NORMAN — Four current and former University of Oklahoma men's gymnasts claimed U.S. Senior Men's National spots at the conclusion of the 2021 USA Gymnastics Winter Cup in Indianapolis on Sunday.
Former Sooners Allan Bower and Yul Moldauer retained their spots on the national team following their performances on Friday on day one of the meet, while current junior Vitaliy Guimaraes and alum Genki Suzuki gained their spots on the team following Sunday's competition.
It marks the first senior national team roster spot for Guimaraes, while Suzuki regained his spot on the team. The four Sooners on Team USA ties for the most of any university on the U.S. squad.
Moldauer took home the event crown on parallel bars with a two-day total of 28.150, putting up a 13.850 score in his second routine Sunday evening. Suzuki claimed the high bar event title with a two-day tally of 27.250 after putting up a 13.600 on day two. Moldauer collected three more top-five finishes at the meet, taking third on floor (28.300), fourth on pommel horse (27.750) and fifth on still rings (27.950). Suzuki claimed sixth on pommel horse (27.200)
Guimaraes claimed two top-10 finishes, placing fifth on high bar with a 26.700 two-day total and eighth on parallel bars (25.900).
Putting up a solid day two performance was current Sooner senior captain Matt Wenske. Wenske placed sixth on parallel bars after a two-day 26.750 tally and a tie for seventh on still rings, putting up a 27.450.
OU alumnus Kanji Oyama put together a solid day-two competition, claiming three top-10 finishes himself. Oyama tied for fifth on high bar (26.700) and seventh-place finishes on parallel bars (26.700) and still rings (27.450).
The four Sooners that claimed their national team roster spots will hold their status up to the 2021 U.S. Championships, June 3-6 in Fort Worth, Texas. The meet is the first step in a busy summer leading up to the 2021 Tokyo Olympic Games.
Guimaraes and Wenske will return to Norman to rejoin the NCAA squad who are set to compete next Saturday, March 6, in Williamsburg, Va., against William & Mary College.
For updates and more information on Oklahoma men's gymnastics, follow the Sooners on Twitter and Instagram (@OU_MGymnastics) and like Oklahoma Men's Gymnastics on Facebook.
Baseball’s top prospects are back in action, and the best of the best lived up to the billing on Sunday, as four Top 100 prospects went deep in Spring Training openers.
Jazz Chisholm kicked off the young stars’ return with a bang. The No. 66 overall prospect in the game hammered a leadoff home run to left field in the first inning on Sunday and finished his day 1-for-2 as his Marlins beat the Astros, 6-1, in seven innings.
Coming off a 21-game stint in the big leagues last year, Chisholm is looking to improve on his .161/.242/.321 showing in the Majors and opened his spring on the right note. The 23-year-old’s blast came on the second pitch he saw from Houston’s Brandon Bielak and kicked off a four-run Miami first.
Chisholm, the fourth-ranked Marlins prospect, last played a full season with 112 games in Double-A between the Arizona and Miami systems in 2019. Due to the Marlins’ COVID-19 and injury issues, he was pressed into Major League duty last year and made 11 starts at second base with another six at shortstop.
In his second trip to the plate, Chisholm bounced out to short for the final out of the second inning. He was replaced in the lineup by Miami’s No. 20 prospect Nasim Nunez in the bottom of the fourth.
Teammate JJ Bleday followed Chisholm’s lead and left the yard on Sunday, as well. Baseball’s No. 20 overall prospect hammered a shot to left-center to lead off the top of the fifth. Bleday spent last year at the Marlins’ alternate site, his first full year since being drafted out of Vanderbilt with the fourth overall pick in the Draft in 2019.
Miami’s No. 11 prospect Nick Neidert threw two scoreless innings in relief. The righty yielded two singles and struck out a batter.
Here’s how other top prospects performed on Sunday:
Jeter Downs SS, Red Sox (MLB No. 49 prospect)
Coming on in place of Boston’s starting shortstop Kiké Hernández, Downs impressed out of the top spot in the order in two at-bats during his team’s 7-6 loss to Minnesota in seven innings. In his first trip to the plate, the top Red Sox prospect belted a two-run homer to right-center and followed with an RBI single to center in the sixth. Downs last saw regular season action as a member of the Dodgers organization in 2019, batting .276/.362/.526 in 119 games between Class A Advanced and Double-A. Gameday »
Bobby Dalbec, 1B, Red Sox (MLB No. 93 prospect)
Getting the start five spots down in the order from Hernández, Boston’s No. 3 prospect left the yard, too. With two outs and the bases empty in the top of the second, Dalbec cranked a shot to right field for his first homer of the spring. The first baseman played in 23 big league games a year ago, batting .263/.359/.600 for the Red Sox with eight homers and 16 RBIs.
Connor Wong, C, Red Sox
Boston’s No. 19 prospect entered in place of starting catcher Christian Vázquez in the bottom of the third and smacked a double to right field a half-inning later. Wong struck out in the fifth but finished 1-for-2 and worked four innings behind the plate for the Red Sox.
