Scoring four goals is always a good day for a team. It’s even more fun when they all come from seniors on Senior Day. Arizona State (10-7-2, 2-6-2 Pac-12) had three unanswered goals in its 4-1 win over Utah (6-10-3, 1-7-2) Sunday.
While Nicole Douglas and Olivia Nguyen have elected to use their extra year of eligibility, Cori Sullivan and Olivia Kearse-Thomas put in a goal in their final home game. Kearse-Thomas scored off a Douglas assist early in the contest. After Utah found the equalizer, Nguyen netted her seventh goal of the season.
Sullivan, who has had quite the rollercoaster of a career because of injuries, pushed the momentum in the second half. In the 48th minute, she extended the lead to two.
Douglas added the insurance later on in the second half, but the goal meant more to the record book. The 74th-minute goal set Arizona State’s new single-season program record for goals in a season at 18.
Eva van Deursen also assisted two of the goals, bringing her season total to 10, which is also the new single-season record.
The Sun Devils did celebrate the careers of Sullivan, Kearse-Thomas, Lara Barbieri, Vlidan Kardesler, Jayda Hylton-Pelaia, Nicole Soto, Julia Koharko, Hikaru Minami, Jessica Hale and Anna White.
Arizona State closes out the season on Nov. 5 at Arizona.
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A two-hour celebration for the milestone broadcast captured the shifts and strides in country music that played out over the past century on the Opry stage.
NASHVILLE — The survival of the Grand Ole Opry was anything but guaranteed when Bill Anderson started performing in it six decades ago. Rock ’n’ roll was luring away fans. Radio stations were abandoning barn dance-style programs. There were nights, he said, when musicians could look out from the Opry stage and see empty seats.
But on Saturday night, as the curtain went up and he started singing “Wabash Cannonball,” the house was packed, his music beaming out live on WSM, the Nashville station that has carried the Opry since the fledgling days of radio, and streaming online to viewers around the world.
The show on Saturday was the 5,000th broadcast of the Grand Ole Opry, a constant accompanying American life through generations of turmoil and transformation, through the Depression and recessions, wars, cultural upheaval and, most recently, a pandemic.
The milestone — adding up to roughly 96 years worth of weekly shows, an unparalleled achievement in broadcasting — was a testament to the durability of the Opry as a radio program but also as a Nashville institution that has inducted well over 200 performers as members.
“The Opry is bigger than any one artist,” Anderson, one of the longest-serving members of the Opry cast, said in an interview. “As times change and things evolve, somehow, the Opry has been able to remain the star of the show.”
The Nashville crowd heard staples like Loretta Lynn’s “Coal Miner’s Daughter.”Kyle Dean Reinford for The New York Times
Dustin Lynch, one of the Opry’s younger stars, prepared to go onstage Saturday night.Kyle Dean Reinford for The New York Times
The singer-songwriter Connie Smith performing at the Opry’s 5,000th broadcast.Kyle Dean Reinford for The New York Times
It was an evolution that was reflected in the two-hour show on Saturday, with an array of performances capturing the shifts and strides in country music that all played out over the past century on the Opry stage.
Throughout the night, there were plenty of nods to the past. But there were just as many contemporary songs, a recognition that nostalgia alone was not enough to sustain the Opry.
The show included staples like Loretta Lynn’s “Coal Miner’s Daughter,” Hank Williams’s “Jambalaya,” and “Can the Circle Be Unbroken,” a song first released in 1935. Anderson joined Jeannie Seely, an Opry member since 1967, in a duet of “When Two Worlds Collide.”
Then, Seely introduced Chris Janson, the singer-songwriter who was inducted in 2018, describing him as the “one we call the family wild child” as he bounded onstage to perform one of his hits, “Buy Me a Boat.”
“It is the show,” said the singer-songwriter Darius Rucker, who performed on Saturday — along with Garth Brooks, Trisha Yearwood and Vince Gill, among others — and was inducted into the Opry in 2012. “I hope it keeps getting more diverse and that people keep coming to see it and that it remains the show in country music.”
As the Opry gained traction, covering a lot of ground with WSM’s 50,000-watt signal and then NBC Radio picking it up nationally in 1939, it emerged as a defining force in country music. The show minted stars and established Nashville as the heart of the industry. (The signs welcoming motorists into Nashville remind them it is the “Home of the Grand Ole Opry.”)
The singers Jeannie Seely and Bill Anderson. “As times change and things evolve, somehow, the Opry has been able to remain the star of the show,” Anderson said.Kyle Dean Reinford for The New York Times
He recalled his childhood in Perdido, Ala., where his family was “as poor as Job’s turkey,” yet his father scrounged together the money for a radio. Every Saturday night, they would huddle around it, listening to the Opry for as long as the device’s puny battery would allow.
