Problem: Sepultura (Portuguese pronunciation: [se.puw.'tu.ra], "grave") is a Brazilian heavy metal band from Belo Horizonte, Brazil. Formed in 1984 by brothers Max and Igor Cavalera, the band was a major force in the thrash metal and groove metal genres during the late 1980s and early 1990s, with their later experiments drawing influence from alternative metal, world music, nu metal, hardcore punk and industrial metal. Sepultura has had several changes in its lineup since its formation, with Max and Igor Cavalera departing in 1996 and 2006, respectively. Sepultura's current lineup consists of vocalist Derrick Green, guitarist Andreas Kisser, bassist Paulo Jr. and drummer Eloy Casagrande.

Sepultura's tenth album, Dante XXI, was released on March 14, 2006. It is a concept album based on Dante Alighieri's The Divine Comedy. Music videos were recorded for the songs "Convicted in Life" and "Ostia". AllMusic gave the album 3.5 stars out of 5 and said that, "Overall, Dante XXI is easily one of Sepultura's strongest releases to feature Green on vocals." In a 2007 interview with Revolver magazine, Max Cavalera stated that he and Igor, both of whom having recently reconciled after a decade-long feud, would reunite with the original Sepultura lineup. There were also rumors that the reunited line up would play on the main stage at Ozzfest 2007. However, this was denied by Kisser and the reunion did not occur. Instead, Igor Cavalera left the band after the release of Dante XXI and was replaced by Brazilian drummer Jean Dolabella, leaving the band without any of its original members. After leaving Sepultura, Igor and Max formed Cavalera Conspiracy. The band was one of the featured musical guests at the Latin Grammy Awards of 2008 on November 13. They performed a cover of "The Girl from Ipanema", and "We've Lost You" from the album A-Lex. The 9th annual Latin Grammy Awards ceremony was held at the Toyota Center in Houston, Texas and aired on Univision. Sepultura also appeared in a successful ad campaign for Volkswagen motors commercial that aired nationally throughout Brazil in 2008. The spot said that "it's the first time you've seen Sepultura like this. And a Sedan like this one too". The Volkswagen TV spot shows Sepultura playing bossa nova, the opposite of its heavy metal style, to say that "you never saw something like this, as you never saw a car like the new Voyage". Sepultura released the album A-Lex on 26 January 2009. This was the first Sepultura album to include neither of the Cavalera brothers, with bassist Paulo Jr. as the sole remaining member from the band's debut album. A-Lex is a concept album based on the book A Clockwork Orange. The album was recorded at Trama Studios in Sao Paulo, Brazil, with producer Stanley Soares. AllMusic gave the album 4 stars out of 5 and said, "Personnel changes can have a very negative effect on a band, but Sepultura have maintained their vitality all these years - and that vitality is alive and well on the superb A-Lex." In the same year Andreas Kisser contributed his recipe for "Churrasco in Soy Sauce" to Hellbent for Cooking: The Heavy Metal Cookbook, stating in the recipe that he prefers his meat "medium-rare". Sepultura supported Metallica on January 30 and January 31, 2010, at Morumbi Stadium in Sao Paulo, Brazil. The two concerts were attended by 100,000 people. The band filmed a concert DVD in 2010. Sepultura played at Kucukciftlik Park, Istanbul, on April 27, 2010. On August 8, 2010 visited the UK to play at the Hevy Music Festival near Folkestone.

What happened next?

Answer with quotes: The band was one of the featured musical guests at the Latin Grammy Awards of 2008 on November 13.

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."

How did Riggs come up with his playing style?

Answer with quotes:
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.