Question:
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."
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Did he have a coach?

Answer:

Question:
Slipknot is an American heavy metal band from Des Moines, Iowa. The band was formed in 1992 by percussionist Shawn Crahan, drummer Joey Jordison and bassist Paul Gray. After several lineup changes in its early years, the band settled on nine members for more than a decade: Corey Taylor, Mick Thomson, Jim Root, Paul Gray, Craig Jones, Sid Wilson, Shawn Crahan, Chris Fehn and Joey Jordison. Gray died on May 24, 2010, and was replaced during 2011-2014 by guitarist Donnie Steele.
The band is known for its attention-grabbing image; the members perform wearing unique, individual facemasks and matching uniforms--typically jumpsuits--while each member is typically assigned and referred to by number based on their role in the band (#0 through #8), although the latter practice has diminished following the death of Paul Gray. The band has said the idea of wearing masks stemmed from a clown mask that Crahan took to rehearsals when the band first started. Crahan later became known for his clown masks, adopting the pseudonym "Shawn the Clown". The concept developed; by late 1997, the band decided every band member would wear a unique mask and matching jumpsuit. Taylor said in 2002, "it's our way of becoming more intimate with the music. It's a way for us to become unconscious of who we are and what we do outside of music. It's a way for us to kind of crawl inside it and be able to use it." The concept of wearing matching jumpsuits has been described as a response to commercialism in the music industry and led to the idea of assigning the band members numerical aliases. According to Taylor, "Originally, we were just going to wear the jumpsuits ... we figured we might as well take that further and number ourselves ... We were basically saying, 'Hey, we're a product!'". During their careers, the members of Slipknot have developed their images, updating their uniforms and each member's mask upon the release of each album. The appearance and style of the masks do not usually differ significantly between albums; members typically maintain the established theme of their mask while adding new elements. Jordison, in an interview in 2004, said the masks are updated to show growth within each individual. Slipknot's members have worn special masks for specific occasions, most notably for the music video and live performances of "Vermilion" in 2004 and 2005 when they wore life masks made from casts of their own faces. In 2008, the band wore a set of large masks titled "purgatory masks" during photograph shoots before the release of All Hope Is Gone; in the music video for "Psychosocial" they are seen burning them. Shortly after its inception, Slipknot's masks were homemade, but since 2000 they have been custom-made by special effect artist and musician Screaming Mad George. The band's image has been the subject of much criticism and controversy, with critics generally accusing it of being a sales gimmick. The band's members object to these claims; according to them the masks are used to divert attention from themselves and put it on the music. Several band members have said wearing the masks helps to maintain privacy in their personal lives. During an interview in 2005, percussionist Fehn said the masks were a "blessing" because they meant the members are not recognized in public. In 2012, Slipknot released an app for iOS and Android called "Slipknot: Wear the Mask", which invites fans to construct their own masks, defining the kind of Slipknot fans they are.
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what other things played a part in their image?

Answer:
The concept of wearing matching jumpsuits has been described as a response to commercialism in the music industry and led to the idea of assigning the band members numerical aliases.