“People all over the country were doing that,” Leverett added. “It just has an attraction. You can’t wait to see who the next entertainer is going to be. It just freezes itself in your mind.”
The Opry has endured as a vital element in the country music ecosystem by being nimble, according to performers, producers and country music historians. The show has balanced an embrace of tradition with striving to appeal to the taste of younger listeners.
“One lyric in one of my favorite songs asks the question: Are you more amazed at how things change or how they stay the same? My answer is both,” said Dan Rogers, the Opry’s executive producer.
“Those black-and-white images of a man sitting down and playing a fiddle,” he added, “have evolved into this show that is about so much more than a man sitting down and playing a fiddle. But if someone came out and played ‘Tennessee Wagoner’ — the song that started the Grand Ole Opry — it will still feel right at home on our stage.”
The Opry had been in danger of becoming encased in amber, a museum piece that was treasured but no longer relevant. For a long spell, particularly in the 1960s and ’70s, it had become “a little hidebound, a little bit stuck in its ways,” said Robert K. Oermann, the country music historian and a longtime contributor to Music Row magazine.
“You listened to the Opry to hear your old favorites,” he added. “To hear the old-timers do their thing.”
Anderson backstage at the Opry anniversary show.Kyle Dean Reinford for The New York Times
In 1925, the Grand Ole Opry was born as George D. Hay’s “WSM Barn Dance.”Kyle Dean Reinford for The New York Times
The singer John Conlee performs with the Isaacs, who were inducted into the Opry last month.Kyle Dean Reinford for The New York Times
But over time, the Opry was reinvigorated, fueled by country music’s resurgent popularity, welcoming new performers and using technology to expand its reach. In 2019, the Opry began broadcasting on Circle, a digital television outlet named for the slice of wooden floor at the center of the Opry House stage, brought over with the move from the Ryman Auditorium, the Opry’s home until 1974.
“We are really trying to put the Grand Ole Opry left, right and center before consumers all across this planet,” said Colin V. Reed, the chairman and chief executive of Ryman Hospitality Properties, which owns the Opry.
The 5,000 tally started with a broadcast on Dec. 26, 1925, when George D. Hay’s “WSM Barn Dance” earned a regular spot on the station’s schedule, just about two months after WSM went on the air.
The show was broadcast every week with few exceptions, like the day of President Franklin D. Roosevelt’s death in 1945 and in 1968, after the assassination of Martin Luther King Jr., when the authorities imposed a curfew in Nashville. In 2010, the stage was submerged in a flood that swept through Nashville, but the show was staged elsewhere while the Opry House was renovated. (In the green room, a waist-high marker indicated how high the water reached.)
Just as the Opry became a reliable presence in the lives of listeners, it offered the same to performers, where they found community in a tough business. “You have this home base,” Anderson said, noting that for itinerant artists always on the road, it was the place where they could hear about good places to eat in Omaha or be warned about a promoter in Ohio writing bad checks.
The singer Chris Janson was introduced as the “one we call the family wild child” before he performed one of his hits, “Buy Me a Boat.”Kyle Dean Reinford for The New York Times
On Saturday night, the performers were doing two back-to-back shows. Backstage is a maze of dressing rooms, each one with a theme (“Stars and Stripes,” “Honky Tonk Angels”) or named for a longtime Opry performer (Roy Acuff, Little Jimmy Dickens).
Seely stepped out of the dressing room dedicated to Minnie Pearl, the character the comedian Sarah Ophelia Colley Cannon portrayed on the Opry for more than 50 years, and pointed to the long hallway of rooms, calling it “testosterone alley.” Seely preferred the nook where the walls were lined with photographs of women who had been fixtures of the Opry. “I just think it shows the sisterhood as well as it can be shown,” she said.
Later, the Isaacs piled into “Welcome to the Family,” a dressing room set aside for newly inducted members. In recent years, the Opry has added to its ranks, bringing in younger stars like Carly Pearce and Dustin Lynch.
The Isaacs, a family bluegrass gospel group, were certainly not newcomers, having made their debut Opry performance nearly 30 years ago. But they were inducted as members just last month.
“We were engaged, and we got married,” said Becky Isaacs Bowman, joking about the long wait to be inducted.
“We’ve been dating a long, long time,” her sister, Sonya Isaacs Yeary, added.
“This place feels like home,” said Lily Isaacs, the vocalist and matriarch of the group.
Recently, the hallways had been quieter than usual, as coronavirus precautions have led producers to limit who was allowed backstage. But on Saturday, it was more like it used to be.
