text:
Audio book collaboration
Tales From Shakespeare Cast
Joe Staton
Joe Mariani and Dorothea Gloria discuss playing R&J
Two of our actors taking part in our February 12th Virtual Valentine's Showcase, All's Well As It Ends Well, discuss playing the star crossed lovers in that famous balcony scene we all know and love! Check out their bios on the event page and be sure to buy your tickets here: https://tinyurl.com/blindcupidshakes
1. We know that this is not the first time both of you have done Romeo and Juliet. What's the difference between the first time and now? Joe: Obviously, it's an exciting opportunity- any chance you get to revisit a scene or role you have worked on in the past. I'd like to think I'm a better actor and a different person from when I worked on this scene last, so I approached the scene this time around with a whole new and different perspective! Plus, there's the whole adapting to this new digital medium which gave us the opportunity to experiment and try new things with the scene like it probably hasn't be done before!
Dorothea: The first time I did Juliet was when I was 15 years old for the Knowledge Channel back in the Philippines, more than 10 years ago (oh my!). I honestly cringe whenever they show that play from time to time on tv and I see myself as that very young actress. I barely understood Shakespeare at that time and I really just memorized the words. Hopefully now, with more than ten years of experience with Shakespeare, I can breathe more life into Juliet's words.
2. What challenges did you face in the project? Joe: Doing theatrical things while trying to maintain connection with a partner over zoom is a challenge that I think I a lot of actors have had to face head on when they're trying to do theatre during this pandemic. Luckily I have a wonderful scene partner so the connection is already there! There's also the inherent challenge of the fact that the balcony scene is a cat that has been skinned several hundred thousand different ways, and the excitement comes with trying to look at the scene from your own lens and figure out how you are going to bring YOURSELF to this scene and role like no one else has brought before, in hopes that you can make the audience see the scene in a whole new light!
Dorothea: Trying to figure out what looks like a believable balcony experience through Zoom. This is the first time I did this scene without having a physical Romeo in the space. Nonetheless, Joe came up with the great idea of making it seem like Romeo was vlogging while doing the scene which makes it exciting and believable for the present time.
3. What resonated with you in the scene?
Joe: What I have always loved about Romeo and Juliet is how Shakespeare encapsulates the experience of true love in purest form -naive, passionate, and maybe even a little reckless or dangerous. Few else have been able to capture this perfection in a scene like Shakespeare has and it's a thrill to be able to fall back in love again every time I do the scene. Dorothea: It mimics what I would feel when it came to love during my teenage years. It was very much similar to the feeling of life and death and the world is against me kind of thing. I know, so much angst. I remember writing boat loads of poems and letters professing my love to the boy/s that I liked / loved (I think I just gagged a little in my mouth just going down this memory lane).
4. Is there anything different that you did here that you wouldn't normally do in a normal set-up? Joe: I think there's a lot of things that are different about the set up for this scene that may be different than how I would normally set up for a digital performance! I think the biggest difference is the fact that I will be zooming through my phone throughout the entire scene as opposed to having a faxed camera point from my laptop. I will actually be in complete control of the camera angles while I am performing the scene because of this, so it allows me a lot more freedom of movement and expression that I may not necessarily be able to achieve by zooming from my laptop. Dorothea: Definitely. Because it is through Zoom, I treated this scene like a film scene rather than a theatre scene. I'm more aware of my framing, which body parts are seen and cannot be seen, and my micro facial expressions were very important. Small beats of seeing an object, then making it register, then the effect after are all the more highlighted; thus, it's to make sure that those beats don't blend together.
5. Were you ever faced with a life and death situation like R&J? Joe:Never been in a situation quite like them! And to be honest....I really hope I don't. It didn't end well for them, so I doubt it would end well for me. Dorothea: I think the most life and death situation that I have ever faced was when I decided to leave the Philippines to go to New York to pursue acting. It felt like a mini death to leave Manila and also it felt like being reborn once I moved to New York, a place where everything was very new to me.
SHAKESPEARE : THE ELIZABETHAN STANISLAVSKI by Elizabeth Shepherd
Gilda Mercado- Interview
Valentine's Showcase: Interview with actors Josh Davis, Alice Lussiana Parente and Elize Layton
Joe Staton: joe@blindcupidshakespearecompany.com
© 2020 The Blind Cupid Shakespeare Company.


text:
{-# LANGUAGE Arrows #-}
module Game (
    game
) where

import Control.Monad
import Control.Arrow
import Data.List
import FRP.Yampa
-- Haskelloids
import Datatypes
import UI
import AI
import Physics
import Tuple

-- iX stands for the initial value of X
game :: GameLevel -> SF UserInput GameLevel
game    iLevel       = gameLoop iLevel `switch` (game . uncurry3 applyEvents)

gameLoop :: GameLevel -> SF UserInput (GameLevel, Event (GameLevel, ExplosionEvents, FireEvent))
gameLoop iLevel = proc (input) -> do
    rec
        (correctionEvents, explosionEvents) <- iPre ((noEvents iLevel), []) -< collideAll level
        level  <- animateManyObjects iLevel -< (correctionEvents, input, lastLevel)
        lastLevel <- iPre (iLevel) -< level
        let fireEvent = if fire input then Event (Fire True) else NoEvent
        let event = if length explosionEvents > 0 || fireEvent /= NoEvent then Event (level, explosionEvents, fireEvent) else NoEvent
    returnA -< (level, event)

type CorrectionEvents = [Event CollisionCorrection]
type ExplosionEvents = [Event Explosion]
type FireEvent = Event Fire

applyEvents :: GameLevel -> ExplosionEvents ->           FireEvent -> GameLevel
applyEvents    level        []                           NoEvent    = level
applyEvents    level        []                           _          = applyFire level
applyEvents    level        (NoEvent:explosions)         fire       = applyEvents level explosions fire
applyEvents    level        (Event explosion:explosions) fire       = applyEvents (applyExplosion level explosion) explosions fire

applyExplosion :: GameLevel ->                 Explosion -> GameLevel
applyExplosion    level                        explosion    = applyExplosion' level (GameLevel []) explosion where
    applyExplosion' :: GameLevel ->                 GameLevel ->       Explosion ->                          GameLevel
    applyExplosion'    (GameLevel [])               result             explosion                             = result
    applyExplosion'    (GameLevel (object:objects)) (GameLevel result) (Explosion explosionCenter explosionRadius) = if distance > radiiSum
        then applyExplosion' (GameLevel objects) (GameLevel (object:result)) explosion
        else applyExplosion' (GameLevel objects) (GameLevel result) explosion where
        distance = norm $ (location object) ^-^ explosionCenter
        radiiSum = (radius (gameObjectType object)) + explosionRadius

applyFire :: GameLevel ->               GameLevel
applyFire (GameLevel (object: objects)) = if gameObjectType object == Ship then GameLevel (ship:(projectile:objects)) else GameLevel (object:objects) where
    ship = object
    projectile = GameObject pLocation pVelocity pOrientation pId Projectile
    pLocation = getProjectileLocation ship
    pVelocity = Vector (cos(pOrientation) * 0.1) (sin(pOrientation) * 0.1)
    pOrientation = orientation ship
    pId = -1

