Problem: Robert Larimore Riggs (February 25, 1918 - October 25, 1995) was an American tennis champion who was the World No. 1 or the World co-No. 1 player for three years, first as an amateur in 1939, then as a professional in 1946 and 1947. He played his first professional tennis match on December 26, 1941. As a 21-year-old amateur in 1939, Riggs won Wimbledon, the U.S. National Championships (now U.S. Open), and was runner-up at the French Championships. He was U.S. champion again in 1941, after a runner-up finish the year before.

Small in stature, he lacked the overall power of his larger competitors such as Don Budge and Kramer but made up for it with brains, ball control, and speed. A master court strategist and tactician, he worked his opponent out of position and scored points with the game's best drop shot and lob as well as punishing ground strokes that let him come to the net for put-away shots. Kramer, one of the very few players who was undeniably better than Riggs, writes that there is a major "misconception" about Riggs. "He didn't play some rinky-dink Harold Solomon style, pitty-pattying the ball around on dirt. He didn't have the big serve, but he made up for it with some sneaky first serves and as fine a second serve as I had seen at that time. When you talk about depth and accuracy both, Riggs' second serve ranks with the other three best that I ever saw: von Cramm's, Gonzales's, and Newcombe's." In his autobiography, Riggs wrote, "In the 1946 match with Budge [for the United States Pro Championship], I charged the net at every opportunity. Employing what I called my secret weapon, a hard first serve, I attacked constantly during my 6-3, 6-1, 6-1 victory."  "Riggs," said Kramer, "was a great champion. He beat Segura. He beat Budge when Don was just a little bit past his peak. On a long tour, as up and down as Vines was, I'm not so sure that Riggs wouldn't have played Elly very close. I'm sure he would have beaten Gonzales -- Bobby was too quick, he had too much control for Pancho -- and Laver and Rosewall and Hoad."  Kramer went on to say that Riggs "could keep the ball in play, and he could find ways to control the bigger, more powerful opponent. He could pin you back by hitting long, down the lines, and then he'd run you ragged with chips and drop shots. He was outstanding with a volley from either side, and he could lob as well as any man.... he could also lob on the run. He could disguise it, and he could hit winning overheads. They weren't powerful, but they were always on target."

Where did he learn his style?

Answer with quotes: I charged the net at every opportunity. Employing what I called my secret weapon, a hard first serve, I attacked constantly during my 6-3, 6-1, 6-1 victory.


Problem: Ralph Bakshi (born October 29, 1938) is an American director of animated and live-action films. In the 1970s, he established an alternative to mainstream animation through independent and adult-oriented productions. Between 1972 and 2015, he directed ten theatrically released feature films, six of which he wrote. He has been involved in numerous television projects as director, writer, producer and animator.

After production concluded on Harlem Nights, Bakshi wanted to distinguish himself artistically by producing a film in which live action and animated characters would interact. Bakshi said, "The illusion I attempted to create was that of a completely live-action film. Making it work almost drove us crazy." Hey Good Lookin' is set in Brooklyn during the 1950s; its lead characters are Vinnie, the leader of a gang named "The Stompers", his friend Crazy Shapiro and their girlfriends, Roz and Eva. Vinnie and Crazy Shapiro were based on Bakshi's high school friends Norman Darrer and Allen Schechterman. Warner Bros. optioned the screenplay and greenlit the film in 1973.  An initial version of Hey Good Lookin' was completed in 1975. A three-minute promo of this version was screened at the 1975 Cannes Film Festival, and the film was scheduled for a Christmas 1975 release, but was moved to the summers of 1976 and later 1977, before ultimately being postponed indefinitely. Warner Bros. was concerned about any controversy the film would encounter as a result of the backlash over the film Coonskin, and felt that the film was "unreleasable" because of its mix of live action and animation, and it would not spend further money on the project. Bakshi financed the film's completion himself from the director's fees for other projects such as Wizards, The Lord of the Rings and American Pop. The live-action sequences of Hey Good Lookin' were gradually replaced by animation; among the eliminated live-action sequences was one featuring the glam punk band New York Dolls. Singer Dan Hicks worked on the initial musical score, but the final version was scored by John Madara.  Hey Good Lookin' opened in New York City on October 1, 1982, and was released in Los Angeles in January 1983. The film's release was limited, and went largely unnoticed in the United States, although it garnered respectable business in foreign markets. In a brief review, Vincent Canby wrote that it was "not exactly incoherent, but whatever it originally had on its mind seems to have slipped away". Animation historian Jerry Beck wrote, "the beginning of the film is quite promising, with a garbage can discussing life on the streets with some garbage. This is an example of what Bakshi did best--using the medium of animation to comment on society. Unfortunately, he doesn't do it enough in this film. There is a wildly imaginative fantasy sequence during the climax, when the character named Crazy starts hallucinating during a rooftop shooting spree. This scene almost justifies the whole film. But otherwise, this is a rehash of ideas better explored in Coonskin, Heavy Traffic, and Fritz the Cat." The film has since gained a cult following through cable television and home video. Quentin Tarantino stated that he preferred Hey Good Lookin' to Martin Scorsese's Mean Streets.

Did it play in theatres that year

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