As Brooks and Yearwood electrified the audience with a medley of their hits, the Isaacs crowded into Vince Gill’s dressing room with their instruments — Sonya had her mandolin, Becky had her guitar and Ben Isaacs had his bass. They played and sang, jamming for their own entertainment until they had to go back onstage for the second show.
A new film directed by Oliver Hermanus and based off a Pushcart Prize winning story by Ben Shattuck will be starringThe Crown's Josh O’Connor and Normal People’s Paul Mescal as two men who fall in love during WWI. Titled The History of Sound after the story's name, the movie is already creating quite a stir.
What's the plot of The History of Sound?
The original short story focused on two young men, Lionel and David, played respectively by Mescal and O’Connor. During World War I, the pair begins recording the voices and music of American countrymen, also catching insights into their lives. Heralded as a love story, there will also be an element of romance to Lionel and David's journey together.
Embankment is repping the film in America, and one of their producers Tim Haslam described the story by saying, “Ben Shattuck beautifully combines the epic and intimate minutiae of life, capturing the freedom and truth of human instinct and its conflict with expectation. The History of Sound gives us so much to experience and take home.”
Who's involved with production?
Aside from director Hermanus and Haslam, End Cue’s Andrew Kortschak and Lisa Ciuffetti will be producing with Andrea Roa.
“Working with Oliver, Ben, Paul and Josh is an immense privilege,” Kortschak said. “We are all struck by Ben’s beautiful and resonant short story, exploring love, loss and memory. We are beyond excited to adapt this story for the screen with this incredible team.”
When does filming begin?
In summer of 2022, shooting will start in three locations: principal photography begins in the United States, then United Kingdom and Italy on location.
Who are the stars?
O'Connor is probably best know for his role as Prince Charles on Netflix's The Crown, but he received a lot of praise for his role in Amazon's God's Own Country, in which he also played a gay character. Mescal was a break out star of the series adaptation of Irish author Sally Rooney's book Normal People. He won a BAFTA for his role as the emotionally repressed Connell.
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Hearing loss is the most common service-connected disability for American Veterans. It is also a common problem among the general population, impacting more than half of Americans aged 75 or older.
Veterans who experienced a single explosion are at increased risk of permanent hearing loss. Sometimes, the damage can be managed with a traditional hearing aid, which acts like a microphone and amplifies sounds for the person wearing it. When the damage is too severe, hearing aids are limited in the amount of benefit they can provide.
Dr. Randall works with Sheasby during follow-up tuning appointment.
Once a hearing aid no longer helps, a surgical option called a cochlear implant might be a possibility. A cochlear implant bypasses the damaged areas and directly stimulates hearing nerves which can bring more sound and more understanding to the brain.
Hearing loss is an “invisible disability that can make a patient feel alone and drastically decrease their quality of life,” explained Dr. Cynthia Randall, audiologist at the Southeast Louisiana Veterans Health Care System. “Many people with hearing loss withdraw from society. Once enjoyable events, like family gatherings, parties and conversations now become quite stressful scenarios.”
In January 2021, 81-year-old Army Veteran Reynolds Sheasby received the first cochlear implant at the new surgical center in New Orleans. Sheasby has a history of hearing loss in both ears dating back to the 1960s.
In the Army, Sheasby served in the artillery and often worked around heavy machinery. One time on duty, the sound of explosives punctured both ears and deafened him for a week.
Brain needs time to adjust to new pathway
“The damage to Mr. Sheasby’s ears was significant and longstanding,” Dr. Randall explained. “Also, he underwent the surgery at an older age. These are just a couple of factors that may negatively influence a patient’s results.”
In Sheasby’s case, those factors suggested a difficult road to recovery. Not all benefits from a cochlear implant happen immediately and auditory therapy after the procedure generally brings significant improvements over time.
“It’s not like you flip a switch and all of a sudden the patient can hear everything again,” explained Dr. Neal Jackson, who performs the surgeries. “It is a gradual learning process that can sometimes take up to twelve months, but we usually get good results within six to nine months.” The brain needs time to adjust to the new pathway the cochlear implant creates between the ear and brain.
Sometimes, he can hear the birds
“There is no doubt this surgery has changed our lives,” said Sheasby’s wife Pemmie. “Prior to the surgery, there was little to no conversation between us without misunderstanding many words.” There are still misunderstandings, she said, but he has improved.
Two months after the surgery, the changes have been significant. He said he now feels more alert and has a clearer understanding of what is going on around him. Sometimes, he can even hear the birds when he sits outside.
“Sometimes I wish I would progress faster,” Sheasby said. “But my work with a therapist is helpful and makes me feel good about my progress.”