collideAll :: GameLevel ->        (CorrectionEvents, ExplosionEvents)
collideAll    (GameLevel [])      = ([], [])
collideAll    (GameLevel objects) = collideWithRest objects emptyEvents where
    emptyEvents = ((noEvents (GameLevel objects)), [])
    collideWithRest :: [GameObject] ->  (CorrectionEvents, ExplosionEvents) -> (CorrectionEvents, ExplosionEvents)
    collideWithRest    []               events                                = events
    collideWithRest    (object:objects) (collisions, explosions)              = (correctionEvents, explosionEvents) where
        (objectCorrections, objectExplosions) = collideWithAllOthers object objects
        explosionEvents                       = objectExplosions ++ restExplosions
        correctionEvents                      = parallelAdd [objectCorrections, (NoEvent : restCorrections)]
        (restCorrections, restExplosions)     = collideWithRest objects (objectCorrections, objectExplosions)

collideWithAllOthers :: GameObject -> [GameObject] -> (CorrectionEvents, ExplosionEvents)
collideWithAllOthers    _             []              = ([NoEvent], [NoEvent])
collideWithAllOthers    object        others          = (corrections, explosions) where
    collisions = [collide object other | other <- others]
    corrections = [sumEvents firstCorrections] ++ otherCorrections
    (firstCorrections, otherCorrections) = getCorrections collisions
    explosions = getExplosions collisions

getExplosions :: [Event CollisionResult] ->                        ExplosionEvents
getExplosions    []                                                = []
getExplosions    (Event (Reduction (Explosion center size)): results) = (Event (Explosion center size): getExplosions results)
getExplosions    (_: results)                                      = (NoEvent: getExplosions results)

getCorrections :: [Event CollisionResult] ->                  (CorrectionEvents, CorrectionEvents)
getCorrections    []                                          = ([], [])
getCorrections    (Event (Correction (left, right)): results) = ((Event left: objectCorrections), (Event right: otherCorrections)) where
    objectCorrections = fst (getCorrections results)
    otherCorrections = snd (getCorrections results)
getCorrections    (_: results)                                = ((NoEvent: objectCorrections), (NoEvent: otherCorrections)) where
    objectCorrections = fst (getCorrections results)
    otherCorrections = snd (getCorrections results)

animateManyObjects :: GameLevel ->                   SF (CorrectionEvents, UserInput, GameLevel) GameLevel
animateManyObjects    (GameLevel [])                 = arr $ const $ GameLevel []
animateManyObjects    (GameLevel (iObject:iObjects)) = proc ((event:events), input, lastLevel) -> do
    object              <- animateGameObject iObject                 -< (event, input, lastLevel)
    (GameLevel objects) <- animateManyObjects (GameLevel (iObjects)) -< (events, input, lastLevel)
    returnA             -< GameLevel (object:objects)

animateGameObject :: GameObject ->                             SF (Event CollisionCorrection, UserInput, GameLevel) GameObject
animateGameObject (GameObject iLocation iVelocity iOrientation id Ship) = proc (collisionCorrection, userInput, lastLevel) -> do
    let input = userInput
    orientation      <- (iOrientation+) ^<< integral -< turn input
    let acc = acceleration input *^ Vector (-sin orientation) (cos orientation)
    velocity         <- (iVelocity ^+^) ^<< impulseIntegral -< (acc, deltaVelocity <$> collisionCorrection)
    preTorusLocation <- (iLocation ^+^) ^<< impulseIntegral -< (velocity, deltaLocation <$> collisionCorrection)
    let location = torusfy preTorusLocation
    returnA          -< GameObject location velocity orientation id Ship
animateGameObject (GameObject iLocation iVelocity iOrientation id iGameObjectType) = proc (collisionCorrection, userInput, lastLevel) -> do
    let input = handleType iGameObjectType lastLevel
    orientation      <- (iOrientation+) ^<< integral -< turn input
    let acc = acceleration input *^ Vector (-sin orientation) (cos orientation)
    velocity         <- (iVelocity ^+^) ^<< impulseIntegral -< (acc, deltaVelocity <$> collisionCorrection)
    preTorusLocation <- (iLocation ^+^) ^<< impulseIntegral -< (velocity, deltaLocation <$> collisionCorrection)
    let location = torusfy preTorusLocation
    returnA          -< GameObject location velocity orientation id iGameObjectType where
        handleType objectType level = case objectType of
            EnemyShip      -> aim id level
            Asteroid _ _ _ -> rotateAsteroid objectType
            _              -> UserInput 0.0 0.0 False

-- where for integers instead of Events, parallelAdd [[1,2,3,4,5,6], [6,5,4,3,2,1]] -> [7,7,7,7,7,7]
parallelAdd :: [CorrectionEvents] -> CorrectionEvents
parallelAdd                         = map sumEvents . transpose

sumEvents :: [Event CollisionCorrection] -> Event CollisionCorrection
sumEvents                                    = foldl (^+^) NoEvent

noEvents :: GameLevel -> CorrectionEvents
noEvents = map (const NoEvent) . objects

redpajama_set_name: RedPajamaGithub


text:
Manchester City Fanview: 'I expect us to push on and defend our Premier League title'
FAN: Ric Turner
WEBSITE: Blue Moon
The 3-0 home victory over Sunderland was the most accomplished performance to date. We were solid at the back, which hasn't always been the case, and looked threatening every time we went forward. It wasn't quite up to the high standards of last season, but it was a much needed step in the right direction after a mixed start to this campaign.
The 4-2 home defeat against Aston Villa was as abject a display by City as I've seen for a while.
Granted it was only the League Cup, and Roberto Mancini had rested all 11 players who had started the game against Arsenal two days previously, but we were extremely poor.
An incredibly average Villa side played us off the park.
Mancini has tinkered with both formation and personnel this season, and it seems to have unsettled us somewhat. We haven't looked convincing playing three at the back, whilst some of the new recruits need more time to settle.
To be fair to Mancini, he was unable to land his primary targets this summer (namely Daniele De Rossi, Eden Hazard, and possibly Robin van Persie), so had to make do with back-up options.
Carlos Tevez started the season brightly, and looks sharp.
Edin Dzeko has contributed some important goals, but Mancini seems reluctant to give him a run of games.
Mario Balotelli has flattered to deceive once more, and his petulance is starting to grate.
It's frustrating, as he has immense natural ability, but unless he can improve his temperament then you fear his talent could be wasted.
After an average start to the season, I expect us to push on and defend our Premier League title. It will be difficult, with Chelsea, United, Arsenal and Spurs all looking good so far, but we have as strong a squad as any. Qualification from an incredibly difficult Champions League group would be an additional bonus.
Could, and should, do better but in Mancini we trust.
Click here to visit the Blue Moon website
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redpajama_set_name: RedPajamaCommonCrawl


"Wearing hearing aids doesn't have to make you feel 'different'.
It can take a while getting used to wearing them, and 'tweaking' them to suite your hearing loss, but for me I don't know what I would've done without meeting Rob and his team.
My hearing loss is, on the scale of things quite complex, and Rob has had the patience of a saint with me!
I stumbled across his service whilst shopping in Oswaldtwistle Mills with my parents at the time and was feeling pretty low as I'd been trying NHS hearing aids without much success. I suffer terribly with Tinnitus and stress makes it much worse.
When I was referred to Blackburn Royal Hospital through my Doctor for hearing aids, each time I paid them a visit, they would 'tweak' them slightly, but as soon as left the hospital I knew they still weren't right and I had to wait several weeks at a time to receive another appointment for another 'tweak'. This really upset my system and I was feeling desperate.
From the moment Rob came to visit me in my own home, I was made to feel at ease and he continued to visit me until I felt comfortable with my choice of hearing aids and use of them. I can confidently say that if you need an appointment with him at Oswaldtwistle Mills, it can be arranged within a few days.