Yusniel Diaz, LF, Orioles
Following a walk in his first plate appearance of the spring season in the second inning and a strikeout in the fourth, Baltimore’s No. 8 prospect blasted a two-run homer to left field as the O’s fell to the Pirates, 6-4, in eight innings. Across three Minor League levels in 2019, Diaz batted .265/.341/.464, in 85 games, playing the bulk of those (76) with Double-A Bowie. More »
Ke’Bryan Hayes, 3B, Pirates (MLB No. 9 prospect)
Getting the nod in the two-hole in the Pirates' order, Hayes tallied his first knock of the spring on an RBI double to center field in the fourth inning of the Bucs’ Sunday afternoon win. Pittsburgh’s top prospect walked in the first inning and grounded out in front of the plate in the second to finish his first action of the year at 1-for-2. During his big league debut season last year, the third baseman batted .376/.442/.682 with 14 extra-base hits of his 32 total knocks and 11 RBIs. Hayes is a defensive whiz, too, as a three-time Minor League Baseball Gold Glove Award winner with Class A Advanced Bradenton in 2017, Double-A Altoona in 2018 and Triple-A Indianapolis in 2019. Gameday »
Drew Mendoza, 1B, Nationals
Washington’s No. 9 prospect got just one at-bat during 2020 Spring Training before the season was put on hold and didn’t notch a hit. In his first try at the dish in 2021, he made it count. Mendoza pummeled an RBI double to right-center field in the top of the seventh inning on Sunday afternoon in Palm Beach as Washington and St. Louis tied, 4-4. While in the field at first base, Mendoza also flashed his defensive acumen with a barehanded play in the ninth inning. The Nationals’ third-round pick in 2019 batted .264/.377/.383 in 55 games that summer with Class A Hagerstown. Gameday »
Mickey Moniak, LF, Phillies
The first overall pick in the 2016 Draft started his spring strong, driving a double to center field in the top of the second inning of the Phils’ 10-2 loss to the Tigers in seven innings. Moniak finished 1-for-2 following a swinging strikeout in the fourth. Philadelphia’s No. 12 prospect started the 2019 season in Double-A at just 20 years old and held his own at the level throughout 119 games, batting .252/.303/.439 with a career-best 11 homers and 67 RBIs while adding career highs in triples (13) and stolen bases (15). Gameday »
Kevin Padlo, 3B, Rays
Tampa Bay’s No. 19 prospect worked at the hot corner in his first spring action on Sunday and laced a double in the bottom of the fifth inning for his first hit of the year. Padlo, who can play both corner infield positions, split 110 games between Double-A and Triple-A in 2019, batting .265/.389/.538 with a personal best 21 homers. Gameday »
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9:51 am: Dozier and the Royals are in agreement on a four-year, $25MM guarantee with a $10MM option for 2025, per Jeff Passan of ESPN (Twitter link). If Dozier reaches all available escalators and bonuses, it could max out at $49MM, Passan reports.
9:35 am: While the deal isn’t yet complete, there’s “optimism” it’ll get over the finish line, per Alec Lewis and Andy McCullough of the Athletic (via Twitter). If finalized, the guarantee is expected to land in the $25MM range, report Lewis and McCullough. The 2025 option would be worth $10MM, reports Jon Heyman of MLB Network (Twitter link).
8:59 am: The Royals are finalizing a four-year contract extension with Hunter Dozier, reports Robert Murray of FanSided (Twitter link). The proposed deal would also contain a club option for 2025, per Murray. Dozier is a client of The L. Warner Companies, Inc.
As a player with three-plus years of MLB service, the 29-year-old wasn’t set to reach free agency until after the 2023 season. Rather than proceed year-by-year through arbitration, the parties are locking in some cost certainty over the next three seasons while lengthening their relationship by at least one year. The deal will buy out Dozier’s first year of would-be free agency, while the club option adds a second additional season of team control.
Despite being selected eighth overall out of Stephen F. Austin University in 2013, Dozier had something of a slow ascent through the minors. He made his MLB debut as a September call-up in 2016, but it wasn’t until the middle of the 2018 season that he had established himself as a big league regular.
Dozier struggled down the stretch as a rookie but seemed to break out as a middle-of-the-order bat in his sophomore season. The right-handed hitter popped 26 home runs and hit .279/.348/.522 across 586 plate appearances in 2019. Dozier’s batted ball metrics reinforced that power output. His 91.1 MPH average exit velocity placed him in the 83rd percentile league-wide; Dozier’s hard contact and barrel rates were similarly impressive. A higher than average 25.3% strikeout rate and .339 BABIP hinted at some potential regression in future seasons, but Dozier’s power and decent plate discipline positioned him as an above-average offensive performer nonetheless.
The shortened 2020 season, however, proved a difficult one for Dozier. That was the case for plenty of players, but Dozier was one of the players most directly impacted by the COVID-19 pandemic. He tested positive for the coronavirus last July and was forced to start the season on the injured list. Upon his return, he lacked the same power he’d shown the season before. Whether because of his bout with COVID-19 or merely due to the season’s small sample size (he tallied just 186 plate appearances), the Royals clearly feel Dozier’s .228/.344/.392 line was anomalous.
Regaining his footing at the plate is critical for Dozier, who’s rather limited defensively. He broke in as a third baseman, but defensive metrics panned his work at the hot corner from 2018-19. After signing Maikel Franco last offseason, Kansas City mostly limited Dozier to first base and the corner outfield in 2020. Franco is back in free agency, possibly bumping Dozier back to third this year (and perhaps beyond). At his age, it’s doubtful he transforms into an above-average defender at the position.
Last November, Dozier agreed to a $2.72MM deal to avoid arbitration. It remains to be seen if this extension changes that figure. At the moment, the Royals have around $90MM on the books for the upcoming season, right in line with last year’s payroll. Besides Dozier, only Whit Merrifield and recent free agent signees Carlos Santana and Mike Minor have guaranteed money on the books beyond 2021. That should leave plenty of long-term payroll space for the Royals, who will see Salvador Pérez and Jorge Soler reach free agency (barring extensions of their own) next offseason.
Because of the still ongoing COVID-19 pandemic, fans weren't permitted to attend MLB games last season until the very last rounds of the playoffs. This season, however, figures to occasion more of an atmosphere of normality in this regard. The plan right now is for fans to be in attendance at spring training games and regular season games, albeit in limited numbers and in accordance with local guidelines.
Arenado, who's going into his age-30 campaign, will be able to use spring training to start building in-game chemistry with his new infield mates, first baseman Paul Goldschmidt, second baseman Tommy Edman and shortstop Paul DeJong, in St. Louis. The five-time All-Star boasts an elite combination of power and value in the field, and will be a huge upgrade for the Cards, who could take back the NL Central in 2021, a division they won in 2019.
And, keeping with the Cardinals...
2. Flaherty on the bump Sunday
Unlike actual Opening Day, the first day of spring training game does not feature every team's ace. However, Cardinals No. 1 starter Jack Flaherty will be the biggest name to make a start Sunday. The right-hander was awarded the Opening Day nod at the start of spring training and he'll also get the ball for the Cards' Grapefruit League opener against the Nationals. St. Louis manager Mike Shildt said that Flaherty will likely work two innings in his first outing of the spring.
Flaherty, 25, had a bumpy 2020 season due to the Cardinals' coronavirus outbreak that led to a 25-day long shutdown for the right-hander. All in all, Flaherty recorded a 4.91 ERA (ballooned after one bad outing vs. Brewers in September) in 40 1/3 innings during the 60-game season. Take out the rough Brewers outing, and Flaherty's ERA is 3.14. As far as strikeouts go, Flaherty still posted a 10.9 K/9 rate over the small sample size of 2020.
Marco Gonzales of the Mariners and Zac Gallen of the D-Backs are other notable starters who will pitch Sunday.
