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Local partners aim to provide comprehensive pickleball platform

Local partners aim to provide comprehensive pickleball platform
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According to a 2023 Association of Pickleball Professionals (APP) commissioned survey, some 36.5 million Americans played pickleball between August 2021 and August 2022. Other assessments have pegged the number even higher. For the last two years, pickleball has been named the fastest growing sport in the United States by Sports and Fitness Industry Association.

Multiple pro leagues, celebrity investment, rapidly expanding equipment sales, mainstream media attention and a steady construction of new facilities have all been part of the spectacular recent growth of a game that has been in existence for more than half a century but as recently as three years ago was off most people’s radar. With so many Americans now flocking to the sport, there are plenty of holes to fill and opportunities to be realized.

One immediate area of need is how to efficiently find answers to basic questions like “Where can I play? How do I get better? Where can I get coaching? What types of strategies and tactics would fit my game?” And it’s not just players searching for replies. The relative newness of the sport has meant that teaching and coaching both players and coaches is a necessity.

A solution to those issues (and much more) can be found at The Art of Pickleball (https://theartofpickleball.net/), the newest website offered by Encinitas-based Total Sports. Already the global leader in digital coaching content, supporting nearly 100,000 subscribers worldwide, Total Sports adds pickleball to a lineup that includes the Art of Coaching Volleyball, Art of Coaching Softball and Art of Coaching Football.

For Total Sports CEO Terry Liskevych and President/COO Mark Tilson, who between them boast a wealth of experience across a wide range of coaching and sports business environments, vaulting full force into the pickleball realm was a natural.

“The amazing growth of pickleball has been well-documented and if you look at the numbers, you’ll see it’s across all age groups,” said Tilson, a former executive with the San Diego Padres, Miami Dolphins and JMI Sports. “With such an influx of people getting into the sport and also wanting to elevate their game from beginner to intermediate or competitive level, it seems like there’s a huge opportunity for the sport to continue that growth pattern.”

Although Art of Pickleball (AOP) has only been “live” since early January 2023, it already features an array of online material, notably instructional videos for all levels of play, encompassing specific shots and skills, in-game strategies, tactical development and drills from top pros.

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In addition, the platform also offers a complete collection of practice plans and match analysis, a roster of coaches available for remote virtual training as well as extensive information on injury prevention, dynamic warm-ups and strength and conditioning—all specific to pickleball.

Total Sports spent nearly a year preparing for its pickleball debut. Research showed that pre-existing competition was largely composed of disparate YouTube-type channels with individual coaches or players providing personal tips on a fairly narrow range of topics.

Skylark, a marketing strategy and creative services agency based in Solana Beach, was brought on board by AOP to develop and produce the new video/photo archive which, at launch, contained over 150 individual resources covering not just the primary elements but nearly every facet of the game. According to Tilson, that count alone immediately put them in the top 10% of online options and those assets will continue to multiply.

“We’re going to follow the same philosophy we’ve used in building our other websites,” he said. “Today, our Art of Coaching Volleyball contains more than 4,000 videos and other resources.”

After navigating the “indexing” process that allows for new websites to be accessed via the various search engines, Art of Pickleball user figures have quickly been gaining traction.

“We’ve been really pleased to see the growth of traffic,” said Tilson. “When we started, we were obviously ranked at the bottom but in the first few weeks we were already just outside the top 10 and have been increasing between 200-to-800% week-over-week.”

The lure of pickleball was obvious but another “no brainer” for Liskevych and Tilson was creating a partnership with one of the biggest names in the game (locally and nationally)—Steve Dawson, owner of Bobby Riggs Racket & Paddle club in Encinitas, one of the pre-eminent playing facilities in the county, if not the nation.

The 61-year-old Dawson was a two-time Big Eight tennis champion at Oklahoma and an ITF World Champion before focusing on pickleball where he has won multiple U.S. Open and U.S. National championships, is a two-time Canadian National Champion and winner of a prestigious Huntsman World Pickleball Championship.

Liskevych calls Dawson “a master teacher of pickleball.” His connections and sterling reputation in the game bring further credibility to AOP and access to a variety of data bases that will fuel new visitors.

Also involved in the relationship are Dawson’s wife, Jennifer, and son, Callan, both pickleball standouts in their own right. Jennifer has twice won pickleball’s Triple Crown (singles, doubles and mixed doubles) at the U.S. Open Championships and Callan is one of the most exciting players on the Professional Pickleball Association (PPA) Tour.