Rejoice because you're alive to feel the pressures of life!
Let life work in you, and continuously tap into the source of peace within you–which is Jesus. Keep your mind stayed on Him so you can have a peace that passeth all understanding. Speak the opposite of all of the negative pressure that's happening in your life through the spirit of faith.
To be even more specific, meditate on this same verse of 3 John 1:2 from the Amplified Bible: "Beloved, I pray that you may prosper in every way and [that your body] may keep well, even as [I know] your soul keeps well and prospers".
Is the pressure getting to be too much? If so, you are operating in your own strength and not God's. Nothing is too hard for God. Therefore no matter what is going on–it is well. Be anxious for nothing but in all things give thanks to God, whose grace abounds in us. Remember, no matter what, we're still blessed!
Let's start with the man/woman in the mirror!


Today I'm excited to feature The Art Of Doing Stuff and their fabulous image transfer tutorial. It is the best thing to happen to wood since the birdhouse. You don't need any special supplies for making this DIY and can start right away. All you need is a printer, picture, some wax paper, and an idea for the finished product. I've got that!


text:
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This is a gauge on the dashboard that shows the instantaneous speed of a vehicle. The speedometer usually works together with the odometer, which calculates the distance travelled by an auto.


text:
What is mixed Reality and how it really differ from the AR and VR
Salihu Ndanusa
Gaming, Projects, Uncategorised
Background Introduction
Virtual and Augmented Reality has been in the spotlight for a while now, but there's a new kid on the block that's been getting a lot of attention recently from industry insiders, market analysts and tech enthusiasts alike. Called Mixed Reality, the 'new' technology that's threatening to upend the gaming industry.
Mixed reality is used as an independent concept or to classify the spectrum of reality technologies, as referenced in the reality–virtuality continuum. As an independent concept, the Mixed reality is the result of blending the physical world with the digital world.
Mixed reality is the next evolution in human, computer, and environment interaction and unlocks possibilities that before now were restricted to our imaginations. It is made possible by advancements in computer vision, graphical processing power, display technology, and input systems.
However, this technology was not really new at all, having been defined back in the early nineties by University of Toronto Professor Paul Milgram and Artificial Intelligence (AI) researcher Fumio Kishino as lying anywhere within the extremities of the 'virtuality continuum'in their paper in 1994 "A Taxonomy of Mixed Reality Visual Displays". Their paper introduced the concept of the virtuality continuum and focused on how the categorization of taxonomy applied to displays. Since then, the application of mixed reality goes beyond displays but also includes environmental input, spatial sound, and location.That being said, it is only now that the technology has matured enough for tech companies to contemplate bringing MR devices to the market, with Microsoft taking an early lead with its HoloLens headset, but more on that later.
MR vs VR
What exactly is Virtual Reality and how is it different from its two spiritual cousins – AR and MR? Virtual reality (VR), which can be referred to as immersive multimedia or computer-simulated reality, replicates an environment that simulates a physical presence in places in the real world or an imagined world, allowing the user to interact in that world (Wikipedia view) or simply Virtual Reality is a technology that uses computer-generated imagery to create a realistic virtual environment which can be experienced and interacted with by people in the real world in a way that makes them feel they are actually a part of the virtual setup. Typically, VR required specialized equipment to experience virtual reality, and once properly setup, you'll be able to look around the software-generated artificial world, move about in it and interact with the virtual elements as if you're actually a part of the virtual world yourself.
beebom.com
Virtual Reality has long been promoted as the next big thing in consumer tech, but it has so far failed to capture the imagination of mainstream consumers the way smartphones have over the past decade. VR, however, has found many a taker within the tech community, with giant multinationals like Facebook, Sony and HTC already heavily invested in the new technology with devices like the Oculus Rift, PlayStation VRand HTC Vive respectively. Even Google's Daydream VR platform has seen an uptick in recent times, and we're expecting more OEMs to support the platform in the days to come.
Augmented Reality (AR) places digital content on top of the physical world you see around you. AR works by adding 2D or 3D layered content on top of real world objects or locations, allowing the user to unlock additional information that may be relevant, therefore turning the physical world around them into digital media.
thenextweb.com
Some things you can currently do within an AR experience:
Connect to Websites
Enter a Sweepstakes
MR vs AR
While the difference between Virtual Reality and Mixed Reality is pretty clear-cut, the difference between Augmented Reality and Mixed Reality is relatively more ambiguous. In fact, to be perfectly honest, they are not even entirely different technologies in the strictest sense of the term.
To explain the difference between Augmented and Mixed Reality, we should take a closer look at how MR was defined by Milgram and Kishino some years ago. According to them, MR lies "anywhere between the extrema of the Virtuality Continuum". While that sounds like a lot of unnecessary tech-jargon at first glance, virtuality continuum is really a concept that describes the continuous scale ranging between the completely virtual (as in Virtual Reality) to the completely real (as in real life).
Read also: Metal Gear Solid 5: The Phantom Pain By Hideo Kojima
In essence, what it really means is that Mixed Reality encompasses everything from Augmented Reality to Augmented Virtuality, which are at the two extremities of the technology. In theory, both are actually subsets of Mixed Reality, insofar as both these technologies juxtapose the real and the virtual worlds with one another. Where they do differ, however, is where they lie on the aforementioned virtuality continuum scale.
As its name suggests, Augmented Reality is at one end of the Mixed Reality spectrum and includes more of 'reality' than 'virtuality', whereas 'Augmented Virtuality' is basically the virtual world that's been 'augmented', or enhanced, by the addition of a few real-world objects. Having said that, different companies are using the term Mixed Reality to mean slightly different things and as things stand now, a standard definition is hard to come by.
Uses Of Mixed Reality
Like its more well-known counterparts, Mixed Reality is also expected to be pitched as a gaming platform in its early days. However, it would be a mistake to dismiss MR as just a gaming platform, because the technology has already been incorporated into different applications in a wide variety of industries, including, but not limited to, arts, entertainment, manufacturing, healthcare, aviation, and education.
Mixed Reality is also being tested by the military establishments of various nations for combat training, so it's safe to say that there are enough possible use cases for the technology.
Mixed Reality is also expected to be pitched as a gaming platform in its early days. However, it would be a mistake to dismiss MR as just a gaming platform, because the technology has already been incorporated into different applications in a wide variety of industries, including, but not limited to, arts, entertainment, manufacturing, healthcare, and aviation.
Several Use Case Examples:
Communication: Holoportation will allow device users in different cities or countries to sit and interact with each other in the same space virtually while remaining miles and miles apart.
Education: Below is an example created by Project Esper displaying how medical students will benefit and gain more comprehensive views and interactions with the human anatomy.
Entertainment: Microsoft Hololens is already working with the NFL to completely change the way fans can watch and interact with players, other fans, real-time game experiences and its advertisers and sponsors.
Military: Mixed Reality is also being tested by the military establishments of various nations for combat training, so it's safe to say that there are enough possible use cases for the technology.
Upcoming MR Devices and When Can We Expect Them
If you want to take Mixed Reality for a spin but feel that the HoloLens is way out of your league because of those exorbitant price-tags, you'll be pleased to know that a plethora of reputable tech companies from around the world are working on bringing their own MR devices based on the Windows Mixed Reality platform, at considerably more affordable prices than what's being charged by Microsoft.
As mentioned earlier, Microsoft is taking the lead in bringing Mixed Reality to the fore (Pre-order your Windows Mixed Reality dev kit). The company has already demoed a NASA simulation of walking on the surface of Mars with the help of its HoloLens Head Mounted Display (HMD), which is based on its own MR platform, Windows Mixed Reality, that's part of the Windows 10 Fall Creators Update. In case you're wondering about the pricing, the HoloLens Development Edition started shipping last year for $3,000 apiece. There's also a Commercial Suite with enterprise features, such as Bitlocker Security, and that one sells for $5,000.
Asus, Dell, Acer, HP and Lenovo are just some of the big names that are working on bringing their own MR headsets to the market in the months ahead. While not all these companies have announced the pricing of their upcoming headsets, Acer and HP's offerings are priced at $299 and $329 respectively. It's difficult to say at this stage whether Microsoft is subsidizing the cost for Acer and HP to popularize its MR platform, but at these prices, the two devices are significantly more affordable than the VR headsets from Oculus, Sony and HTC.
Google-Daydream
However, if even $300 seems a bit on the higher side, a startup called Zapper has you covered. The company, last year, launched what's believed to be the world's first cardboard MR headset called ZapBox, which comes with cardboard controllers and a special wide-angle camera lens. The device was originally launched on Kickstarter where it raised over $84,000, and is currently available for pre-order on the company's own website for just $30.
ZapBox
There's no word on when you'll get your ZapBox if you pre-order now, but the developer editions of Acer and HP's devices are expected to start shipping next month. The final consumer units, however, will apparently only become available for purchase at the end of the year.
Read also: 37 Android Games worth giving a try
Even as Microsoft is taking the lead in promoting Mixed Reality, it is certainly not the only company burning the midnight oil on the technology. A Florida-based startup called Magic Leap is also reportedly working on a head-mounted virtual retinal display that has been kept under the wraps until now but is rumored to be made official at some stage going forward. While it's difficult to say anything for certain about Magic Leap's upcoming product(s) in the absence of any concrete information, the company must be doing something right, given that they've raised over $540 million in venture capital from the likes of Google, Qualcomm and Kleiner Perkins Caufield & Byers.
Minimum Hardware Requirements For Windows Mixed Reality Platform
It's clear from these specs that Microsoft is favoring a mixed reality experience that can be used with a non-gaming laptop. Smart plan, as this opens it up to a lot of people who don't have a desktop PC.
CPU: Intel Mobile Core i5 (e.g. 7200U) Dual-Core with Hyperthreading equivalent
GPU: Integrated Intel® HD Graphics 620 (GT2) equivalent or greater DX12 API Capable GPU
RAM: 8GB+ Dual Channel required for integrated Graphics
HDMI: HDMI 1.4 or DisplayPort 1.2 for 60Hz head-mounted displays
HDD: 100GB+ SSD (Preferred) / HDD
USB: USB 3.0 Type-A or USB 3.1 Type-C Port with DisplayPort Alternate Mode
Bluetooth: Bluetooth 4.0 for accessories
A lot of newer, mid-range Ultrabooks not commonly associated with gaming are sporting these specs, and one of the only problems we can see is the HDMI port that seems to be disappearing from a lot of the thinner laptops out there.
As far as building a PC to run Windows Mixed Reality, you should be able to get away with spending somewhere around $500.
Mixed Reality: The Best Of Virtual and Augmented Reality
As its name implies, Mixed Reality brings the best of Virtual and Augmented Reality by combining motion-sensors, advanced optics and cutting-edge software. If it can deliver even a fraction of what it's promising, it will open up a whole new world of possibilities by bringing apps, games and interactions that we're yet to experience until now. It may be late to the party, but with prices expected to be at relatively more affordable levels than VR devices, Mixed Reality may very well cross over to the mainstream one day, but for that, we'll have to wait some more to see if the technology can actually provide something that can transcend the gaming niche and appeal to a broader audience.
lastly, i will like to give due credit to my mentor when it comes tech niche: Kishalaya Kundu.
Thank you for reading if you have any questions or thoughts, do let us know in the comments section below. We love hearing from you.</p
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*) A surcharge of 5 EUR for a length over 1m inside of germany, 20 EUR abroad.


