a tech company that intersects with our love of story and our need to create [pipelines] for people of color and beyond to be seen.

Franklin Sirmans, 55, museum director, Pérez Art Museum Miami

There’s a recurring exhibition that I’ve worked on with [the curator] Trevor Schoonmaker since 2006 called “The Beautiful Game” that consists of art about soccer. We do it every four years because of the World Cup, and I’m starting to get into the 2026 iteration. I’ve also been trying to finish a book of poems since I graduated college more than 30 years ago. But it’s happening. It’s not like you don’t write a good sentence every now and then.

Jamie Nares, 70, multidisciplinary artist

I’ve always loved this line of poetry [from the Irish poet John Anster’s loose translation of Goethe’s “Faust”] that goes, “Whatever you can do, or dream you can, begin it. Boldness has genius, power and magic in it.” One thing I’ve begun recently is a revisiting of my 1977 performance “Desirium Probe,” for which I hooked myself up to a TV that the audience couldn’t see, and relayed what was happening onscreen through re-enactment. Now I’m going to do it with YouTube videos chosen at random from the wealth of rubbish and interesting stuff on there. And as a video, because I’m not as agile as I once was.

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Joseph Dirand, 50, architect and designer

Courtesy of Joseph Dirand Architecture

My firm has just started developing, with a French company called Zephalto, a prototype of the interiors for a hot-air balloon that will take travelers to the stratosphere, and the carbon footprint of the journey will be equivalent to that of the production of a pair of blue jeans. The balloon is transparent, so it’ll be almost as if you’re going up in a bubble of air — riders will see the curve of the earth. We’re designing three private cabins: sexy, organic cocoons that reference the ’60s and the dream of space, but are otherwise pretty minimal. The landscape is the star of the show.

Amaarae, 29, singer-songwriter

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I’m working on the deluxe version of my 2023 album, “Fountain Baby.” The approach for the original album was very maximalist — I organized these camps all over the world and had a bunch of people come through to work on the music. Afterward, I felt underwhelmed — not by the project but by how I felt at the end of it all. [So] I stripped back everything so it’s just me and my home setup, trying ideas. Before, I was really lofty, but now my feet are touching grass a little bit.

Jennifer Egan, 61, writer

I’m starting a novel set in late 19th-century New York City. As always with my fiction, I have little idea of what will happen, which lends an element of peril to every project! Time and place are my portal into story, and I’m interested in a time when urban America was crowded and full of buildings we occupy today, yet the landscape beyond seemed almost infinite.

Carla Sozzani, 76, gallerist and retailer

Just as my partner, Kris Ruhs, and I revamped the then-unknown Corso Como area of Milan, we’re now putting our energy into the construction of a new studio for him, as well as the expansion of the Fondazione Sozzani [cultural center], both of which are in Bovisa, another old industrial neighborhood. I wanted to be an architect when I was young, but my father said, “No!”

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Stephanie Goto, 47, architect

If my clients allow me to peel one eye away from their commissions, I’d like to dive deeper into the renovation of my own property in Connecticut, which includes the circa 1770 former home of Marilyn Monroe and a tobacco-and-milk barn that will house my studio.

Amalia Ulman, 35, visual artist and filmmaker

I’m beginning to write the script for my third feature film — probably my favorite part of the process, when I just need to close my eyes and see the film in my head. It’s the closest to a holiday because it feels like daydreaming.

Wim Wenders, 78, filmmaker

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Several years ago, I started a project about the Swiss architect Peter Zumthor, who, along with others, designed the new Los Angeles County Museum of Art that’s being built now. The working title of the film is “The Secret of Places,” and it’s done in 3-D. My dream is to make a comedy one day. [Laughs.] Seriously. [Laughs again.] I’m working on it.

Wendy Red Star’s “Beaver That Stretches” (2023), © Wendy Red Star, courtesy of the artist and Sargents Daughters

Wendy Red Star, 43, visual artist

I’ve started highlighting Crow and Plateau women’s art history by making painted studies of parfleches, these 19th-century rawhide suitcases embellished with geometric designs. I’m learning so much about these women just by their mark making, but have only come across a few that have the name of the person who made it, so I’m titling my works by pulling women’s and girls’ names from the census records for the Crow tribe between 1885 and 1940.