3. New faces in new places
Like every year, spring training games give us a minute to adjust to seeing players with new teams. If we're being honest, it can take a while to get used to a player sporting a new uniform. For the first day of spring training games, we'll be seeing a handful of players make their debut with a new squad. While there's still plenty more waiting to make their debut, Sunday will see Marcus Semien with the Toronto Blue Jays, both Andrew Benintendi and Carlos Santana with the Kansas City Royals and Enrique Hernandez with the Red Sox, among others.
Semien, our No. 11 free agent this winter, signed with the Blue Jays on a one-year, $18 million deal. The 30-year-old is set to take over at second base for Toronto since Bo Bichette is their everyday shortstop.
Benintendi, 26, was traded from the Red Sox to the Royals in a three-team trade that also included the Mets. He struggled in 2020 before being shut down with a rib injury. He'll start in left field Sunday for Kansas City. CBS Sports ranked Santana, 34, as the 45th-best free agent available this offseason. The veteran first baseman signed a two-year, $17 million deal with the Royals, filling a big hole at first for the club, and now he should be an everyday staple in the middle of Kansas City's lineup.
Mancini will be in the lineup for Sunday's game against the Pittsburgh Pirates. Mancini missed the 2020 season, but the last time he played, in 2019, Mancini had a breakout season in which he set career-highs in home runs (35) and OPS (.899). Mancini made his MLB debut in September 2016.
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As demonstrations against the military coup, which ousted the democratically elected government of civilian leader Aung San Suu Kyi, entered their fourth week, security forces began a violent crackdown on protesters in towns and cities across the country.
In the biggest city, Yangon, a protester was fatally shot when police opened fire on demonstrators, according to Reuters, citing a hospital doctor. The doctor, who asked not to be identified, said the protester was brought into hospital with a bullet wound in the chest. Local media outlet Mizzima also reported the death in Yangon's Thingangyun township.
Also in Yangon, a woman died of a suspected heart attack after police broke up a teachers' protest with stun grenades, according to Reuters who cited the woman's daughter and a colleague.
In the south of the country, three people were killed and more than a dozen were wounded when police opened fire on protesters in the town of Dawei, according to media outlet the Dawei Watch. Local politician Kyaw Min Htike confirmed police had shot protesters in Dawei.
Local media outlet Myanmar Now reported two people had been killed in a protest in the second-largest city of Mandalay, according to Reuters.
It was the most casualties in a single day.
Police and the spokesman for the ruling military council did not respond to phone calls seeking comment.
Videos posted to social media captured the escalating confrontations between protesters and security forces.
In footage from the Hledan district of Yangon, shots could be heard. Local media reported that at least five people were injured in those clashes. Shots could also be heard in a live stream posted on social media by local media from Yangon's Tamwe township, in which crowds of protesters could be seen fleeing from police. At least five students were arrested at protests elsewhere in downtown Yangon on Sunday.
Sunday marks the second day of the military's intensified crackdown on anti-coup protesters, in which hundreds of people have reportedly been detained, including journalists. In towns and cities across Myanmar Saturday, security forces fired tear gas, rubber bullets, water cannon and shot their guns into the air to disperse protesters.
Since the coup, at least 10 demonstrators and one police officer have been killed, according to Reuters. Activist group, the Assistance Association for Political Prisoners (AAPP) said that as of Saturday, it had documented 854 people who have been arrested, charged or sentenced since the February 1 coup. The group noted, however, that "hundreds of people" were arrested in Yangon and other places on Saturday.
UN ambassador defies military
The clashes come a day after the ruling military junta fired the country's United Nations ambassador for making an impassioned plea at the UN General Assembly for international action to help overturn the coup.
On Saturday, state television MRTV announced UN ambassador Kyaw Moe Tun's removal, saying he had "abused the power and responsibilities of a permanent ambassador" and that he "betrays the country."
Speaking to Reuters following his firing, Kyaw Moe Tun said that he "decided to fight back as long as I can."
Addressing the assembly in New York on Friday, Kyaw Moe Tun defied the military rulers now in control of the country and urged the UN Security Council and the world to use "any means necessary" to rescue the people of Myanmar and hold the military to account.
"We need further strongest possible action from the international community to immediately end the military coup, to stop oppressing the innocent people, to return the state power to the people and to restore the democracy," he said.
Kyaw Moe Tun said he was delivering the speech on behalf of Suu Kyi's government, which won a landslide in the November 8 elections. Suu Kyi has now been detained alongside other government leaders including President Win Myint.
In a show of defiance, the ambassador also flashed the three fingered "Hunger Games" salute used by protestors on the streets of Myanmar and adopted from recent protests in neighboring Thailand.
The diplomat received a rare round of applause from his UN colleagues at the end of the speech. The new US ambassador to the UN, Linda Thomas-Greenfield, praised the envoy's "courageous" remarks.
"The United States continues to strongly condemn the military coup in Myanmar," she said Friday, addressing the assembly. "And we condemn the security forces' brutal killing of unarmed people."
Thomas-Greenfield added that the US "will continue to provide life-saving humanitarian assistance, including to Rohingya and other vulnerable populations in Chin, Kachin, Rakhine, and Shan states."
CNN's Richard Roth, Hamdi Alkhshali, Kristina Sgueglia and Zamira Rahim contributed.
LAS VEGAS, Nev. - Lauren Ohlinger tallied a team-high 15 kills, but it was not enough to lead Boise State past UNLV as the Broncos fell 3-1 at Las Vegas Saturday night.
The Broncos opened slow and struggled to maintain any momentum against the Rebels. After dropping the first set 25-13 and falling behind 6-0 in the second, Boise State rallied to take the second set 25-23 to even the match at 1-1.
It looked like momentum had swung to the Broncos, but that loss was all the Rebels needed to regroup and take control of the final two sets to hand the Blue and Orange a 25-13, 23-25, 25-15, 25-16 defeat. The loss moves Boise State to 6-2 overall while UNLV remains undefeated at 6-0.
Keys to the match were hitting and serving as Boise State struggled in both. The Broncos were held to 19 percent hitting while UNLV finished at 31.3 percent. In addition, the Rebels' serving was big in the match as they recorded 17 service aces against the Broncos.
Offensively, Ohlinger's 15 kills led the team, she also had one block and five digs. Jessica Donahue was next with eight kills while hitting a team-best .467 percent, in addition to four blocks, one solo. Shae Duffy added five kills and a team-high five block assists.