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Allen Fieldhouse's intimate atmosphere and limited seating makes it incredibly loud. The arena holds a capacity of 16,300. It recorded a record attendance of 17,228 in 1955. Since the stands do not rise very high, there really isn't a bad seat in the building. Student sections are situated on each of the baselines, while season ticket holders are seated on the lower bleachers along the sidelines and in the wooden seats above the bleachers.
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Disparities in adverse birth outcomes for Black women continue. Research suggests that societal factors such as structural racism explain more variation in adverse birth outcomes than individual-level factors and societal poverty alone. The Index of Concentration at the Extremes (ICE) measures spatial social polarization by quantifying extremes of deprived and privileged social groups using a single metric and has been shown to partially explain racial disparities in black carbon exposures, mortality, fatal and non-fatal assaults, and adverse birth outcomes such as preterm birth and infant mortality. The objective of this analysis was to assess if local measures of racial and economic segregation as proxies for structural racism are associated and preterm birth and infant mortality experienced by Black women residing in California. California birth cohort files were merged with the American Community Survey by zip code (2011–2012). The ICE was used to quantify privileged and deprived groups (i.e., Black vs. White; high income vs. low income; Black low income vs. White high income) by zip code. ICE scores range from − 1 (deprived) to 1 (privileged). ICE scores were categorized into five quintiles based on sample distributions of these measures: quintile 1 (least privileged)–quintile 5 (most privileged). Generalized linear mixed models were used to test the likelihood that ICE measures were associated with preterm birth or with infant mortality experienced by Black women residing in California. Black women were most likely to reside in zip codes with greater extreme income concentrations, and moderate extreme race and race + income concentrations. Bivariate analysis revealed that greater extreme income, race, and race + income concentrations increased the odds of preterm birth and infant mortality. For example, women residing in least privileged zip codes (quintile 1) were significantly more likely to experience preterm birth (race + income ICE OR = 1.31, 95% CI = 1.72–1.46) and infant mortality (race + income ICE OR = 1.70, 95% CI = 1.17–2.47) compared to women living in the most privileged zip codes (quintile 5). Adjusting for maternal characteristics, income, race, and race + income concentrations remained negatively associated with preterm birth. However, only race and race + income concentrations remained associated with infant mortality. Findings support that ICE is a promising measure of structural racism that can be used to address racial disparities in preterm birth and infant mortality experienced by Black women in California.
This study was funded by the University of California, San Francisco, California Preterm Birth Initiative (PTBi-CA).
Preterm Birth United States | PeriStats | March of Dimes. http://www.marchofdimes.org/Peristats/ViewTopic.aspx?reg=99&top=3&lev=0&slev=1. Accessed June 29, 2017.
Infant mortality rates by race/ethnicity United States | PeriStats | March Of Dimes. https://www.marchofdimes.org/Peristats/ViewSubtopic.aspx?reg=99&top=6&stop=92&lev=1&slev=1&obj=1. Accessed November 27, 2017.
Wallace ME, Mendola P, Liu D, Grantz KL. Joint effects of structural racism and income inequality on small-for-gestational-age birth. J Inf. 2015;105(8). https://doi.org/10.2105/AJPH.2015.302613. Accessed March 7, 2017.
Massey DS, Tannen J. Suburbanization and segregation in the United States: 1970–2010. Ethn Racial Stud 2017;0(0):1–18. doi: https://doi.org/10.1080/01419870.2017.1312010.
Amoah DK, Nolan V, Relyea G, Gurney JG, Yu X, Tylavsky FA, et al. Factors associated with residential mobility during pregnancy. Women Health. September 2017:1–12. https://doi.org/10.1080/03630242.2017.1372843.