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Nick Ozemba, 32, and Felicia Hung, 33, designers, In Common With

Next month, we’re opening Quarters, a concept store and gathering space in TriBeCa that will feature our first furniture collection.

Bobbi Jene Smith, 40, dancer, choreographer and actress

My husband, Or Schraiber, and I are creating a work composed of solos for each dancer of L.A. Dance Project, where we’ve been residents for the past year and a half. We’ve had the unique opportunity to connect deeply with some of the dancers, and this — a gratitude poem for each of them — will be our culminating project. They’ll each be a few minutes long and characterized by physicality set against silence.

Editor’s note: The architect and designer Gaetano Pesce, whose comments are included in this piece, died on April 4 at age 84.

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These interviews have been edited and condensed.

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Culture

Vinicius Jr is Real Madrid's transformative big-stage player – with a twist

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Vinicius Jr is Real Madrid's transformative big-stage player – with a twist

At the end of Tuesday night’s dizzying 2-2 draw at Bayern Munich, Real Madrid’s press officer moved quickly to find Vinicius Junior on the pitch and give him a training top.

With the Brazilian half-naked after exchanging shirts with Bayern substitute Bryan Zaragoza, it was as if the visitors didn’t want him to catch a cold. That’s because Madrid can’t afford anything like a scare with their star player, who had just pulled his team out of the fire with their two goals in this Champions League semi-final’s first leg.

He did it playing as a No 9 and on a night when the 14-time European Cup/Champions League winners were facing Harry Kane, the striker their coach Carlo Ancelotti had asked for in vain last summer.

Madrid’s interest did not go beyond testing the waters for Kane and the England captain ended up joining Bayern from Tottenham Hotspur. Ancelotti’s squad instead welcomed a then 33-year-old Joselu on loan, who had just been relegated with Espanyol. In an injury-hit season that has also left him short of centre-backs as well as strikers, the Italian coach has become an expert in survival.

In the first part of it, he invented a new position for Jude Bellingham, another summer arrival, who scored 17 goals in 21 appearances before the Christmas break. In the second half, he has helped Vinicius Jr reach new levels while gradually centring his position, even converting him into a leader of Madrid’s forward line.

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GO DEEPER

Vinicius Jr’s new role at Real Madrid: Closer to goal and more cutting edge

Vinicius Jr’s first goal last night was the work of a pure striker, a clever run to make space in behind, a clinical cool finish beyond the approaching Manuel Neuer. The Brazilian ran to the corner flag in celebration, kissed the Madrid badge on his shirt, danced and spread his arms like Bellingham does after he scores, before walking back onto the pitch.


Vinicius Jr bowing to Kroos after the opening goal (Kirill Kudryavtsev/AFP via Getty Images)

There, he bowed to Toni Kroos, around whom more than half their team-mates had already gathered. Playing at his former home ground, Kroos’ through ball for the goal was a thing of beauty. Even though he played it down afterwards.

“A lot of credit to Vini, he offered me the pass with his movement. As I know him, he always goes into space. The pass wasn’t that special,” Kroos said.

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“We train a lot together and we know each other very well,” said Vinicius Jr, who became only the fourth man in Champions League history to score in three straight semi-final legs.

But Madrid had started the game badly, very badly. And Ancelotti had been very, very angry.

In the 10th minute, he turned and stuck out four fingers at his son and assistant coach Davide, complaining about the number of times their players had lost possession already. Substitutes Eder Militao and Dani Ceballos stood up from the bench to add to the direction and encouragement shouted towards the field of play.

That mood changed suddenly when, about 15 minutes later, Kroos and Vinicius Jr combined with their devastatingly simple move for the opening goal. Kroos received the ball in midfield and immediately spotted what should happen next, pointing the way for his team-mate. Vinicius Jr saw what he meant and executed. It was out of the blue. Bayern were caught out, although their head coach Thomas Tuchel had almost predicted it.

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“If you look at their goals or their chances and rewind 10 seconds, you don’t see them coming,” Tuchel has said before the game.

In the second half, Bayern came back strongly. Leroy Sane’s powerful strike caused havoc. On the sidelines, Ancelotti scolded Vinicius Jr and Aurelien Tchouameni. Four minutes later, while Kane prepared to take the penalty that put the home side 2-1 up and international team-mate Bellingham tried to put him off, Vinicius Jr had another quick meeting with the Ancelottis.