Danielle Boss recorded a double-double from the setter position with 31 assists and 14 digs. Allison Casillas led defensively with a team- high 15 digs.
Boise State will be back in action next weekend when they host the New Mexico Lobos for a two-match series Friday and Saturday.
If you were a fan of Boston rock legend Mark Sandman, you’ll remember the Hypnosonics. But you may not remember them too clearly, because you were probably too busy dancing.
A part-time band for nearly 15 years, the Hypnosonics are a lost part of Sandman’s musical history: They’d get together and play some shows, usually to packed houses at the Lizard Lounge or the Plough and Stars, whenever his regular band Morphine was off the road. They never got around to releasing anything other than a few compilation tracks.
But 22 years after Sandman’s death, two full Hypnosonics albums are now set for release. The two albums, “Someone Stole My Shoes” and “Drums Were Beating” were made at separate sessions — the latter at one of WFNX’s free lunchtime concerts in 1996 — and both bring a stack of long-unheard material to light.
The band’s lineup was changeable, and all three of Morphine’s founding members — Sandman, drummer Jerome Deupree and saxman Dana Colley — were in at one time or another. But saxophonist Russ Gershon was there from start to finish. Gershon was leading the adventurous jazz band Either/Orchestra, which continues to this day, when Sandman first approached him in 1985.
“He said, ‘I want to sing with your band.’ And I said, ‘OK, anybody with the nerve to ask that deserves a shot’.” Gershon recalls. Unlike most of the players who came into the Hypnosonics, Sandman didn’t have a jazz background or Berklee training — but there was still common ground. “All of us were huge funk fans. And one thing people don’t understand about Mark is that he was identifying himself as a taller Prince. But his voice was so different that people don’t make that connection.”
Sandman didn’t bring his famous two-string bass from Morphine into the Hypnosonics, instead playing guitar and keyboards. But he did continue messing with instrumental lineups: Drummer Billy Conway, a reggae expert, was instructed not to play reggae. “Mark asked him to use a wood block instead of a hi-hat and to leave his toms at home, so that gave him a different style. He was good at getting people to give up what they were used to doing. The horn parts that Tom and I came up with were often repetitive and simple, that gave us an opportunity to groove with the rhythm section. The band really flourished when we took it way out there.”
The band played its last gig at the Lizard in 1999, just weeks before Sandman collapsed onstage during a Morphine tour. Bassist Mike Rivard kept the Hypnosonics tapes on his shelf, and finally unearthed them while working out a deal for his other band, Club d’Elf. The surviving Hypnosonics are now thinking about playing live shows with different singers, as the Morphine members have done over the years.
“It would be nice, since I haven’t played a show in a year,” said Gershon, who went through a six-week bout with COVID-19 last summer. “I think the sensible thing would be to reconvene some Orchestra Morphine-like aggregation and play the Hypnosonics tunes. Of course nobody’s that optimistic about club shows for awhile. But we all love each other in the Mark circle and we’ve all been in touch.”
SANTA FE – With three weeks to go in New Mexico’s 60-day legislative session, the outlook for adult-use cannabis legalization remains hazy at best.
But backers of four legalization bills still in the mix at the Roundhouse expressed optimism Saturday that a compromise measure – likely a mashup of the various proposals – could move forward and reach Gov. Michelle Lujan Grisham’s desk before the legislative session ends.
Rep. Javier Martínez
A Senate committee spent more than three hours Saturday scrutinizing the bills but did not vote on them, instead directing bill sponsors to try to hash out their differences over the next week.
“I think we’ve got plenty of time,” Rep. Javier Martínez, D-Albuquerque, said in an interview after the hearing, citing a bipartisan willingness to work on a marijuana legalization bill after years of debate on the subject. “We’re feeling really good.”
The Senate Tax, Business and Transportation Committee discussion came one day after the House voted 39-31 to approve a legalization bill sponsored by Martínez and others that would authorize commercial sales to begin in January 2022.
That bill, House Bill 12, could be amended in the Senate and then advanced, which would avoid the need for House committees to vote on it again, said Senate Majority Leader Peter Wirth, D-Santa Fe.
However, several Republicans suggested they would not support the House-approved bill in its current form and prefer other approaches to cannabis legalization.
“I think it’s time to end prohibition, but there are things that have to be in there – or not in there – for me to (vote to) do it,” said Senate Minority Whip Craig Brandt, R-Rio Rancho.
Indeed, while a growing number of New Mexico lawmakers appear to see legalization of recreational cannabis as imminent, several issues are still being debated.
Details scrutinized Saturday included tax rates, water rights, revenue uses, personal production limits and regulation of a new legal marijuana industry.
The tax rates in the four bills under consideration would range from 12% to 21%, with most of the generated revenue going to the state and a smaller amount to cities and counties.
Sen. Cliff Pirtle, R-Roswell, sponsor of one of the four bills, Senate Bill 288, said an excessively high tax rate could lead many to continue to buy cannabis on the black market.
Sen. Cliff Pirtle
“We don’t want to put the tax rate so high … that we tax the legal cannabis out of the market,” Pirtle said.
Sen. Jacob Candelaria, D-Albuquerque, said there should be no cap on plants or licenses for producers, adding that existing plant count limits in the state’s medical cannabis program have led to chronic supply shortages.
He also said he envisions New Mexico eventually exporting cannabis products, though such interstate commerce would hinge on federal legalization of cannabis.
“You don’t get your green chile from New Jersey,” Candelaria said. “Why get your cannabis from anywhere else than New Mexico?”
Sen. Jacob Candelaria
New Mexico would become the 16th state to legalize recreational cannabis if a bill is signed into law this year by Lujan Grisham, who supports doing so as long as legislation includes safeguards for children and medical cannabis users.
And recent polls have shown support across all regions of New Mexico for legalizing recreational marijuana use and taxing its sales.
“We simply cannot afford to wait another year,” said Rep. Tara Lujan, D-Santa Fe, citing recent cannabis-related laws in several neighboring states, including Arizona, where voters approved a legalization referendum last year.
But some lawmakers remain skeptical in a state with one of the nation’s highest drug overdose rates.
Sen. Michael Padilla, D-Albuquerque, shared the story of an individual close to him who died at a young age after starting to smoke marijuana as a teenager.
He also asked questions about possible political interference within a proposed cannabis regulatory board that would be established under several of the bills to oversee the industry.