Randall said she is grateful to have the opportunity to help Sheasby and other Veterans, and is excited to bring the gift of sound to her future patients. “Let us help reconnect you with the ones you love and improve your quality of life. We are here to support you on your new hearing journey.”
A man was convicted last week in the 2017 slaying of a Covington woman and shooting her father.
Lamont Beamon, 29, was found guilty by a Kenton County jury on charges of murder and first degree assault. That same jury recommended a sentence of 50 years for the murder and 20 for the assault, to be served consecutively, for a total of 70 years.
Kenton Co. Circuit Court Judge Patricia Summe will make the final sentencing decision later.
Beamon shot and killed Lazuri Collins, 24, in the area of 13th and Wheeler streets in Covington on July 29, 2017, and wounded her father, Antonio Collins.
Lazuri Collins was in the driver's seat of a Toyota Camry when she was shot in the head. Antonio Collins was a passenger in the backseat of the vehicle and was struck by gunshots, suffering serious injuries, but ultimately surviving.
It took two years before enough evidence was collected to present to a Kenton Co. Grand Jury in 2019 against Beamon.
Kenton County Commonwealth's Attorney Rob Sanders said the investigation was stymied because, despite a street teeming with people, none admitted to witnessing the shooting. The prosecutor commended Chief Rob Nader and the Covington Police Crime Bureau for their commitment to the case and all the hours spent on the investigation. "The Covington Police stood up for Lazuri when others wouldn't and it's their dedication that put her killer in prison," Sanders said.
Beamon had been suspected for months, Sanders said, because Beamon had a dispute with Lazuri Collins's boyfriend, Chris Goode. But with no witness to place Beamon at the scene, the case was lacking, he said.
That changed when a man detectives could prove was present for the shooting got arrested and began to cooperate with police. The man, who is not being identified for his own protection, told detectives that Beamon was, in fact, the gunman. Investigators also received cooperation from a federal inmate, Gregory Pritchett, who testified Beamon admitted to being the shooter and asked for money to live on while he hid from police.
Assistant Commonwealth's Attorneys Casey Burns and Emily Arnzen, who prosecuted the case at trial, were able to corroborate the men's testimony with physical evidence recovered from near the shooting scene. Police recovered a handgun and a hoodie from the direction witnesses indicated the gunman ran after the shots. DNA from the hoodie matched Beamon. Ballistics testing of the gun matched it to a bullet recovered from Collins during the autopsy.
"I hope the outcome inspires more confidence in law enforcement and the justice system," said Sanders. "Justice for Lazuri would have come a lot sooner if we'd had more cooperation from the start."
Sanders also said that the case took so long to complete due to multiple police officers involved retiring along the way. "It was great to see (Retired) Sgt. Brian Kane and (Retired) Sgt. Jim West in action one last time," said Sanders. "Those guys were the best of the best when it comes to cops and they deserve a lot of credit for the dogged pursuit of justice in this case."
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Four Years After Covington Woman's Death, Man is Convicted of Murder - The River City News
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suaralifestyle.blogspot.com DALLAS, Texas – East Carolina won the first set in its American Athletic Conference match against host SMU Sunday afternoon but could not finish the job as the Mustangs rallied for a 3-1 (20-25, 25-18, 25-19, 25-20) victory inside Moody Coliseum.
SMU (12-10, 8-4) racked up 61 kills and hit .232 in the contest while ECU (8-13, 4-8) finished at .190 with 46 kills. The Mustangs also held the upper hand in digs (75-59) but the Pirates out-blocked the hosts 12-8. The teams finished even in aces at five apiece.
Sydney Kleinman tallied a team-best 15 kills for East Carolina while Bri Wood added a double-double of 12 kills and 16 digs. Payton Evenstad also notched a double-double performance, collecting 18 assists and 14 digs. Hannah Jacobs led all players with 16 kills and Bria' Merchant anchored the SMU back row to the tune of 23 digs.
East Carolina came out on fire in the first set, hitting .387 with 13 kills. The Pirates scored the first five points of the contest and never trailed. With things knotted up at 19, a kill by Kleinman sparked a 5-0 run that put the frame away.
The second and third stanzas saw the Mustangs build sizable early leads on the way to grabbing a two sets to none in the match.
The fourth set was much tighter as the teams traded control back and forth. ECU was the first to 20 following a block by Natalie Tyson and Aaliyah Griffin, but the Pirates were unable to score any more points the rest of the way.
Up Next: East Carolina returns home next weekend to face off against South Florida and UCF.
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SMU Tops East Carolina In Four Sets - East Carolina University Athletics - ECUPirates.com
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The playoffs opened with a bang, at least for everyone that was at Brother Rice on Saturday. Khary Shaw saved the Crusaders’ season by breaking up Wheaton Warrenville South’s two-point conversion attempt with 46 seconds to play.