And, as he has done so many times before, the Brazilian led the rebellion on the big stage.

Madrid did not give up, they never do. Their fans, who approached the game like it was a final, with 4,000 in the away stand at the Allianz Arena, chanted “Hasta el final, vamos Real!” (“Until the end, let’s go Real!”).

In the 83rd minute, when Vinicius Jr’s smart feet found Rodrygo in the box, there was no doubt who would take the penalty after the latter was fouled. Vinicius Jr had scored from the spot against Barcelona in El Clasico nine days previously and he would take the responsibility again. Lucas Vazquez retrieved the ball and pushed away a couple of Bayern players who were trying to bother his team-mate.

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Vinicius Jr set it down carefully and wiped the sweat from his face with his shirt. The noise was almost deafening.

But Madrid’s Brazilian talisman slipped softly through the pressure. He scored again and again went to the corner to celebrate. Objects thrown from the stands landed around him as he crowned the moment by pointing to the No 7 on his back — the same as was worn for so long at Madrid by his idol Cristiano Ronaldo.

In sending that penalty past Neuer, he reached 32 goal contributions (21 goals and 11 assists) for Madrid this season, nudging ahead of Bellingham by one.

According to data provider Opta, since the start of the 2021-22 season, he has been directly involved in more goals in the Champions League than any other player (31 in total; 16 goals and 15 assists).

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This is Vinicius Jr, a total player who has evolved so much that he could also be the striker Ancelotti wanted last summer.

“I’m very happy to be able to score two goals,” he said from the touchline after the game, having been named player of the match. “Now it’s time for a magical night at home.”

It all summed up the merit of Ancelotti, his staff and Vinicius Jr — having an idea to fill a gap and developing it well to the point where a left-winger can be the best player in a Champions League semi-final away leg while playing up front.

“Now he has learned to move well without the ball, moving at the back of the rivals,” Ancelotti said. “And then he’s very cold in front of goal.”

(Top photo: Daniel Kopatsch/Getty Images)

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How F1's Red Bull mastered the art of the 2-second pit stop

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How F1's Red Bull mastered the art of the 2-second pit stop

Between the Racing Lines | Formula One is complicated, confusing and constantly evolving. This story is part of our guide to help any fan — regardless of how long they’ve watched the sport or how they discovered it — navigate the pinnacle of motorsports.


Box, box.

Every Formula One fan is familiar with that radio message, the call for a driver to head in for a pit stop. Whether it’s changing tires, serving a time penalty or repairing damage, the pit stop is one of the most strategically important moments during any grand prix. The longer you spend off the track, the farther behind you fall. McLaren holds the world record for the fastest pit stop — 1.80 seconds, set during the 2023 Qatar Grand Prix — but no team has matched the consistency of Red Bull’s blazing pace.

For each of the last six seasons, the Milton Keynes-based team has won the DHL Fastest Pit Stop Award based on their stop times throughout the year. They should repeat in 2024, holding nine of the 10 fastest stops over the last five races. The top three came from the Chinese Grand Prix weekend, where Red Bull stunned the F1 world with two flawless double stacks, changing the tires on Max Verstappen and Sergio Pérez’s cars in rapid succession. The first took 4.18 seconds; the second, 3.95 seconds.

Whether a routine stop or a double stack, pit stops are choreographed dances. They begin the moment activity buzzes in the garage as more than 20 team members hurry out to their positions in the pitlane, waiting for the drivers to pull into the box. As Jonathan Wheatley, Red Bull’s Sporting Director, said, “Your perfect pitstop involves everyone having that perfect two seconds.”

It’s a game of millimeters and milliseconds. Here’s how it goes down.

The positions

Pit stops are a whirlwind of noise and speed, typically taking 2.5 seconds or less. The drivers need to hit their marks within the outlined area, and the crew members then jack up the front and back of the car, swap out the four wheels, and lower the car — all in unison when nailed perfectly.

“You get a buzz,” said Phil Turner, the team’s chief mechanic. “You get that adrenaline rush that you know you’ve had a good pit stop. You just tell by the sound, the noise, and how quick the car drops.”