Conveniently, the seeds of a future affiliation were sown at Dawson’s club where Liskevych introduced himself while playing pickleball with friends. Dawson, an early advocate of the sport who went full bore about seven years ago already had huge visibility in the pickleball ecosystem through his venue, playing exploits, coaching work, events and sponsorships. But he was intrigued with what Art of Pickleball could offer, not only personally but for the sport as a whole.

“What I really like about their concept is that it’s not an open forum but it’s also not one person saying ‘my way or the highway,’ “ said Dawson. “You can pick a topic, go to Art of Pickleball and hear what 40 coaches have to say—it’s a true library.”

He was particularly drawn to the notion of AOP supplying educational tools for coaches. “There’s a need for quality instruction and a lot of teaching pros who have tennis or racquet backgrounds are now being pushed into coaching pickleball and they don’t have the background,” noted Dawson. “Being a racquet sport is a common denominator but in every sport there are nuances and seeing the caliber and diversity of coaches involved on the volleyball and softball coaching sites was something I thought would be important for pickleball.”

Liskevych bracketed a 12-year stint as coach of the USA Women’s Volleyball team, spanning three Olympic Games, with a pair of lengthy runs as a top echelon college head coach, first at Ohio State (men’s) and Pacific and later at Oregon State. Although he and Dawson are similar in many respects, Tilson believes the most important thing each brings to the table is their pursuit of excellence.

“They both have remarkable resumes and experience,” said Tilson, “but they also have this incredible expectation for this to be of high quality and value. They won’t settle for less.”

As far as the future, Dawson and Tilson speak bullishly on the position the sport and their venture will ultimately occupy.

“I see pickleball right now as exactly where it’s supposed to be,” said Dawson. “There are different national bodies, competitive arenas and teaching organizations—they have to weed themselves out and the strongest will survive. It’s normal and natural.

“If you look at tennis there were several major governing organizations, all kinds of little tours here and there and now, after 60 some years of pro tennis, we have the ATP and WTA .

“Pickleball is in sort of the same situation but it has exploded on hyper drive, all kinds of stuff happening at the same time. Instead of the 60 years it took tennis, I say it will take pickleball about 10-15.”

Compared to previous groups Total Sports has engaged with, Tilson views the sheer numbers the sport is generating and the uniquely vast demographic of the target audience as a huge differentiator for pickleball.

“Our products will attract players of all ages and skill sets as well as coaches at every level of development,” said Tilson. “Using volleyball as an example, we have a very solid subscriber base but the overall universe is miniscule when contrasted with pickleball.

“We may not get the penetration percentage we have in volleyball but, unlike volleyball, the pickleball market for our content is not necessarily a sub-set of the overall population—it’s the entirety. We’re not just trying to attract a specific niche of players or coaches. Our aim is all-inclusive.”

UMass Amherst Entrepreneurs Move to Final Round of Innovation Challenge

UMass Amherst Entrepreneurs Move to Final Round of Innovation Challenge

Five student teams advanced from the preliminary round of the Innovation Challenge competition in UMass Amherst’s Berthiaume Center for Entrepreneurship and will move on to compete in the final round on May 3. They will now compete to win up to $65,000 in equity-free funding. 

The Innovation Challenge is a two-part competition designed to assist and reward UMass students and young alumni (Graduates of the Last Decade, also known as GOLD) pursuing novel ideas and developing them into scalable, impactful ventures. The preliminary round on April 5 featured 20 student innovators (with backgrounds spanning across most of the UMass Amherst colleges) competing for a spot in the final round. Three celebrity judges helped choose the winning ventures: Lenny Underwood, serial entrepreneur; April Deluca, human resources executive; and Emily Reichman, venture capital fund founder.  

Berthiaume Center Executive Director Gregory Thomas said, “The semifinal is one of the most exciting and power-packed days. We start at 9 a.m. and work until 6 p.m. with very few breaks, listening to pitches, encouraging the ventures, and assessing their potential and where we can help. It is where the rubber meets the road.”  

Of these competitors, the following five ventures will compete once more on May 3. (The other competitors and applicants will receive detailed feedback from the judges and continued support from the Berthiaume Center and the entrepreneurship ecosystem to further their journey). 

Elijah Mishkind ’21 and Kyle Collins ’19
Isenberg School of Management
Marketing Major
“IRON is a platform for gym goers to track their progress, share and discover workouts and compete in the gym.” 

Emily Shal ’23
Isenberg School of Management
Finance Major
“Food Near Me is a mobile application designed to simplify the restaurant search process for food lovers. The app allows users to filter search results based on distance, food type, and price range.” 

Juliano Wahab ’23 and Alex Rohrberg ’23
College of Information and Computer Sciences & Isenberg School of Management
Computer Science & Marketing Dual Major
“Monet is an online platform that connects artists with art lovers worldwide. Our mission is to support artists by providing them with a platform to collaborate, connect with potential buyers, and monetize their art.” 