Quarterback Jack Lausch and Brother Rice’s offense was limited by the Tigers. Lausch had his least accurate game of the season, but was still a force on the ground and Aaron Vaughn ran well.
It should concern the rest of Class 7A that the Crusaders were able to gut out a relatively low-scoring 27-26 win. It was the first time all season that Brother Rice scored fewer than 40 points.
“This shows the offense can have an off day and we can still win,” Shaw said. “The defense is here to prove a point. We’re going to do that the next four games.”
Next up for Brother Rice is a trip to Yorkville for the second round.
Big numbers
It wasn’t a misprint in Saturday’s paper. Springfield really did beat Rock Island 94-72 in a Class 6A playoff game.
Here’s a look at the stats, which were compiled by Drake Lansman of the Dispatch Argus in Rock Island.
The teams combined for 1,269 yards and 24 touchdowns.
The previous record for points in a Class 6A playoff game was 72, set by Joliet Catholic in 2005. Rock Island scored that and lost the game.
The 166 points scored by Springfield and Rock Island is the most scored in a playoff game in any class. Springfield’s 14 touchdowns was also a record in any class, as was the combined total offense and Springfield’s total of 724 yards.
According to Lansman, the teams combined for 63 first downs, 139 offensive plays and just three punts. It must have been a complete nightmare compiling all these numbers on the sideline.
Senators quarterback Rashad Rochelle, a Rutgers recruit, threw for three touchdowns and rushed for six. Rock Island running back Quonterrion Brooks rushed for 300 yards and five touchdowns. He also had a kick return touchdown.
Springfield will host undefeated Lemont in the second round.
Public League struggles
Chicago Public Schools teams went 3-10 in the first round. Phillips, Morgan Park and Clark were the three teams to pick up wins. A lot of the losses were lopsided.
The Public League had a record 26 teams qualify for the state playoffs, but this wasn’t a surprise. The pandemic hit Public League football hard and I wouldn’t have been surprised if no teams survived the first round.
Next week won’t be any easy for the surviving Public League teams. Morgan Park will be a heavy underdog against undefeated Kankakee in the second round. Phillips has to travel to Kewanee for a Class 4A second round game and Clark faces a touch challenge at Reed-Custer in a Class 3A second round game.
DuKane pride
The DuKane conference is looking good after the first week of the playoffs. Batavia, Wheaton North, Glenbard North and Geneva all won first round games. The Vikings traveled down to Collinsville and picked up a victory.
Wheaton Warrenville South was the only team that lost, and that was the heartbreaker at Brother Rice.
Batavia, which won the conference, will be at Mount Carmel in the second round on Friday. That should be the best game of the week.
– The Drexel men's rowing team continued it's impressive run during the fall regatta season with a trio of top-four finishes at the Head of the Schuylkill Regatta on Saturday.
Rowing in Lois Krall II, the Drexel Championship 8+ took third out of 23 teams with a time 10:43.203, ranking as just one of three boats that finished under 10:45.
In the Club Championship 8+, the Dragons "A" boat in Sandra Lee Scheller II placed fourth out of 36 with a 11:26.458 clocking. The "B" boat, competing in Annette Pennoni also finished in the top half of the field, coming in 15th.
The Freshman 8+ came away with a third place time of its own, completing its race in 12:10.970, rowing in Joseph Greipp. The Varsity 4+ "A" squad in Santorum took eighth place out of 34, while the "B" boat, competing in Dan Lyons, placed 12th.
The Dragons wrap their fall season on Sunday, November 7, competing at the Princeton Chase.
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Drexel Posts a Trio of Top-Four Finishes at the Head of the Schuylkill - Drexel Dragons
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Atlanta fans are probably of two minds on this one, as near-certain leads haven’t gone well for them historically, either in single games or series as a whole. Still, though, a win tonight means they have a chance to clinch the World Series in front of the home crowd, and in five games, nonetheless.
The Astros are trying to prevent that, although after nearly getting no-hit last night, they’ll need a bit of a moral rebound. They’re sending fan favorite Zack Greinke to the mound, who will be the first pitcher since Babe Ruth not to bat ninth in the World Series. Greinke and his nine career homers could make a difference in what might be one of the last gasps of pitchers hitting.
ATLANTA -- If this was it, what a way for Zack Greinke to go out.
The 38-year-old right hander just went out and gutted his way through four innings in World Series Game 4. There was a reason for that. It's because Greinke is running on fumes.