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It starts with the people, all of whom hold other team positions in addition to being on the pit crew. Teams are limited by how many people can be trackside, and some roles require people to be at computers when pit stops unfold. Wheatley described a pit stop as “an endeavor by 22 human beings.”

The wheels

Number of people: 12

This grouping is a trio per wheel — wheel off, wheel on and a wheel gunman. For wheel off and wheel on, strength is a requirement, said Jack Harrison, a mechanic on the team and a ‘wheel on’ member. Each wheel weighs over 44 pounds (20 kg). “You’ve got to have some sort of size to be able to manipulate the wheel to where you want it to be.”

The call is typically given around 15 seconds out, and the ‘wheel on’ crew carries the tires from the garage to the pit box. All three at the four tire locations crouch, and the wheel gunman readies to loosen and tighten the wheel nuts as the car slams to a halt. “I don’t ever think the car’s gonna hit me,” said wheel gunman Callum Adams. That doesn’t mean it can’t happen, but it’s a matter of trusting the driver will stop where they’ve practiced. Adams’ favorite part of his role is his proximity to the car because when it’s dropped, he can see the clutch engage and the wheels spin.

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What may surprise fans about the wheel off, wheel on process is that the wheel nut stays attached to the tire itself. The wheel gunman loosens the wheel nut before the car has stopped, Adams said, and they’re working “on the wheel nut for the new wheel before it’s even on the car. That’s where you make up the time.” The ‘wheel off’ crew member is taking the tire off as the car is coming off the ground, thanks to the jacks.

Jackmen

Number of people: 4

This grouping includes two main players: a front and rear jackman.

Because the cars are so low to the ground, both jacks need to lift at the same time. If the car stops short, front jackman Chris Gent said he struggles “to get the jack under the car because the car is so low, and the jack will only go under really when the car is on all four wheels.” If the rear jack lifts before the front, Gent says he has to signal for the car to be lowered to fit his jack under the car.

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“It’s also awkward (if) they stop on the first few laps of a race when the car has a full amount of fuel, and then the car is so much heavier than whether it’s midway or towards the end,” Gent added. “It feels completely different to jack it up when it’s a lap or two into the race.”

Each jack is different, but Gent described his as one that can rotate and has two levers, one that releases the jack and the other that allows the jack to tilt.

“When the car arrives, we jack it up, and you can jack it to a certain point, and then you can relax because it has two little feet that come out so the car is always at the same height, which is obviously quite important for the gunmen,” Gent said. He later added that, in theory, the jackmen don’t have to pull the lever to release the jack, which drops the car to the ground, but he does so in case there is a failure in the lights system.

There are spare jackmen for both positions, just in case of an issue. If a front wing is damaged, teams will use a side jack instead and replace the wing.

Gent has been hit by a car before but “never any real damage other than being knocked back quite a long way.” When it comes to getting over the initial reaction to jump out of the way of a moving vehicle, Gent said, “A lot of it is down to trust, isn’t it?”

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Car steadier 

Number of people: 2

When the car is lifted, two people grab hold of the cockpit area, keeping it stable as other crew members do their work. If needed, they may clean the mirrors or radiators.

Front wing adjuster

Number of people: 2

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These crew members help make aerodynamic changes to the wing, which impact understeer or oversteer based on the driver’s feedback.

Lollipop (aka the green light) 

This resembles how NASCAR teams hold out a sign as drivers enter the pit box. Within the world of F1, this individual would give the signal for when the car can release, but over time, it’s become more electronic. A system now indicates when the driver can leave the pit box.

The guns and jacks are essentially linked to a traffic light system of sorts, but the decision of when the car is released lies with the crew member with the override button, who monitors pit lane traffic. The green lights indicate the wheels are secure, and once there is space for a safe release, the driver gets the go-ahead to exit the pit box. If the stewards deem a pit box exit to be unsafe release, drivers may face a five-second time penalty.

The practice

Teams practice pit stops during a race weekend, and fans can watch from pit lane or their seats during certain windows. But these sessions also take place back at the factory, both in and out of the season. Harrison said Red Bull will practice anywhere from five to 20 pit stops during these sessions. Wheatley commented how, with Red Bull, “your first pitstop is likely to be for a race win.”