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1978 Washington Bullets: Last Team to Win NBA Title on Road in Game 7
Mike FrandsenCorrespondent IJune 20, 2013
Elvin Hayes gets into position under the basket against Paul Silas of Seattle. Hayes led the Washington Bullets to the NBA title in 1978 over the Sonics.
When the Washington Bullets defeated the SuperSonics in Seattle 105-99 to win the team's only championship 35 years ago, it was the last time an NBA team won a Finals Game 7 on the road.
The San Antonio Spurs will try to become the first team since those Bullets to accomplish that feat when they take on the Heat in Miami Thursday night in Game 7 of the NBA Finals. The home team is 14-3 in Game 7s in NBA Finals history. Since the Bullets' win 35 years ago, home teams are 5-0 in Game 7 matchups.
The "Big Three" didn't start with LeBron James, Dwyane Wade, and Chris Bosh, or even Tim Duncan, Tony Parker, and Manu Ginobili.
With all the talk about the "Big Three" of the Heat and the Spurs, the Bullets featured a dominating trio of their own: Hall of Famers Elvin Hayes and Wes Unseld, and Bobby Dandridge, who won a title with two franchises and may have been the best player on the team.
Winning Game 7 on the road
Before the Redskins won their first Super Bowl, and before Maryland and Georgetown won national championships in college basketball, the Washington Bullets gave D.C. its first championship in 36 years when they won the NBA title in 1978.
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The Bullets battled through injuries during the 1977-78 regular season to finish 44-38. The underdog Bullets upset George the "Iceman" Gervin and the San Antonio Spurs and Dr. J and the Philadelphia 76ers to advance to the finals against the upstart Seattle SuperSonics. Seattle was a deep, talented team led by Gus Williams and Dennis Johnson in the backcourt and big men Marvin "the Human Eraser" Webster and Jack Sikma.
The teams alternated wins in the first five games. The Sonics led the series 3-2, but the Bullets routed Seattle in Game 6 at the Capital Centre, 117-82, for the largest margin of victory in an NBA finals game at the time.
In Game 7, the Bullets became NBA champions for the first and only time with a 105-99 victory over the Sonics in Seattle. Dandridge and Johnson each scored 19 points and the Bullets held Dennis Johnson to an 0-for-14 shooting night.
Mitch Kupchak made a key 3-point play with a minute and a half to go. Unseld sank two free throws with 12 seconds left to put the Bullets up by four. Dandridge sealed it with a dunk.
The Bullets ran of the floor, jumping up and down all the way to the locker room. Hayes and Unseld let out a decade of pent-up frustration as they celebrated their first world championship.
"Seeing Bobby make that last dunk shot and all of a sudden waiting for that clock to run out, it seemed like it would never run out and then all of a sudden it's over," Hayes said.
"Out of all those years everything was compressed in you and compressed down, all of a sudden could be let loose and go."
Unseld had 15 points and 12 rebounds in Game 7 and was named Finals MVP.
For Unseld, the title was more relief than anything. "I used to see guys break champagne bottles open and throw champagne over each other after winning and I remember all I was thinking was going back to bed. We played close to 100 games," said Unseld.
"And I never realized how physically tired I was. Mr. Pollin came up to give me a hug and I grabbed him by the shoulder because I was actually getting him to hold me up because I was physically gone."
Hayes and Unseld were nearing the end of their illustrious careers. Hayes reflected, "For my career and Wes' career, if we don't win a championship, you're always governed by that. Because they'll say well you're a great player like Charles Barkley or Karl Malone, but you could never win. So this really put the cherry and the cap on our careers."
Since the Bullets' win 35 years ago, only 10 NBA franchises have won championships. The number of current NBA teams that have never won a championship or haven't done so since 1978 is 19.
The Bullets became only the third team ever to win the title in a Game 7 on the road. They did it with Unseld, Dandridge, and starting guard Kevin Grevey all missing time during the playoffs due to injuries.
"I would hate to play our team if I were any of the modern day teams," said Dick Motta, the Bullets coach. "We had a lot of injuries that year. We had to open every series on the road. We were supposed to be the underdog, but you can't be an underdog when you have a front line of Elvin Hayes, Wes Unseld, Bobby Dandridge, Mitch Kupchak off the bench, and you have a backcourt of Tommy Henderson and Kevin Grevey and you've got Larry Wright waiting to get involved, so we got healthy at the right time."
Grevey said winning on the road showed the resilience of the Bullets. "To go seven games and to win a championship on the road—nobody else has done that since—is special. It shows how tough-minded we were with all the odds against us to pull that game out."
Washington Bullets' name meant winning
The name Bullets was synonymous with winning in the 1970s. The Bullets had winning records in nine of 10 seasons. They won more than 50 games four times, including 60 wins in 1974-75. The Bullets went to more NBA Finals (four) than any other team in that decade. They also made the playoffs 18 times in 20 seasons from 1969 to 1988.
The Bullets' first finals appearance came in 1970-71 when they were based in Baltimore. The Bullets were swept by Kareem Abdul-Jabbar, Oscar Robertson, Dandridge and the Milwaukee Bucks.
After moving to Washington in 1973, the 60-win Bullets, the best team in the NBA during the 1974-75 regular season, advanced to the finals. However, Washington was swept by the Golden State Warriors in one of the biggest upsets in NBA history.
In the final two years of the decade, the Bullets made back-to-back trips to the NBA Finals, compiling an NBA-best 54-28 record in 1978-79. But it was the 1977-78 squad that won it all with a record of 44-38 that captured the hearts of the nation's capital.
One of the best front lines in NBA history
The Bullets featured a "Big Three" of their own—one of the greatest front lines in NBA history. They had two Hall of Famers: 12-time All-Star forward Elvin Hayes and five-time All-Star center Wes Unseld, still the only player to win Rookie of the Year and MVP in the same season. Dandridge was a four-time All-Star who helped the Milwaukee Bucks to a title over the Bullets in 1971.
"We had a front line with Wes Unseld, Elvin Hayes and Bobby Dandridge that back in the '70s was incomparable. There was nobody who had that," Grevey said.
Hayes is the NBA's eighth all-time leading scorer and fourth all-time leading rebounder behind Wilt Chamberlain, Bill Russell, and Kareem Abdul-Jabbar. The Capital Centre crowd would ring out in choruses of "EEEEE" as the "Big E" made his signature move, the turnaround, fadeaway jumper, which was impossible to block. Hayes was one of the most athletic power forwards of all time. He was incredibly durable, only missing nine games in 16 seasons.
The 6'7" Unseld was the sixth leading rebounder of all time when he retired. The ultimate team player, Unseld was known for shutting down much taller centers, setting jarring picks, and making outlet passes which traveled the length of the court. Unseld was the unquestioned leader of the Bullets.
"We had some special guys on that team in Elvin Hayes and Wes Unseld who had never won," said Grevey. "They were great, truly great players. We knew every day they were our leaders. There were no ifs, ands, or buts about it. And we all fell in line and had our roles."
Hayes and Unseld may not have always gotten along off the court, but on the court they respected each other. The team had outstanding success, making the playoffs in eight of the nine seasons they played together.
Unseld said he and Hayes had no problem guarding anyone, but that adding Dandridge to the team before the 1977-78 season helped the Bullets defensively against the small forwards in the league. Dandridge was also an extra weapon on offense.
"There was not anybody that I would want to see with the ball in a critical situation than Bobby D," said Unseld.