Why praise Greinke for a four-inning start? He suffered a neck injury in September and was relegated to only short outings as a result. He was removed from the Astros' rotation. In his last three regular season starts, he was touched up for 18 earned runs in 13 innings. He gave up two runs in 2 1/3 innings in a regular season relief appearance. There was talk of him maybe being left off the playoff roster, but he said he was eager to help the team in any way he could. He was added to the bullpen.
In Game 3 of the ALDS, he threw just 21 pitches in his one inning. He started Game 4 of the ALCS, but coughed up two runs in 1 1/3 innings, walking three and striking out none.
This was clearly a compromised pitcher who, by the way, just turned 38 years old. Between the regular season and postseason, he had 3,219 innings of mileage on that venerable right arm. Remember that Cy Young winner, striking out more than a hitter per inning? Greinke's now throwing his fastball around 90 miles per hour and he only struck out 120 batters in 171 regular season innings in 2021.
This was the man tasked with giving Dusty Baker as many innings as he could in Game 4 with the Astros facing a 2-1 series deficit. His teammates on offense didn't come through in a 3-2 loss, but Greinke delivered. Greinke only gave up four hits (all singles) and didn't walk anyone. He struck out three, but mostly relied on getting grounders. He got six of them, compared to zero fly outs.
He erased two of the singles with inning-ending double plays. Anyone not impressed didn't understand the circumstances of the situation -- both with how worn down Greinke is and how much his team needed Game 4. Someone who knows a thing or two about big games weighed in.
On top of that, there is the possibility this was the last start of Greinke's career. He's 38. His contract is up. He's made over $300 million in his playing career. If the Astros win the World Series -- which would be his first ring -- he might not even pursue a job in free agency. Who knows?
After the game, Greinke was asked if this was going to be his final season and he said he didn't want to answer that question at this time. That tells you retirement is at least a consideration, I think.
If this was the last one, Greinke was special in it and that's a fitting way to go out. The six-time All-Star and six-time Gold Glover has a Cy Young. He's won the ERA title twice. He's won 219 games with 2,809 strikeouts in over 3,000 innings. Hall of Famer? I'd say so. For those curious, he's right with Clayton Kershaw and Justin Verlanderin JAWS, sitting right around the average Hall of Fame starting pitcher.
Also fitting? Greinke got a hit.
Check out that smile. He loves hitting, running the bases and fielding. He wants to be a complete player. Before the game, Carlos Correa said that, yes, Greinke's a good hitter for a pitcher but he's not as good as he thinks and that Greinke believes he's as good as like Babe Ruth and Hank Aaron. Obviously that was tongue in cheek, but Greinke can swing it for a pitcher. He's a career .225 hitter.
On the mound is where Greinke's been a maestro for such a long time, though. And at least for four innings Saturday night, it was Greinke reminding us he can still be a master of his craft, even banged up and fending off Father Time. Perhaps it was the last time we'll ever get to see him pitch. If that's the case, a tip of the cap to Mr. Greinke. It's been a pleasure to watch his career.
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Astros' Zack Greinke guts way through four World Series innings in what could be final start of MLB career - CBS Sports
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Four people died early Saturday in a two-vehicle, head-on crash on U.S. 85 in Weld County.
The crash happened at 2:30 a.m. about five miles south of the Wyoming line, said Trooper Josh Lewis of the Colorado State Patrol. All four died at the scene.
The driver of a 2015 Jeep Cherokee was southbound when the Jeep crossed into the northbound lane and crashed head-on into a 2018 Honda Accord, according to a preliminary investigation. The driver of the Jeep, a 30-year-old man, and a 30-year-old male passenger died in the crash.
The driver of the Honda, a 22-year-old woman, and a passenger, a 24-year-old woman, both died. No other people were in the vehicles. Everyone was wearing a seatbelt.
Investigators suspect that the driver of the Jeep was driving under the influence of alcohol or drugs, Lewis said. An investigation is ongoing.
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Four dead in head-on crash in Weld County early Saturday morning - Canon City Daily Record
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Apple announced at its October Unleashed event that its new AirPods 3 and MacBook Pro laptops both feature spatial audio for better movies and music, but what exactly is that?
Surround sound has existed in various forms for decades and is most often used in movies and gaming. However, the company is taking its spatial audio concept further and enabling the feature on FaceTime calls and the Apple Music subscription service.
But is Apple's spatial audio something truly different, or is it something we've seen before? And does it sound any good? Here's what you need to know.
Now playing:Watch this: iOS 15 brings AirPods upgrades
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What is spatial audio?
Spatial audio is Apple's term for a collection of audio technologies that bring 360-degree effects to video calls, movies and remixed music. Apple first introduced spatial audio on its AirPods Pro earbuds in 2020, and the company is now expanding the capabilities of other devices in the range.