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However, as Harrison noted, there is work that is done before a “real physical practice,” like what fans see during a race weekend. Whether it’s with the entire crew or just the specific group, like the corner crews, they’ll visualize the pit stops with props. Harrison said, “We’ll be using those to be able to help you. Even just with the movements, not necessarily the weight of the wheel.” It’s about being limber and warming up for the real deal.

Practicing with the entire pit stop team is easier, he said, because a big component of an efficient stop is listening to each other. As part of the corner crew, he finds it helpful to hear the jackmen and the four-wheel guns, but he can also see the different parts of the pit stop in his peripheral vision. Each grouping has slightly different techniques, so practicing with the same people becomes a strength.

“The size of people doesn’t make a difference,” Harrison said. “The amount of time you’ve been doing it with the same people makes a difference because I will put my foot in a certain position, which may be different to the left rear side. I’ll wedge my foot underneath the (wheel) gunman’s knee, and then I can feel where he moves. And then with sight as well, I can see where he moves so I can move to him.

“So if the car goes long or short, he’ll move his body to react to that, whereas I’ll do the same with my body to where his body moves.”

Given the length of the F1 season and because life happens, teams do select backups for each position. During practice, people swap in and out.

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As for physical requirements, Harrison said core strength, stability, overall strength, and cardio are all key, and the crew works towards staying nimble. For the wheel on position, for example, core and leg exercises are helpful because you’re essentially in a squat position, waiting to fit the wheel to the car, Harrison said. Adams said that flexibility and core strength are important for the wheel gunman because if the car stops short or long, they need to adjust quickly while being low to the ground, not losing their balance.

An effective pit stop extends beyond the physical. It’s about the senses and muscle memory. The Milton Keynes-based team decided to try executing a pit stop in complete darkness during the off-season, and Adams said, “It made everyone sort of realize how much their role was done on feel and muscle memory.”

The final product

A pit stop technically begins the day before a race, Wheatley said.

That’s when the team discusses race strategy. Come race day, he’ll brief the team if there could be something unusual coming, and they’ll perform a series of stops during their routine practice session, mixing it up some to prepare. During the race, Wheatley keeps the team up to speed on how the race is unfolding strategically. Pit stops are about nailing the right timing, such as trying to do the opposite strategy of a rival to gain positions. Wheatley said, “Generally, we make a decision to pit, I think, later than some teams would be comfortable with. We like to have a team that can react very quickly and in a very short lead time ahead of a pit stop.”

When it looks like the call to pit is coming, Wheatley begins preparing the team, not getting too excited. “If I’m calm, everyone should be calm.”

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Then comes the countdown. The crew members file out of the garage in a specific order to avoid getting in each other’s way, Gent said. Typically, the farthest people will leave first, he added, “so you’re not climbing over people to get to your position.”

Any number of things could go wrong during a pit stop, like a wheel gun failure (which is why they have spares). Mistakes do happen, like jacks not engaging properly on the first try. But as much as a smooth pit stop depends on the crew members, it’s also about the driver’s approach, specifically “the speed and consistency of deceleration into the pit box,” Wheatley said. If drivers don’t hit their marks, the other twenty-some crew members will need to adjust. That awareness also applies to the crew, particularly with the group changing the wheel. Sometimes the tires touch during the swap, and as Wheatley said, “When they touch, that’s when you get your 2.6-second stop and not a 2-second stop or a 1.8-second stop. So it’s down to marginal gains from that point.”

Another factor that can impact timings is the depth of the pit crew. In 2023, Wheatley said, Red Bull “faced immense challenges” with keeping a consistent first team because of the number of races, where they fell on the calendar, illness (a stomach bug floated around the Mexico City paddock, for example), and other life matters, like children being born. This is where the reserves come into play.

“Whilst it doesn’t mean you can do a 1.8-second pit stop every weekend, that’s not actually our target,” Wheatley said. “And so we need to have enough people trained and able to do 2.2-second pit stops every single time the car comes in the pits. And we’ve been lucky enough that we haven’t had such an illness that’s compromised that.”

At the heart of every pit stop are the people and the seamless teamwork. Each person’s routine is different, down to whether they watch the car come down pit lane or when they snap down their visor. Then comes the rhythm — stop, lift, wheels (and the loud whirring that comes with the guns), drop and release. Pit stops are a staple of an F1 grand prix weekend, yet each person describes the strategic event differently.