Dandridge was a smooth-shooting small forward who could create his own shot and lock down players on defense. He was a master of the mid-range jump shot. "Bobby D" had already won a championship in 1970 when the Bucks beat the Bullets. He was named to four all-star teams.
Rookie forward Greg Ballard looked up to the experienced front line. "It was an honor to play with these legends. One of the greatest front lines in NBA history was Wes, Elvin, and Bobby. I remember watching these guys play on television," Ballard said.
"They taught me a lot, especially playing behind Bobby Dandridge. And up front with Wes Unseld and Elvin Hayes and Mitch Kupchak. They taught me how to play. How to battle, how to compete. Get inside and mix it up as far as the physical play goes. Just all the important things it takes to win games."
Ballard, who would go on to play 11 years in the NBA, was an understudy to Bobby D. "Dandridge taught me how to drive the ball to the basket, attacking the guys you go up against, because our position was the Cadillac position of the NBA with people like Dr. J, Adrian Dantley and Bernard King that were good offensive players. So you had to make them play on the defensive end and attack them offensively," Ballard said.
The Bullets' great front line was more than The Big E, Unseld, and Bobby D. Hayes gave credit to Kupchak and Ballard. "Mitch came in, he could shift gears. Greg came in, he could shift gears," Hayes said. "We could play running basketball, we could play banging basketball. We could play any kind of basketball. So it was a great team."
Dandridge agreed: "We couldn't have won the championship without Kupchak and Ballard, because they could come in and play any of the frontline positions."
Hayes and Unseld are in the Basketball Hall of Fame, but Dandridge has been overlooked. Would Dandridge like to be in? "Well I've been shortchanged on that and surely everyone that's in there deserves to be in there. I think it's difficult to understand, but it is what it is and I think when the right opportunity comes along, it will come."
A mix of youth, experience and depth
Tom Henderson was a strong, pass-first point guard who still averaged double figures in points. Kevin Grevey, the former All-American from Kentucky rounded out the starting lineup. Grevey had an excellent jump shot, could pump fake and drive to the basket, and rebounded well for a shooting guard. When Dandridge joined the Bullets, it allowed Grevey to move from small forward to shooting guard, which enabled Grevey to raise his scoring average from 6.9 the previous season to 15.5.
The Bullets also had excellent depth at center with Kupchak (16 points, 7 rebounds), rookie forward Ballard, slashing guard Larry Wright and sharpshooter Charles Johnson, who arrived in the middle of the season. Standout guard Phil Chenier, a three-time All-Star who scored more than 20 points a game the previous season, was sidelined for the year after 36 games because of a back injury.
Grevey said after the front line of Hayes, Unseld and Dandridge, "We had a great bench with Greg Ballard and Larry Wright and Mitch Kupchak providing leadership and youth and energy, and C.J. came in in the middle of the year, a veteran player to come and spell me, and of course Tommy Henderson starting at point. That was quite a team."
With established stars in Hayes, Unseld and Dandridge, solid role players in Henderson, and Johnson, and young talents in Grevey, Kupchak, Ballard and Wright, the Bullets had the right mix of scorers, leaders, and defenders to win it all.
Built for the playoffs
At one point during the 1977-78 season, the Bullets were so thin at guard with Chenier out for the year and Grevey and Henderson hurt, they suited up only seven players for a game.
The Bullets signed Charles Johnson, formerly of Golden State, to a 10-day contract. C.J. arrived to a game at the Capital Centre shortly before tipoff via helicopter from Dulles Airport, and he became an integral part of the championship team.
The Bullets were a balanced team, with six players averaging double figures. Hayes led the team in scoring with 19.7 points per game and in rebounding with 13.3. The Bullets won 44 games, fewer than in previous seasons, but they had the right mix of players.
Acquiring Dandridge from the Milwaukee Bucks gave the Bullets someone who could guard George Gervin, the NBA's leading scorer, and Dr. J, the best player of the 1970s.
Motta said Dandridge was a huge addition to the Bullets. "Bobby came in, he knew the offense, he had already won a championship, he was experienced. It was always nice when we had Bobby Dandridge and we were going to play Dr. J or George Gervin. He basically neutralized all of the small forwards in the league."
Hayes and Dandridge led the Bullets in the playoffs, each averaging more than 21 points per game. Johnson also came up big during the playoffs, as did Grevey, and Unseld would go on to win the NBA Finals MVP.
Grevey went off in the clinching game of the first round series against the Atlanta Hawks as he scored 43 points. Back then, the first round was best of three games, so each game was critical.
The Doctor and the Iceman
After defeating Atlanta, Washington would go on to face George "Iceman" Gervin and the San Antonio Spurs in the second round of the playoffs. The Spurs had won 52 games and were led by Gervin, the NBA scoring leader. That year, Gervin scored 63 points in the final game of the regular season to edge David Thompson by .07 points to win the NBA scoring title. But Dandridge played tough defense on Gervin and held him in check as the Bullets outlasted the Spurs 4 games to 2.
With the Bullets leading the Spurs 3 games to 1, a San Antonio sportscaster said of the series, "The opera isn't over until the fat lady sings." Motta picked up on the phrase to warn against overconfidence. Later in the playoffs, Motta used it to inspire the Bullets, who were underdogs to Julius Erving and the Philadelphia 76ers.
The Sixers had won 55 games, most in the Eastern Conference, and made it to the NBA finals the year before. They had a talented lineup that included Dr. J, George McGinnis, Darryl Dawkins, Doug Collins, and World B. Free. Bullets fans made t-shirts, signs, and even wore wigs as the "Fat Lady" slogan became the Bullets' rallying cry.
Grevey set the tone for the Bullets in Game 1 as he led the Bullets with 26 points in a 122-117 win, outplaying Collins.
After the Sixers took Game 2, Washington beat the 76ers 123-108 to take a 2-1 series lead.
Dandridge outplayed Dr. J during the series, and the Bullets would go on to beat Philadelphia in six games despite losing Unseld to an ankle injury for games 2-4.
Hayes remembered a particular moment during Game 6 against the Sixers, which the Bullets won 101-99 to close out the series.
"I had stolen the basketball, a pass from Doug Collins to George McGinnis, went down and dunked the ball, and I turned around and everyone was hollering, 'E!' and that was one of the greatest moments of my life," said the Big E.
While Hayes and Unseld are remembered more, Dandridge was critical in stopping players like Gervin and Dr. J, two of the best offensive players in the NBA. Dandridge made them work on defense, and played tough defense on the stars.
"I was a good defensive player and I played well against Julius defensively," Dandridge said. "Gervin was a task I didn't relish but I had to get him in the fourth quarter and he may have suffered some fatigue at times, but defense was a part of my game that I enjoyed. When you get a chance to play against two Hall of Famers like Julius and the Iceman you want to rise to the occasion."
The Fat Lady sings
The Bullets were headed to the NBA finals against the SuperSonics, a team featuring six players who averaged double figures in scoring. The deep Sonics also had five players who would make at least one NBA all-star team: leading scorer Gus Williams (18 points a game), "Downtown" Freddy Brown, Jack Sikma, Paul Silas, and future Hall of Famer Dennis Johnson. In the middle was the intimidating 7'1" center Marvin "the Human Eraser" Webster who averaged 14 points, 12.6 rebounds and two blocks. The Sonics finished the season on a 42-18 roll after future Hall of Fame coach Lenny Wilkens was hired.
The series followed an unusual 1-2-2-1-1 format because of a scheduling conflict in Seattle.