Is it time to prescribe Mozart? According to veterinary neurologist Susan O. Wagner, DVM, MS, DACVIM, an adjunct faculty member at The Ohio State University College of Veterinary Medicine in Columbus and coauthor of Through a Dog’s Ear: Using Sound to Improve the Health & Behavior of Your Canine Companion, the answer is a resounding yes. At the Fetch dvm360® virtual conference this week, Wagner presented evidence that suggests sound affects animals on a psychological level. She encouraged attendees to utilize particular genres of music to create a more relaxed experience for their patients.
Before delving into the specific benefits of music therapy, Wagner provided a brief overview of some basic tenets of sound measurements, noise toxicity, and the study of bioacoustics versus psychoacoustics.
Acoustic effects
At the most elementary level, sound is waves of energy that affect the nervous system. The 2 terms used to categorize sound are frequency, which is measured in Hertz (Hz), and intensity, which is measured in decibels (dB). Humans hear frequencies of 20 to 20,000 Hz, whereas dogs can hear frequencies between 40 and 45,000 Hz and cats up to 64,000 Hz.
Part of understanding how sound can positively impact a species involves recognizing its adverse effects, Wagner said. For reference, a normal conversation occurs at 50 dB and a lawnmower generally operates at 90 dB. Animal laboratories routinely reach noise levels of 80 dB, with human activity transiently increasing intensity by as much as 40 dB. Hearing damage occurs instantly at 100 dB (think standing next to a jet engine) or when exposed to 80 dB for longer than 15 minutes, which happens more often than one might think, she said.
Although noise levels in a typical veterinary clinic could become detrimental to staff working lots of overtime hours, it is the patients Wagner called attention to. “Researchers have examined the effects of noise toxicity in animals, which expands beyond hearing damage,” she said.
For instance, a study published in Applied Animal Behaviour Science found that dogs exposed to sound blasts of 85 dB experienced increased heart rates and salivary cortisol levels.1 The noise also elicited postural signs of anxiety. Birth defects have been documented in mice and rats when the mother was exposed to noise pollution during pregnancy.2 Behavioral changes were also detected in their offspring.3
While there is decades-old research on the effect of noise on animals, Wagner said the study of sound in animals historically was categorized through bioacoustics. This places an emphasis on how animals communicate and the positive and negative effects of their environments, but it does not account for psychoacoustics. Typically applied only to humans, psychoacoustics examines the perception of sound, psychological responses, and its impact on the nervous system.
Examining the physiologic effects of sound and music opens the door to understanding how certain melodies can be used to calm anxious pets.
Music and animal welfare
“Music therapy and sound enrichment are low-cost, easy modalities to enrich the lives of captive animals,” Wagner said. “Whether it be a short-term stay in a veterinary clinic or shelter, or long-term captivity in a sanctuary or zoo, sound can play a key role in enhancing the welfare of these animals.”
Sound therapy research has illustrated music's influence on a variety of species. In 1 study, cows were more likely to come into the milking parlor if signaled by music.4 “Behaviorists might say that is classical conditioning, and some of it can be, but it has to start with a pleasant stimulus,” Wagner said. “You play pleasant music to the cows and then they are adapting to it. It is a combination of classical conditioning and sensory relaxation.”
In a separate study, when chickens listened to music, they had increased growth and reduced stress.5 There are also indications that animals may have musical preferences. In the same study, horses showed a decreased appetite when listening to jazz and an increased appetite with country music.5 “This is an example of going beyond bioacoustics into psychoacoustics. That makes perfect sense to me,” Wagner said. She surmised that the differing tempos and frequencies in jazz could become uncomfortable to the horses. Sorry, Miles Davis.
Through her research, which became the basis for Through a Dog’s Ear, Wagner and coauthor and sound researcher Joshua Leeds examined how music with varying tempos and instruments might elicit favorable responses. More than 150 dogs were observed in home environments and kennels to see if they would sit down, lie down, or even go to sleep when listening to certain music. “We found that the simple piano with low tones and a slow tempo is what made them most calm,” she said. When listening to the piano in the home environment, 85% of the dogs went to sleep, compared with 70% to 75% in a kennel setting.
Clinical applications
When presented with a patient that displays signs of general anxiety or pain, Wagner suggests creating a sound inventory of the home. She encouraged attendees to prompt clients to sit and listen to all of the ambient noise in and around their homes to pinpoint overlooked stressors. This works 2-fold by providing the veterinarian with pertinent information while also conditioning the client to become more perceptive to the noises their pet encounters. “Humans are good at tuning ambient sounds out, be it the TV or something happening outside,” she said. “But animals are not.”
A similar noise evaluation should be conducted in the veterinary hospital, too. “How loud is the conversation in the room? Are you drawing blood on a cat while someone is clipping a dog’s nails right next to it? It is not about you and your need to keep things moving or about convenience,” Wagner said. “What about the patient? Think about it from their perspective.”
Once possible noise toxicities are addressed, the right music can create an enhanced, stress-free experience. “To keep animals as calm as possible, instrumental music is best,” she said. Animals do not need the added stimulus of processing voices.
“Music reduces the complexity of the orienting response. As the patient hears the music, the sound will resonate with its brain waves and heart rate,” Wagner explained. “You get a physiologic effect that feeds back to the nervous system. It can be really helpful.”
A study published in the Journal of Feline Medicine and Surgery showed that respiratory rates and pupil diameters in cats changed depending on whether classical music, pop, or rock was played during spay procedures. Classical music had the most positive effect, whereas heavy metal caused increased respirations and pupil diameters, indicating a stress response. The response to pop was intermediate.6 Research has also shown that cats prefer music with frequencies and tempos similar to what is heard in feline communication.7
At home, Wagner said, hearing calming music for as little as 30 to 60 minutes a day will help reduce the sympathetic overdrive from the nervous system in pets. “We cannot teach our patients to meditate, but we can use music to do a very similar thing,” she said.