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Turner opted for “a massive adrenaline rush.” Adams described them as “exhilarating” while Harrison chose “rewarding.”

Truthfully, it’s an art.

(Graphics by Drew Jordan/The Athletic. Lead image: Bryn Lennon – Formula 1/Formula 1 via Getty Images; Design: Eamonn Dalton/The Athletic)

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'Rafa, Rafa, Rafa': Encouragement and valediction at Nadal's last match in Madrid

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'Rafa, Rafa, Rafa': Encouragement and valediction at Nadal's last match in Madrid

Imagine having done the same thing for something like 30 years, being better at it than just about anyone who has ever lived, and then one day, it’s all completely new. 

And so it is for Rafael Nadal in this through-the-looking-glass spring. For years, no place felt more like home than a red clay court. He could lose matches sometimes. Everyone does. But he almost never played poorly.

He could leave his guts on the court with an effort that would leave most of the population unable to walk for weeks. Then he would wake up in the morning and, within a few hours, be able to start preparing to do it all over again. And then, sometimes, he really would do it all over again.

Those days are done, perhaps never to return. Nearly a year and a half since a debilitating hip injury, nearly a year since major surgery to try to fix it, nearly two years since he was a mainstay of the professional tour, each match, each day, has become an experiment and a riddle for Nadal. 

How much can he push? How long can he go? How does his body feel when he opens his eyes for the first time each morning, when he rolls out of bed, when he leans over to pick up his 18-month-old son, Rafa, when he walks onto the court for a warm-up session and strokes the ball for the first time? 

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The latest test came Tuesday night against Jiri Lehecka, the talented young Czech with the limber physique and easy power that Nadal, always the brutalist, never had. But nothing about the match really had anything to do with the contrasts he and Nadal presented, or really even the score. 

This was all about the latest of Nadal’s experiments.

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A little more than 24 hours before he and Lehecka took the court, Nadal had gone three sets and more than three hours against Pedro Cachin of Argentina. In both matches, the most important numbers on the scoreboard were counting the elapsed time. How many rolling backhands and bullwhip forehands could Nadal endure, or even want to endure, with his lodestar, the French Open, starting in 26 days.

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Nadal is balancing fitness and pride in his final season (Mateo Villalba/Getty Images)

The first set went 57 minutes, with Lehecka surviving three tight service holds and capitalizing on a cluster of Nadal errors in the 11th game to break, before serving out the set. Lehecka then broke Nadal’s serve in the first game of the second set. Nadal’s balls started to fly long and into the net without it bothering him all that much, and it was hard not to think of how he had described his game plan moving forward the night before, after his three-hour fist-fight with Cachin. 

“Trying without doing crazy things, but trying,” he said, which is what Lehecka’s 7-5, 6-4 win that lasted a little over two hours ultimately looked like.

A third set and another hour might have qualified as a crazy thing under the circumstances.

Cachin, a 29-year-old journeyman who knows his way around a clay court, had given Nadal as much as he could handle and more than anyone had expected, digging in for long fights for points, forcing him to scramble across the baseline. A few years ago, this would have been another day of certainty for Nadal: the clay, the winning, the looking ahead to the next match knowing — within a very small margin — what version of himself would take the court. 

Instead, he walked the corridors of the Caja Magica Monday night, shrugging his shoulders and shaking his head, and telling everyone who would listen that he had no idea what the future held. 

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“I never recovered too bad after tough matches, I think even at 36 years old or 35,” said Nadal, who is now nearly 38. “Today is a completely different story. It’s not only about injuries. First thing is injuries. Second thing is about… I never spent almost two years without playing tennis tournaments.”

Everyone knows what this is all about for Nadal — figuring out whether it’s going to be worth his while to put his name in the draw at the French Open, the tournament he has won 14 times, where his record at Roland Garros is a ridiculous 112-3. He’s not going to go merely for an ovation and a bouquet, or to gaze at the nine-foot statue of him outside Court Philippe Chatrier.