In Game 1 in Seattle, Grevey came through for the Bullets with 27 points on a variety of jump shots and drives to the basket, but the Sonics outlasted Washington 106-102 behind 16 points in the last nine minutes from Brown.
In Game 2 at the Capital Centre, Dandridge scored 34, Hayes had 25, and Henderson added 20 as Washington won 106-98.
Henderson hit a layup with five seconds left in Game 3 to cut the Sonics' lead to one. Silas stepped on the out of bounds line, giving the ball back to the Bullets. Bobby D missed a shot at the buzzer as the Sonics held off a late comeback by Washington, and won 93-92 to take a 2-1 series lead.
The Bullets evened the series at 2 with a thrilling 120-116 overtime win behind six points each in the extra period from Charles Johnson and Henderson. The Bullets overcame a 15-point deficit despite 33 points from Dennis Johnson.
The Sonics then won Game 5, 98-94 to take a 3-2 lead behind 26 points from Brown and 24 from D.J.
With their backs against the wall in Game 6, the Bullets scored 70 points in the second half to rout Seattle 117-82 for the largest margin of victory in an NBA finals game as the Bullets outrebounded the Sonics, 69-49. "We were home and we wanted to make a statement and let them know, hey, that this wasn't over," said Henderson. The 35-point margin was the largest in an NBA Finals game until 1998.
In Game 7, the Bullets held off a late rally by the Sonics to win 105-99 to take home their first and only NBA championship.
In the book, "The Bullets, the Wizards, and Washington, D.C. Basketball," Brett L. Abrams and Raphael Mazzone recount a critical play at the end of Game 7. "Webster and Sikma led the SuperSonics on a 12-4 run to narrow the lead to 98-94. Johnson came down the court and fired up a jumper that fell short of the rim. Henderson dove on the ground, knocking the ball between Webster's legs. Kupchak grabbed the loose ball and made a layup as Webster fouled him. After putting in the free throw, the Bullets led by seven with 90 seconds remaining."
Then in the final seconds, a pair of late free throws by Unseld and a dunk by Dandridge put the Sonics away on their home court, and jubilation ensued for the Bullets.
"When we were warming up in Seattle in Game 7, their announcer said there would be a victory parade for the world champion Seattle SuperSonics. I went by the scorer's table and said, 'You can't play this game for them,'" Henderson remembered.
"We scored in the last five seconds of every quarter. In the third quarter Charlie Johnson hit a three-quarter shot. Lights out. That was our night. We were ready."
Wright recalled his feelings after Game 7. "It was just elation. You could see it in Wes' eyes, Elvin's eyes – they had been in this situation before and came up empty, and I think we were more happy for Elvin and Wes than we were for anybody," Wright said.
"This was a team that wasn't picked to win the NBA championship. And the road that we took, through Atlanta, San Antonio, Philadelphia, to Seattle where we won the final game on the road, I can't explain to you in words how we felt."
"To beat the teams that had those types of stars on their team, and we had stars but they weren't flamboyant. Dr. J and Philadelphia, they were a flamboyant team. And they had spent a lot of money for that team. And to beat them is to say that we were absolutely the best team in basketball in 1978."
Wright's sentiments were echoed by Grevey: "We were able to prove it against really, really good teams back then. Let's face it, the 76ers with Dr. J and the Iceman in San Antonio. And Atlanta had a great team coached by Hubie Brown with all this young talent. It was no fluke. We had to go through the best and it made us the best. And beating Seattle, they were just like us. A lot of veteran players blended with youth."
Bullets Fever
When the team returned to Dulles Airport, nearly 10,000 cheering fans were waiting for them. The Bullets later rode in a victory parade from the Capital Centre to the District Building.
In reflecting back on the fan reaction in D.C., Bullets players said it was something they will never forget.
Grevey remembered the moment: "When we got on the bus we went back to the Capital Centre where our cars were. I hadn't slept in almost two days and I remember Mitch Kupchak and I – I owned a home and he was renting from me – I said, 'Mitch let's get some rest.' I turned the corner in Crofton, Maryland and there were about 500 people in my front yard. They had decorated my house – all my neighbors. I'm like, 'Mitch, we're not going to be sleeping there, pal.'
"Then we meet the President of the United States the next day at our parade. It was quite a journey and then to be finishing it that way and share it with our fans…it doesn't get old. I never get tired of talking about it, and there aren't too many days that go by that someone doesn't mention to me that championship. I happen to live here in town and it's a lot of fun. It's my identity now. I get introduced, 'This is Kevin Grevey, former Washington Bullet World Champion.'"
Ballard said of winning the title and seeing the fan reaction, "That was an extremely wonderful feeling. I wish everyone could experience that because it was a thing where we rallied the city around the basketball team and that was one of Mr. Pollin's dreams that he wanted to win a championship for the city. And to see a lot of the fans there at the airport and at the parade and at different venues, RFK stadium, downtown at City Hall, it was a tremendous feeling to be part of that and bring that championship to D.C."
Nils Lofgren's "Bullets Fever" could be heard on radio stations from Manassas to Annapolis, and from Frederick to Fredericksburg:
Bullets Fever! Happens to me every year
Bullets Fever! And this year's the one
Bullets Fever! Got the Doctor and the Iceman
Bullets Fever! Seattle was stunned
C.J. Tom and Larry are fast as light
Kevin, Bobby and Elvin they shoot out of sight
Now every Bullet wears a champion's ring
They've got our town screaming and stompin'
It was the one and only NBA championship for owner Abe Pollin, who would later finance the Verizon Center, revitalizing much of the city's downtown area.
During the 1978-79 season the Bullets led the league with 54 wins and made it to the finals once again, defeating Atlanta and San Antonio en route to a rematch with Seattle. This time, though, the SuperSonics, winners of 52 games, won the series 4-1.
The Bullets-Sonics back-to-back championship series didn't attract as much attention as some finals matchups in later years, such as the Lakers-Celtics rivalry involving Magic Johnson and Larry Bird, or the titles in the '90s won by Michael Jordan. But in Washington and Seattle, fans were rabid over the finals.
Game 4 in 1978 was played before 39,457 at the Kingdome, the largest crowd ever to watch a single professional basketball game. Game 3 in 1979 was held in the Kingdome in front of 35,928.
In fact, the 1977-78 Bullets-Sonics finals received higher TV ratings than both the 1979-80 finals, which featured Magic Johnson's Lakers against Dr. J's 76ers, and the 1980-81 finals, which pitted Bird and the Celtics vs. the Rockets. The 9.9 Nielsen rating the Bullets-Sonics series garnered was also higher than ratings for each of the finals from 2005 to 2009, which had stars such as LeBron James, Kobe Bryant, and Shaquille O'Neal. The 1978 finals also got better ratings than the Spurs' appearances in '03, '05, and '07.
A team of many personalities
It has long been reported that Hayes and Unseld didn't get along, although they are friends today.
"There are truths to that. It's not being embellished," Grevey said.
"In every family or business, there are personalities and sometimes you have rifts. We had ours, there's no question about it. But there was great respect for one another. When you put a lot of players together, there are egos, not in a bad way, it's just, they may have a certain way of wanting to have them play. We ended up realizing, if we're going to win a championship, we have to collectively come together as a team. And do what's best for the team. And we had a strong coach in Dick Motta who painted that picture for us."
Grevey described the roles of the front line: "There was only one captain, and he was Wes Unseld and he had a stern voice. And he didn't speak a lot, but man, when he did, you stopped, and you listened.