While the technology that will power FaceTime calls is different, the spatial audio portion of Apple Music and streaming movies comes courtesy of Dolby Atmos. Atmos is a surround-sound standard used both in movie theaters and the home, and more recently has been used to remix albums.
Dolby Atmos Music, as used by Apple Music, is one of two competing formats providing surround and height effects for streaming tunes, while its competitor is Sony's 360 Reality Audio. Apple says that Dolby Atmos mixes on its Music service offer a better experience than lossless music alone.
"Listening to a song in Dolby Atmos is like magic," Oliver Schusser, vice president of Apple Music and Beats, said in a news release in May. "The music comes from all around you and sounds incredible."
Apple's Tim Cook delivering the WWDC 21 keynote.
Apple/Screenshot by Sarah Tew/CNET
At CNET we've tried countless technologies that attempt to create surround sound with stereo headphones -- Dolby Headphone, DTS Headphone:X and so on -- but the effect evaporates as soon as you move your head. This is because in everyday life we can cock our ears to help locate where a sound is coming from, especially when it's from behind us. This isn't an issue for physical speakers, including the six-speaker array on the new MacBook Pros. When we wear headphones, though, the sounds follow our movement so the effect is lost.
The one thing that separates spatial audio from other technologies is that the newest Apple headphones track your head movements in space, and this helps with immersion in both music and movies. The latest AirPods have an onboard accelerometer that helps audio stay in place when you move around. For example, when a sound appears to be coming from the corner of the room, and you turn, it still seems to be coming from the same direction.
Which devices can I hear it on?
The AirPods Pro and AirPods Max.
Lexy Savvides/CNET
Spatial audio is available on a number of different Apple devices, but no speakers... yet. While the competing Amazon Echo Studio supports Dolby Atmos music and movies, Apple's HomePod Mini doesn't yet support spatial audio. However, the feature is supported by a number of current (and future) Apple products, so here's a list:
While spatial audio will work with any headphones plugged into supported products, they won't offer head tracking. Meanwhile, Apple enabled head tracking for Apple Music in September.
If you're listening to Apple Music on an Apple TV, you will either need to connect it to a compatible soundbar or to an AV system that includes Dolby Atmos decoding -- for example, a receiver and a 5.1.2 speaker package.
Which music services do I need to subscribe to?
Angela Lang/CNET
The main answer to this question is Apple Music. This streaming service is available for a $10 (£10, AU$12) monthly subscription. At WWDC 2021, Apple's Gagan Gupta said a variety of music was now available to listen to in spatial audio on Apple Music.
"It's available starting today with albums from some of your favorite artists like Ariana Grande, the Weeknd, J Balvin and Kacey Musgraves," Gupta said.
Apple Music isn't the first spatial audio service to appear on Apple devices, though -- Tidal brought Atmos Music to Apple TV 4K in May 2020, and Sony's Reality Audio 360 is available on its own headphones and high-end speakers.
It's important to note that users can listen to spatial audio for no extra charge. Last month both Amazon and Apple announced that HD streams, including "spatial" Atmos audio, would be folded into their regular plans. So if you're an Apple Music subscriber you can listen to spatial audio right now.
How does spatial audio sound on a home theater system?
Ty Pendlebury/CNET
While CNET's David Carnoy has tested spatial audio with the AirPods, I was interested to hear how the experience scaled up to a full home theater system. I regularly test Dolby Atmos playback in movies as part of my day-to-day work, but music in spatial audio is something different. I did some listening tests with a Marantz SR6013, an Apple TV 4K and a Klipsch 5.1.2 Dolby Atmos speaker setup. As with DVD-Audio and quadraphonic before it, the success of spatial music (i.e. Dolby Atmos Music) depends mostly on the quality of the mix itself. Every album since the late '60s has been mixed in stereo, but only a relative handful have ever been mixed for more than two speakers. It takes extra time and effort to produce an album in Dolby Atmos Music, but when done well the results can be impressive.
I spent some time listening to the dedicated Spatial Music channel on Apple Music and found that the music tended toward two extremes: Either the secondary channels were used for ambience, as with The Replacements' Alex Chilton, or used in a showy, look-at-me way like with Rush's Tom Sawyer, where the percussion appeared above and behind me.
In at least one case, the Atmos mix was actually better than the original stereo mix, but this was more because of an enhanced clarity in the vocals. Michael Kiwanuka's You Ain't The Problem, with its fuzzy guitar and deranged la la las, can be a bit much to handle, but Atmos cleaned it up significantly. His voice hovered in the center about 6 feet above me, and the wildness of the supporting instruments was tamed.
However, being mixed in 360 surround didn't guarantee that a song sounded better. While spatial mixes of songs like Kanye West's Black Skinhead were fun, I found that the original stereo mix had more power and was less reliant on surround-sound tricks.