Noah Martinez ’23 and Aaron Xu ’23
Isenberg School of Management
Sport Management Major
“Drafted is an all-inclusive app that aims to streamline the recruiting process by making it a more casual and social experience intended to boost athlete exposure.” 

Ritik Shah ’23 with partners Jatan Pandya ’23 and Shubham Shah ’23
College of Engineering
Computer Engineering Major
“CardVerse is revolutionizing the multi-billion collectible card authentication industry, dominated by manual labor, by introducing the world’s first automated solution.” 

The final round of the Innovation Challenge is Wednesday, May 3, in the Old Chapel. Students, faculty, and media are encouraged to attend.  

Exhibition showcasing works by Taiwanese photographers opens

Exhibition showcasing works by Taiwanese photographers opens

Taipei, April 12 (CNA) “The Eye of Abstraction,” a photography exhibition featuring 99 abstract artworks by 25 seasoned Taiwanese photographers, opened on Wednesday at the National Center of Photography and Images (NCPI) in Taipei.

The exhibition brings together abstract works by Taiwanese photographers over the years in the hope of establishing a theoretical framework for the genre of Taiwanese photography, which has been dominated by photojournalism and documentary photography, exhibition curator Chang Kuan-ho (章光和) said at the exhibition’s opening ceremony.

The exhibition is divided into four sections: “Figurative and Non-Figurative, “Sense and Sensibility,” “Gestalt” and “Material Mediums,” Chang said.

“Figurative and Non-Figurative” features works by photographers showcasing “unexpected beauty” in everyday life captured at unique angles, Chang said.

“Sense and Sensibility” juxtaposes artworks by renowned Taiwanese abstract painters and abstract photos taken by photographers, and asks viewers to compare the two art forms, Chang said.

“Gestalt” showcases photography that explores Gestalt psychology, proposed by psychologist Max Wertheimer in 1912. This holds that when people see images they do not understand they spontaneously appeal to the laws of symmetry, closure, continuity, proximity, similarity, and figure-ground organization — the ability to identify a figure from the background, Chang said.

His “Botany 0.5” on display at the exhibition is a collection of images created by tapping into Gestalt psychology, Chang said.

The images are created by scanning slices of plants and compiling them in computer software to create continuous left-right and up-down symmetrical images that present a kaleidoscopic effect, Chang said.

Meanwhile, “Material Mediums” focuses on materials and mediums used in photography and explores their intrinsic beauty, Chang said.

National Taiwan Museum of Fine Arts Director Liao Jen-I (廖仁義) said that the museum was tasked with creating the NCPI, which opened in April 2021.

However, the vision of Taiwanese photographers more than a decade ago to establish a Taiwan museum of photography and images has not yet been realized, Liao said.

The boundless creativity demonstrated by Taiwanese photographers shows that they deserve a museum dedicated to photography, Liao said, calling on Deputy Cultural Minister Sue Wang (王時思), who also attended the opening ceremony, to lobby for funding from the Ministry of Cultural to make such a museum a reality.

Wang said in response that the output by the many Taiwanese photographers calls for a larger venue than the NCPI to be established.

The creation of a Taiwan museum of photography and images is a high priority for Culture Minister Shih Che (史哲) and herself, Wang said, adding that she hopes the goal can be achieved as soon as possible.

Photographers have a special mission, one that highlights things often neglected in the world and defines what the world looks like to humankind, Wang said.

Mere mortals cannot know the truth about the universe, but they can attempt to determine what the universe is like through photographers’ eyes, Wang said.

One philosophical theory posits that nothing happens by accident, and everything happens by the design of the universe, Wang added.

The photographs on display could support that theory, as they seem to have been captured by coincidence but actually offer people glimpses into what the future holds, Wang said.

Wang invited the public to visit the exhibition and get to know the Taiwanese photographers who serve as a vanguard observing the world, Wang said.

The free exhibition runs until July 30.

Toshiko Mori curates a show of photography by Candida Höfer

Toshiko Mori curates a show of photography by Candida Höfer

Candida Höfer: Heaven on Earth
Sean Kelly, New York
475 Tenth Avenue
New York
Through April 15

Candida Höfer: Heaven on Earth demonstrates how both photographers and architects shape spatial experience. Venerable architect Toshiko Mori has selected works from the Cologne-based photographer’s 30-year documentation of libraries, museums, theaters, and churches and installed them at Sean Kelly’s New York gallery, a space she designed. Mori successfully amplifies how “we hear the voice of architecture through her photographs,” according to press materials. She could be speaking of photographers when she describes how architects compose “proportion, detail, materiality, and sequencing into an orchestrated experience.”