References
Beerda B, Schilder MBH, van Hooff JARAM, deVries HW, Mol JA. Behavioural, saliva cortisol and heart rate responses to different types of stimuli in dogs. Appl Anim Behav Sci. 1998;58(3-4):365-381. doi:10.1016/S0168-1591(97)00145-7
Cook RO, Nawrot PS, Hamm CW. Effects of high-frequency noise on prenatal development and maternal plasma and uterine catecholamine concentrations in the CD-1 mouse. Toxicol Appl Pharmacol. 1982;66(3):338-348. doi:10.1016/0041-008x(82)90300-3
Nawrot PS, Cook RO, Staples RE. Embryotoxicity of various noise stimuli in the mouse. Teratology. 1980;22(3):279-289. doi:10.1002/tera.1420220304
Uetake K, Hurnik JF, Johnson L. Effect of music on voluntary approach of dairy cows to an automatic milking system. Appl Anim Behav Sci. 1997;53(3):175-182. doi:10.1016/S0168-1591(96)01159-8
Houpt K, Marrow M, Seeliger M. A preliminary study of the effect of music on equine behavior. J Equine Vet Sci. 2000;20(11):691-737. doi:10.1016/S0737-0806(00)80155-0
Mira F, Costa A, Mendes E, Azevedo P, Carreira LM. Influence of music and its genres on respiratory rate and pupil diameter variations in cats under general anaesthesia: contribution to promoting patient safety. J Feline Med Surg. 2016;18(2):150-159. doi:10.1177/1098612X15575778
Snowdan CT, Teie D, Savage M. Cats prefer species-appropriate music. Applied Animal Behaviour Science. 2015;166:106-111. doi:10.1016/j.applanim.2015.02.012
• Trending Now: How much is too much? • Farmers need insurance • Lapeer didn’t go to ‘pot’
It’s been long enough!
Open up restaurants, completely. No more of the 25% nonsense. Open up the movie theaters, the bowling alleys and every business. It has been long enough. Get people back to work and get businesses open again.
Sean Fischer Mayfield Township
More work, less unemployment pay
The laid off people don’t need more in their checks, they need to be working. If by now they haven’t been called back, it’s time to look for another job because they’re not going back. More work, less unemployment checks is the answer to get things closer to normal before COVID hit.
Jayden Laidlaw Almont Township
‘Pay people more, then they can purchase more’
Biden wants the federal minimum wage to be $15 an hour. That’s better than it is, but it should be $20 or $23 an hour to really make a difference. Pay people more, then they can purchase more and everyone is happy. The U.S. economy is built on consumerism and personal consumption.
Joyce Smith-Connolli Lapeer
Farmers deserve higher pay
U.S. farmers are the backbone of the economy. They need to be compensated more for what they do. The bushel rate should reflect a higher working standard.
Ben Stimson Maple Valley Township
Farm workers need insurance fund
It was smart of Rep. McClain to form an agriculture task force. The better she’s informed the better represented the interests of ag workers will be. Top priority should be a fund for healthcare insurance for farm workers, because most people are on their own and that’s really a bad deal.
Marc Schroeder Rich Township
‘Jesus is kindness’
Random acts of kindness are cute I suppose, but if more people had Jesus in their lives there would be more kindness toward fellow mankind. Jesus is kindness.
Tammy Kruegerman Oregon Township
History is complicated
There’s a black history month, but yet the politically-correct crowd wants Confederate flags and monuments taken down in the South. One’s history is complicated and not always PG-13 rated, but what’s fair for one people should be fair for all. Respect all history.
Jordyn Tacoma Lapeer
Fear mongering about marijuana was for nothing
Funny thing. Recreational marijuana sales are happening in Lapeer and nobody would know otherwise. All the fear mongering was for nothing. Life goes on.
Breanne Latuzek Attica Township
Tell us what you think
Dozens of people gathered outside U.S. Sen. Gary Peters’ Detroit office last week to support a provision in the latest coronavirus relief package to raise the federal minimum wage to $15 an hour by 2025. Peters and most other Democratic senators support the minimum wage hike proposed in a $1.9 trillion coronavirus relief package by President Joe Biden. Should the Michigan minimum wage be $15 as well?
The Conservative Political Action Conference (CPAC) wrapped its third day after addresses from a number of political heavyweights.
Sen. Marco Rubio, R-Fla., pulled out of the day's events, citing an "unexpected family issue."
Here are four key moments from the day's events:
Pompeo says China was ‘smiling’ when U.S. reentered Paris Climate Accord
"The Paris Agreement was a fantasy for elite diplomats who just wanted to virtue signal," former Secretary of State Mike Pompeo said. "When President Biden reentered this deal I can tell you that Xi Jinping was smiling every single minute."
"Since I last saw you the Chinese have sanctioned me," former Secretary of State Mike Pompeo told the crowd. "The Iranians don't think so much of me either." China imposed sanctions on Trump administration officials for calling China's actions against Uighurs and Muslim minorities in the Xinjiang region a "genocide.
"Team Biden appears to be headed back into appeasing Iran. This will be a disaster for the United States of America and a disaster for the region as well."
Boebert says Democrats are ‘the party of no’s’
Rep. Lauren Boebert, R-Colo., said that while the GOP gets a reputation as the "party of no," it’s actually Democrats who embody the word.
"Republicans are called the party of no but we're saying no to all of their no. They don’t want you to be able to protect yourself, they don't want you to have freedom of speech, they don't want you to have freedom of religion... they are the party of no. We are saying no, we are saying a big ‘hell no’ to all of their no’s," the fiery freshman lawmaker and gun rights activist told the crowd.
McCarthy predicts GOP will take the majority in 2022
"It’s not a chance, we’re going to get the majority back. We’re five seats away," McCarthy said Saturday during a panel at CPAC.
"I would bet my house... don't tell my wife but I would bet it," he said.
"This is the smallest majority Democrats have had in 100 years," McCarthy said. Republicans picked up 12 seats in the 2020 election, and FiveThirtyEight predicted they are "on track" to take back the House in the next election.
Noem slams Fauci
South Dakota Gov. Kristi Noem, a star attraction at Saturday’s event, said Dr. Anthony Fauci, the nation’s leading infectious disease expert, is "wrong a lot."
"I don't know if you agree with me, but Dr. Fauci is wrong a lot." she said. Noem was the only governor to never shut down businesses to contain Covid-19. She said Fauci predicted her state would fare much worse.
"In South Dakota, I provided all of the information that we had to our people, and then I trusted to make the best decisions for themselves [on how to prevent the spread of the virus] for their families and in turn their communities," she said.
"We never focused on the case numbers. Instead, we kept our eye on hospital capacity. Now, Dr. Fauci, he told me that on my worst day I'd have ten thousand patients in the hospital on our worst day, we had a little over six hundred."