Hear for yourself
Dolby Atmos has been part of movies for many years, but its growth into music has been getting a big push from record companies and manufacturers for the past 18 months. While creating the musical equivalent of 8K or HDR probably won't work -- more than 50 years of surround-sound music formats tell us that -- it's movies where spatial audio is most useful. The big difference this time around is that while almost no one had a quadraphonic speaker setup back in the '70s, millions of people have both an iPhone and an Apple Music or Apple TV Plus subscription. Whether listening to the AirPods 3 or checking out a Dolby Atmos soundbar, Apple fans can now listen to spatial audio to judge for themselves.
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UNIVERSITY PARK, Pa.– For the first time since 2014 the Illinois volleyball team earned a victory in Rec Hall as the Illini pushed their win streak to four matches with a 3-1 (20-25, 25-23, 27-25, 25-22) upset of No. 13 Penn State on Saturday (October 30) night.
The Illini, who last defeated the Nittany Lions (15-7, 8-4 B1G) in a five-set thriller in 2018 in Huff Hall, earned just their 12th win over PSU in program history and their fourth-ever in Rec Hall. UI's last victory in University Park came on October 11, 2014 when the Illini took down the then-defending champions in four sets.
The Illini (16-7, 8-4 B1G) were led by sophomore Raina Terry with a team-high 17 kills to go along with four digs and three blocks, with graduate student Megan Cooney turning in 14 kills on a .343 hitting percentage and seven digs. Junior Kennedy Collins joined the duo in double figures with 11 kills, while classmate Kyla Swanson added eight kills on 11 swings and no errors for a .727 attack clip and led the match with seven blocks.
Redshirt-junior Diana Brown equaled a season-high with 52 assists as she directed the Illini offense to a .299 hitting percentage while also turning in nine digs in the win. Graduate student Kylie Bruder led the Illini at the service line with a career-high four aces, while junior Taylor Kuper led the defensive effort with a match-high 19 digs. Freshman Caroline Barnes added a career-high 12 digs on the night.
A pair of Bruder aces in the early goings sparked an early 5-2 advantage for the Illini in the opening set, but three-straight PSU points tied the score at 5-5. The two teams then exchanged points until the home team notched back-to-back scores for a 15-12 lead midway through the set. The Illini fought back with a 5-2 run to tie the score at 17-17, before the Nittany Lions used five-straight points to build a 22-17 edge. Back-to-back points from the Illini – capped by a Kuper ace – cut the deficit to 22-19, but PSU went on to score three of the final four points to take the first, 25-20.
After trading points to open the second, Penn State used three-straight scores to take a 9-6 edge, but back-to-back Illini points closed the score within one at 9-8 as the two teams traded points over the next several rallies. The Nittany Lions then used a 4-2 mini run to go ahead at 15-12, but another two Illini scores brought the visitors within one at 15-14. After a block from Swanson and junior Jessica Nunge brought the Illini to within 16-15, the home team strung together three-straight scores for a 19-15 advantage. Trailing by four at 20-16, the Illini rallied to end the set on a 9-3 run, including four-straight points as a Brown ace sealed the 25-23 set win to tie up the match at 1-1.
In the tightest set of the match, with 14 ties and five lead changes, the Illini took an early 10-7 edge on a 5-1 run that was capped by back-to-back Swanson kills. The Illini continued to lead as back-to-back kills from Terry and Cooney pushed the advantage to 18-13, but five-straight PSU points knotted the score at 18-18. The two teams traded points as PSU earned a pair of set points, but the Illini fought them both off with the Nittany Lions serving into the net to tie the score at 25-25, before kills from Terry and Swanson gave the Illini the third, 27-25.
The Illini jumped out to the early 6-3 lead on back-to-back Terry kills, before the Nittany Lions tied things up at 8-8. From there, it was a back-and-forth affair with the Illini grabbing two-point advantages at 16-14, 18-16, 21-19 and 22-20, but PSU continued to battle back until UI broke a 22-22 tie with three-straight points on back-to-back Terry kills, following by the match-winning kill from Collins at 25-22.
Illinois next returns home to open a four-match homestand in Huff Hall, starting with Big Ten Network-broadcasted contest against No. 6 Nebraska at 8 p.m. CT on Thursday (November 4), before facing off with No. 11 Minnesota on Saturday (November 6) at 6 p.m. CT.
For more Fighting Illini volleyball news, stay tuned to FightingIllini.com and follow @IlliniVBall on social media: Twitter | Instagram | Facebook.
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Illini Upset No. 13 Penn State in Four - University of Illinois Athletics - Fighting Illini
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