To that end, the exhibition features monumental, roughly square prints in understated blond wood frames. The scale, viewpoint, ambient light, and uniform focus create an otherworldly feeling of being in awe-inspiring spaces dating from the Medieval period to the present. At the same time, Höfer’s photographs are famously depopulated, following her counterintuitive belief that the social qualities of the built environment are communicated most strongly in the absence of people. The uncanny feeling of experiencing the works is enhanced by the artist’s use of a large-format film camera and wide-angle lens to render focus throughout the vast spaces, which also distorts the images’ perspectival appearances. This approach also enhances finishes and painted areas to create a vibrant harmony between surfaces and volumes.

Candida Höfer: Heaven on Earth, installation view (Jason Wyche)
Candida Höfer: Heaven on Earth, installation view (Jason Wyche)

These effects are immediately apparent in the soaring introductory image La Salle Labrouste – La Bibliothèque de l’INHA Paris II 2017. Höfer’s expansive view of the now-bright reading room celebrates recent restoration of the 1860s landmark and establishes the centrality of light to both architecture and photography. In particular, Höfer features Labrouste’s nine light-reflecting domes, each topped by an ocular skylight. Designed to cast shadowless light through the otherwise unlit reading room, the image is an indirect homage to a monumental lens.

Candida Höfer: Heaven on Earth, installation view (Jason Wyche)

Among the dominant images of historic interiors, Höfer’s photographs of modern and contemporary architecture stand out. Unlike most works in the show, these incorporate asymmetrical composition, exteriors–and even people. Höfer’s Biblioteca Vasconcelos Ciudad de México I 2015 is notably populated, even lively. In another unusual move, the viewpoint looks across the short axis of the long building rather than into its considerable depths.

Elbphilharmonie Hamburg Herzog & de Meuron Hamburg IV 2016 (Courtesy Sean Kelly)

At the Elbphilharmonie Hamburg, designed by Herzog & de Meuron, Höfer explores the dramatic roof. Its reflective disks suggesting a ship’s sails from a distance and an alien landscape up close. She directs her camera straight at a mirrored door, one that would normally reveal the viewer. How did she edit herself out of the frame? This image—and the exhibition as a whole—remind us how both architects and photographers direct our spatial experience.

Jennifer Tobias is a scholar and illustrator based in New York City.

With ‘The Thanksgiving Play,’ Larissa FastHorse Writes Humor Into a Dark History

With ‘The Thanksgiving Play,’ Larissa FastHorse Writes Humor Into a Dark History

Naturally, FastHorse’s play satirizes the idea of white “allies” to Indigenous people trying to stage a woke Thanksgiving play; the four characters’ fictional production quickly, and comically, goes off the rails as they brainstorm an assortment of deranged ideas, such as acting out the brutal Pequot Massacre of 1637. There’s even a scene where the four stars kick a handful of severed, bloodied Native heads around like soccer balls, an unsubtle nod to the violence Indigenous people faced during colonization. “I love that there’s a lot of nervous laughter,” says FastHorse. “We shouldn’t fear the truth. When I talk to Indigenous folks, they’re like, ‘Thank you.’ There’s a relief and release in seeing [Thanksgiving] the way it actually happened, and not trying to make it softer or censor it.”

The playwright feels there’s power in using laughter as an educational tool; she wanted to make audience members think twice about celebrating Thanksgiving, but to have fun while doing it. “I don’t enjoy going to theater and being bashed over the head [with a message],” says FastHorse. “I go to theater to have a communal experience, and to learn and enjoy things. Comedy is a really easy way to to force your brain into thinking a different way.”

Take, for example, the interstitial videos projected throughout the production. They show young children singing blatantly racist Thanksgiving songs like “10 Little Indians”—a take on “Twelve Days of Christmas,” referencing just about every Indigenous stereotype in existence. As it turns out, these preposterous songs were all taken from real-life teachers’ Pinterest boards or chat rooms. “These are horrific things that we still have kids do at schools on Thanksgiving,” says FastHorse. “Someone said to me, ‘I don’t think they would do that today.’ And I’m like, have you seen the video of that math teacher in California? This stuff is happening all of the time!”

With ‘The Thanksgiving Play Larissa FastHorse Writes Humor Into a Dark History

Photographed by Jingyu Lin

Best Camera Brands for Photography: A Comprehensive Guide

Best Camera Brands for Photography: A Comprehensive Guide

SLR Lounge helps over 1.5 million photographers master their craft. Real world education & resources from the most successful wedding photography studios in the world.


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