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He knows his tennis is there, but he will only go if he believes his body will be there, too. This is best-of-five-set tennis, on clay, and matches are affairs that generally last close to three hours, maybe longer. His serve in its current iteration, slowed by injuries to his midsection, isn’t allowing him to grab many quick and easy points. Nearly everything he gets, he has to earn the hard way. Late in the second set on Tuesday night, 40 per cent of Lehecka’s serves had gone unreturned, allowing him to speed through holds of serve already rendered tricky by the booms of “Rafa, Rafa, Rafa” about his ears every time he stood up to the line. Asked about how he dealt with them, the Czech world No 31 could only puff out his cheeks and say, “I don’t know.”

Nadal’s figure was six per cent.

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Nadal was ultimately unable to impose himself on Lehecka (Julian Finney/Getty Images)

He will have a day off between matches at the French Open, unlike the 24-hour turnaround from Cachin to Lehecka, but still, the past days in Madrid have brought his first experience in what feels like forever of the grind-recover-grind routine the sport demands. 

Ten days ago in Barcelona, he couldn’t do it, winning a match then essentially folding after losing the first set of a second. Had he pushed for more in that moment, he might have been back where he was in January, in a tuneup tournament in Brisbane ahead of the Australian Open. There, in his third match, he pushed too soon. He went to sleep with a tweak. In the morning, an MRI revealed it was a tear. Three months of recovery and many more moments of doubt ensued.

Maybe this was it? He could swing a racket, but anything close to trying to replicate the intensity of top-level competition was out of the question. Same with an intense three-hour training session. He just wasn’t strong enough. 

Madrid has been different. His strength is back, but it’s not chartable: he still doesn’t have any idea what will happen from one day to the next. 

“It’s unpredictable, that’s it, and you need to accept the unpredictable things today,” he said earlier this week. “I need to accept that.”

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In a sense, Nadal has been preparing for this moment for more than 20 years, ever since doctors detected a congenital defect in his foot that nearly derailed his career before it ever got started. He had to accept then an extremely uncertain future. Anything that followed was a kind of gift. 

The experience begat ‘Zen-Rafa,’ the player who years ago compared an opponent’s aces to the rain, something he had no control over and simply accepted. Now he was back where it all started and not just because he said Madrid is where he felt for the first time, back in 2003, that he could compete at the highest level.


Sure, Nadal would have preferred to win once again in this packed metal bandbox in front of 12,000 people who love him as they love little else. He is as big a sports hero as this country has ever produced, which Raul Gonzalez Blanco, the legendary Real Madrid and Spain striker, knows well. He was there watching against Cachin.

But Nadal knew he had already won by being able to answer the bell against Lehecka, something he could only hope he would be able to do when he closed his eyes the night before. Picking up some easy points on his serve marked another win. Those classic, loop-one-ball-then-crush-the-next-one combinations, the quick bends for the short-hop winners, the perfect slice volley when he followed his serve into the net midway through the second set — win, win, win. 

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The moment when he sprinted to the baseline from his chair, one game from defeat, and 12,000 people stood and roared, and the noise rattled all around the metal building — that may have been the biggest win of all. They did it again on match point, then chanted his name when he sprayed a final backhand wide on what is likely his final match in the city.


Madrid’s tribute to Nadal after his defeat (Julian Finney/Getty Images)

He described the night as “very positive in many senses, not only sporting but also emotionally.”

“It’s been a gift to spend 21 years here,” Nadal told the crowd during a celebration on the court after the match. “The emotions, of playing in Madrid, playing on this court, are going to stay with me forever.”

Still, as much as Nadal has accepted the uncertainty of the future and soaking up the love, he is also making plans. He is playing himself into form now, trying to pass tests with every match so he can dream of magic, not just at the French Open but after, too. 

The Olympic Games are at Roland Garros. He wants to at least play doubles there with Carlos Alcaraz, who is well on his way to taking over from Nadal in the Spanish tennis imagination. Last week he committed to play the Laver Cup, the Team Europe vs Team World competition that his friend and rival Roger Federer created. That’s in September. 

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Madrid brought four matches in six days. Assuming his body comes through all this, he will head to Rome for the Italian Open next week for another series of tests. Then comes the decision about the French Open.

That’s both imminent and a ways away. Nadal, who, in all his greatness has still somehow always managed to come off as a normalish guy, is day to day, as the saying goes — just as we all are.

(Top photo: Manuel Queimadelos/Quality Sport Images/Getty Images)

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