Noem recalled being routinely lambasted by the press and some Democrats as "ill-informed, reckless and even a 'denier'."Some even claimed that South Dakota is 'as bad as it gets anywhere in the world' when it comes to COVID-19—that is a lie," she said.
From the moment you see that scene in the Judas and the Black Messiah trailer, you knew it was going to be something special. The sequence proves even more magnetic in the context of the film. Why? Because you feel as though you are in the room looking on as Fred Hampton [Daniel Kaluuya], the chairman of the Illinois Black Panther Party, delivers this galvanizing speech to his members. Director Shaka King builds tension beautifully—you’re nervous that Hampton may be injured or that Bill O’Neal [LaKeith Stanfield]’s cover may be blown. You want to look away, but Kaluuya is riveting—the sound of his voice booming from the microphone mixed with the crowd’s reaction is enthralling and all-encompassing.
‘I am a revolutionary’ is one of the best scenes in 2021’s cinematic landscape. And one of many in Judas and the Black Messiah that uses sound in unique and interesting ways. Sound designers Rich Bologna (Supervising Sound Editor) and Skip Lievsay (Re-Recording Mixer) joined Awards Daily’s Shadan Larki for a Zoom video session from the Warner Brothers’ studio where the two were busy working on a yet-to-be-announced project. During the conversation, the two collaborators detailed their experience working with Shaka King and talked through some of Judas and the Black Messiah’s key moments.
Read the full transcript of our interview with Rich Bologna and Skip Lievsay below:
Judas and the Black Messiah’s Re-Recording Mixer Skip Lievsay Judas and the Black Messiah’s Supervising Sound Editor Rich Bologna
Awards Daily: There’s archival footage throughout Judas and the Black Messiah. What does that mean in terms of your work as sound designers?
Skip Lievsay: Well, luckily, audiences know what old, grainy footage should sound like. Of course, the sound that comes with that footage is usually pretty bad. I think the audience understands news footage and what it means and it completely transports the scene back to the period in a really elegant way. Ultimately, you just try to get it to sound like people. And all you’re really trying to do is make a sound that goes with the image.
Having been alive during that period, it made me remember and recall what I was doing on that day. That’s just about being old. It’s not a technology thing. [Laughs].
Rich Bologna: Story-wise, I love how it starts with LaKeith’s character, Bill [O’Neal]. And then he gets interrupted, and you go into the movie, and then it ends right at the point where he gets interrupted by the real Bill. I thought that was a clever little editorial twist that they threw in there, which buttons it up really nice. That wasn’t always the case; it happened in later versions.
I also selfishly like that I’m the first person that you hear in the movie. Skip was like, ‘We should do the thing where the mic is moving and the crew’s setting up.’ I think we just threw that in at the last minute. [Director] Shaka King, me, and the editor Kristan Sprague were in the room and, and we just yelled stuff out. And then I told Skip, ‘Touch the mic and move it.’ So that’s our little inside baseball thing.
AD: The movie has a lot of dialogue. And there’s a lot of conversations happening in muffled tones and in secret spaces. Tell me about that.
SL: I don’t want to make my job seem simple and easy. But, intellectually, it is a simple idea—make it sound like people and make it believable in this scenario, in the scene. And while that seems like an oversimplification, it’s actually a good way to approach the work. I often feel like if I can just get rid of the stuff that doesn’t sound like people, then we have a baseline.
And Rich has to do the opposite, which is, now that I’ve taken away all that stuff, what can I backfill and make this feel more realistic. It becomes a two-person sound design idea because we need to have the track to be real-sounding and believable.
We need to not break the plane. So that the audience doesn’t feel like, ‘Well, what just happened? That seems weird.’ Because then you lose the audience for some time. They don’t hear a few key phrases. And then, next thing you know, it’s confusing.
We have to hunker down and make sure that we don’t bump the audience off their train. And that becomes a slightly mechanical path, but not in a bad way.
AD: So, what are some of those sound elements that you have to go back and add in?
RB: I mean, just the button-up, what Skip said. I mean, it’s easier said than done because a lot of the scenes came to us in fairly good shape. But Skip did a great job making them clear and putting them in the right spaces.
There are some fun scenes, like in big, old churches. It was exciting to see those scenes mixed. And I guess for me, I knew that the dialogue was such a crucial part, so I never really wanted to get in the way of it. The order of the day was just trying to make things as naturalistic as possible and to support these characters’ stories. I definitely took the more subtle approach to many scenes, but there’s a lot of texture to them. It’s just more subliminal.
For Shaka, the vernacular of the day was very important to him. He was very true to the time and place.
AD: Fred’s speeches are so rich, and it really does sound like we’re there in the room with him. I think that’s what’s so impressive about this sound design—it allows Daniel’s performance to come across. When dealing with those scenes in particular, what did you do to add that richness to the sound?
SL: Well, for instance, ‘I am a revolutionary,’ that big sequence, it’s a centerpiece of the movie, emotionally and soundtrack wise. And we had a lot of great material from the location and the way it was shot and recorded, which was helpful for us.
We had really good audience reactions, and I had many different perspectives of Daniel’s speech. I knew what the sound of the room was and really my mission was to have a complete version of that sound for the whole speech.
All of the audio for Daniel was pretty consistent. And I just had to add reverb and some other tracks to make it all seem like one complete document of that speech in that space. We also had crowd reactions and music being played. And those things have glue to them, which is hard to reproduce.
It is fun to knit together all the various parts. Especially when they all come from the same place, it wasn’t easy to achieve, but we had a lot of excellent components.
RB: I think they tried to shoot that scene without the crowd sound. And the energy really wasn’t at the level that they wanted it. So, at the suggestion of Marlowe Taylor, the production sound designer, they did a take with the crowd reacting and chanting which really made it all come to life. It totally brought Daniel’s performance to another level.
AD: And the last sequence that I wanted to ask you about was the shootout. Obviously, you had to add in a lot of elements in post-production to enhance those sounds. Can you tell me about that?
RB: Yeah. I mean, I met with Shaka while they were cutting the movie. And I was just asking them how it’s feeling, how you’re doing. There are a couple of shootouts, but the one where they actually blow up the Panther headquarters, he was just kind of not feeling it as much—mostly because there weren’t any sound effects work or music. So, I started early on that and it definitely had Shaka turn the corner. I think it really fell into place for him just because It felt more real even though it was all pretty much done in post. A lot of time was spent on those guns, and I hope they feel scary and intense. I mean, it’s funny for me because there are three guns scenes and I think they all add their own emotional component to the film. The scariest for me is the final one because there isn’t any music. It’s very stark and terrifying where you’re just hearing every bullet whiz by.
At first, I believe there was music in the cut. And then there’s that final really powerful shot of Deborah[Dominique Fishback] just right up in the camera; there was also music for that for a period and they took it out. I think it was the right move because it’s just debilitatingly hard to watch that scene. And that’s the intent. So, I think they all kind of have their place, but that final one for me— I think was the most powerful, even though it’s loud. After a while, you get kind of sick of listening to guns blare out of the speakers, but it’s fun that it all came together.
AD:You know, I’ve interviewed a number of sound designers. And I think sound design is so interesting because it’s not like the costumes or production design. You’re not supposed to notice it.
RB: Right.
AD: So, tell me about that from your perspective. Obviously, there are challenges to that, but then, do you ever feel kind of frustrated because you’re like, ‘I did all this work, and people don’t notice.’ Do you know what I mean?
RB: I mean, the most exciting thing for me— what keeps me doing this and happy is when you can get into the room with the director, they’re so used to either hearing [the movie] without our work or on little computer speakers. And they get really jazzed because they start seeing this thing as a movie. I mean, it takes us a lot of work just to make it feel normal and real, which is kind of the beauty of it because if it didn’t have all our work, people would just be like, ‘This seems so bad and wrong.’
I love working on people’s beta waves and putting a lot of work into things that are pretty invisible, you know? Skip probably has many things to say about that. I don’t want to take up all the air on this.
SL: I’ve always felt like we’re part of a team, and we’re trying to help someone achieve a goal and a vision. We have expertise. When [directors] explain how they want things to sound and what they’re looking for, it’s sometimes very abstract and hard to explain. We have experience working on other movies. So, we have some idea, like ‘Oh, yeah, I think this would probably be a good idea. Let’s try that.’
And then we have this process, which is pretty great, where we can review stuff, we can sort ideas, and they can say, ‘Well, that’s not what I imagined. What if we do this or that.’ But all of that stuff is really about making a stew where we’re taking all these parts and putting them together, helping the filmmaker, get to their promised land.
And it’s sort of crucial to be as big and bold and sometimes abstract or non-linear as you can be to help the filmmaker explore the possibilities. I think that the most important part of sound design is coming up with something that makes the filmmakers truly happy and feel like they’ve achieved something that fits in their movie. I know that sounds like a lot of things, but it’s really only about making a filmmaker happy.
RB: Yeah. Shaka has really good instincts with sound and I can tell he likes that part of the process. I think he has a music background, so he’s naturally very attuned to what we do. He was a joy to work with because, for the most part, he wasn’t controlling about his movie at all. We synced up really early in terms of the aesthetic.
I mean, there are versions of the movie that are much longer and there was much more of this internal struggle with LaKeith’s character. And to Skip’s point, it felt like I was very much a part of the filmmaking crew because I saw the movie change and provided input where Shaka needed it.
But there were times where we were doing much more conceptual sound design-y things and I think it naturally fell away, in a good way, because I don’t think that was right for the movie. You know, I’ll try it because it’s fun to do weird stuff, but there was a natural resistance. Like I knew it wasn’t the right thing, and Shaka would always be like, ‘Let’s not do that.’ You know? There was a really nice natural progression to how the sound design came together in an overarching way. I think we were all kind of on the same page and I think we arrived at a really good place at the end.
AD: Tell me about the working relationship between the two of you. I mean, it sounds like you guys get along. Are you going to break out into an argument when this camera turns off?
RB: We’ll do some mud wrestling.
SL: We’re just fighting all the time.
AD: You’re just radiating tension. [Laughs] No, actually, you seem like very warm and loving friends. So, what’s it like working with each other?
SL: Well, that scene, ‘I am a revolutionary’— I worked on mainly the dialogue, with some of the crowd reactions in one room. Rich worked on the crowd reactions and the other components separately in another room. Eventually, we came together in this room, played through it a little bit, and made adjustments without having to discuss it. We could tell what things needed to be tucked back. We sort of got it, moved on, and played it back for Shaka. And he just said, ‘Wow.’ He had no notes. We did make some changes in it later, but it just seemed like something that grew out of a really big seed and blossomed into something special. And I even think maybe we were a little reluctant to fool with it because it was pleasing.
RB: Yeah. Everybody got along on this, which was fun. There was one time where we kind of let loose and had some drinks after work. And it was like, ‘We could do this a lot more.’ I think that was the takeaway. Like, we could probably do this like three nights in a row—if there wasn’t a quarantine.
AD: if only! As we close out, do you guys have anything else you want to discuss?
RB: I’m thrilled that we got to work on a movie with a burgeoning filmmaker that is coming from a very unique perspective and I’m glad that Warner Brothers gave him a forum to put it out there because I think this is a super important movie. It was a very strange process working on this movie because we started in the week that quarantine started, which was weird, but then it all seemed very urgent during the summer [Black Lives Matter] protests. It felt to me like, ‘Wow, everything that’s happening right now, outside my window, is happening on my screen just 30 or 40 years beforehand.
And it’s all remarkably prescient to what the world is going through at this moment. So, you know, not to get too highfalutin, but I think it is a really important movie that needs to be seen and I’m proud that we got to work on it. And hopefully, it sounds okay.
SL: Well said.
AD: Wow! I wasn’t aware of the timing.
RB: It was surreal.I mean, [the BLM protests] were literally rolling down my street in Brooklyn. I was like, ‘This sounds exactly like what I’m working on.’ It was a very strange mirror, but it gave me a lot of fire, where I was like, ‘Yeah, I’m going to make this as best as I can because I think it’s worth it.’ You know?
SL: Yeah. I would just add that it was a pleasure to work with a young filmmaker who has got a really interesting point of view. And someone who is also a kind and generous person.
RB: For sure.
AD: Thank you both so much. It’s always fun talking to sound designers because you provide such a fascinating perspective. I want to go back and rewatch the movie so I can pick on all these different sequences. I’m always so glad I get to highlight your work.
RB: Yeah!
SL: Thank you!
Judas and the Black Messiah is now in theaters and streaming on HBO Max. Be sure to check out all of Awards Daily’s Judas and the Black Messiah coverage.
Details scrutinized Saturday included tax rates, water rights, revenue uses, personal production limits and regulation of a new legal marijuana industry.