"Elvin Hayes was the freak of all freak athletes. No one ever ran the court like he did and he was a great player. We had to yield and make him happy.
"And there was Bobby Dandridge who stirred the drink, man. He was a maestro. He knew how to get the ball into the right people, and then everybody else's roles filled in. So that great front line found a way to coexist."
Hayes and Grevey each credited Johnson with bringing the various personalities of the team together. "Charles Johnson just molded this team and brought it together," said the Big E. Grevey called C.J. a "locker room lawyer" who made it fun.
Henderson admitted the team clashed at times. "We kind of had five guys who started who really didn't kind of like each other but on that floor we were all business. We had mutual respect for each other. We had to get the job done and that's what we did," Henderson said.
Wright said of the championship, "This is something that we'll carry to our grave together. We knew our jobs. We were pros. We respected each other. And for the most part all of us liked each other. And when we went out to play, we felt like from one through 10, we were as good as anyone in basketball, and that's the way we played."
Underappreciated champions
In 1997, the Bullets changed their name to the Wizards. Owner Abe Pollin decided that the name "Bullets" was inappropriate for a city that had suffered so much gun violence over the years. Pollin said that "Bullets" originally meant "faster than a speeding bullet" but said that the connotation had changed.
However, legions of old Bullets fans remain nostalgic about the old Bullets and the name. The name "Wizards" never really stuck with most fans.
The SuperSonics moved to Oklahoma City in 2009 for financial reasons. It was a major blow to a city that has always supported its sports teams.
Partly for those reasons, the championships won by the Bullets in 1978 and the Sonics in 1979 are underappreciated. Seattle came close to getting a team back when the Sacramento Kings threatened to move earlier this year but the Kings stayed put.
When Grevey was asked if he would like to see Seattle get a team again, he answered before the question was finished, "You've got that right. I'd love to see Seattle get a team back. That would be really cool. The Washington-Seattle rivalry was long-lasting, with great traditional teams. I was hurt when Seattle left and went to Oklahoma City. I would love to see them back. I love that town. It's a fabulous city. We spent a lot of time there, and we really enjoyed it. In the northwest, those fans were so respectful. They were great fans.
"They had great players in Gus Williams, Jack Sikma, Freddy Brown and Dennis Johnson, Marvin Webster, Johnny Johnson. What a heck of a team they had. So much respect that we had for those guys."
Like many great players, the Big E and Unseld were labeled as stars who couldn't win the big one – until they won the big one and shook those labels.
"Whenever you have won, that's something that no one can ever take away from you. Because now that's what every player from high school on through, you want to be on a championship basketball team.
"Football, baseball…everybody talks about getting that ring—winning that championship. Because that's what it's all about. That sets you apart from every other team," Hayes said.
"So many great players play this game and never really get there, but then all of a sudden, it just happens. It's magical, the way this team came together."
All quotes from this article came from interviews conducted at the 35th anniversary celebration of the 1978 NBA Champion Washington Bullets April 5-6. All members of the championship team were in attendance except for Charles Johnson, who died of cancer in 2007, and Mitch Kupchak, who is the general manager of the Los Angeles Lakers.
Article also posted at Examiner.com.
Grading Top Rookies After 1 Month ✍
@Jonwass gives us his first impressions of the 2020 draft class ➡
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@danfavale tries to make sense of the most surprising let downs after the first month ➡
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Our writer decides whether every team's best trade chip should stay or go ➡
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1970s rocker now a 4-time Jeopardy champ
Posted 8:05 pm, December 20, 2018, by Tribune Media Wire, Updated at 08:06PM, December 20, 2018
Jackie Fuchs, aka Jackie Fox, played bass in the all-female rock band The Runaways as a teenager in the late 1970s. But "I don't want that to define me," she says.
Mission accomplished: Per LA Weekly, Fuchs became a four-time Jeopardy champion during a Wednesday taping in Culver City, Calif.
"This is redemption for me," she says of her $87,089 in winnings, which come after less-successful runs on The Chase and Who Wants to Be a Millionaire? in 2013. "I left it all out on the field, as they say," adds Fuchs, now a Harvard-educated entertainment lawyer and writer. "It really saps your brain energy … I was so brain-dead by the end of shooting that I got lost in the parking lot for about a half-hour."
A really nice article from @pitchfork about what it's like to be on @Jeopardy . https://t.co/fR4AsOrMGY
— Jackie Fuchs a/k/a Jackie Fox (@JackieFox1976) December 20, 2018
Her Jeopardy run began with a $14,200 win, per Fox News. She nabbed $19,889 in her second showing, and $24,600 in her third. She got better in her fourth, betting $14,000 on the Final Jeopardy question to take home $28,400.
She's had a few flubs, including missed questions on law and music. But "I got a Daily Double in Norse mythology," Fuchs tells LA Weekly. "People wouldn't expect me to know this old stuff, but I love it."
Of her switch from rock music to writer and attorney, she told host Alex Trebek, "I just get bored easily, I guess."
Fuchs, whose success comes after years of trying to get on the show, has been commentating on Twitter. Per LA Weekly, her tweets "are often just as entertaining as the game itself." She's set to appear on Thursday night's episode. (In 2015, Fuchs recounted a traumatic ordeal.)
Jackie Fuchs has a special message to share. pic.twitter.com/4xejOvVFxP
— Jeopardy! (@Jeopardy) December 15, 2018
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However it worked out and has come to pass, we are delighted to this afternoon present Caroline Fraser, winner of this year's Pulitzer Prize and National Book Critics Circle Award, here for her magnificent book, Prairie Fires: The American Dreams of Laura Ingalls Wilder (Picador USA), almost literally as it becomes available in paperback.
"An absorbing new biography [that] deserves recognition as an essential text.... For anyone who has drifted into thinking of Wilder's 'Little House' books as relics of a distant and irrelevant past, reading Prairie Fires will provide a lasting cure.... Meanwhile, 'Little House' devotees will appreciate the extraordinary care and energy Fraser brings to uncovering the details of a life that has been expertly veiled by myth." —The New York Times Book Review.
"Unforgettable... A magisterial biography, which surely must be called definitive. Richly documented (it contains 85 pages of notes), it is a compelling, beautifully written story.... One of the more interesting aspects of this wonderfully insightful book is its delineation of the fraught relationship between Wilder and her deeply disturbed, often suicidal daughter."—Booklist.
Prairie Fires was also one of the New York Times Book Review's prestigious '10 Best Books of the Year,' as well as the best of year lists for several other publications. Caroline Fraser is also the editor of the Library of America volume of Laura Ingalls Wilder's book and the the author of Rewilding the World and God's Perfect Child.
Prairie Fires: The American Dreams of Laura Ingalls Wilder (Paperback)
By Caroline Fraser
Sunday, August 12, 2018 - 3:00pm
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Sections Home
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AES-CO MARCH EVENT ANNOUNCEMENT: DAVE TREMBLAY, AVID
8 Houses Down
Location: 8 Houses Down Studios
2921 Walnut St.
http://8housesdown.com/contact/
GUEST SPEAKER: DAVE TREMBLAY, AVID
Audio Plug-ins and Platforms
Dave Tremblay is the Plug-ins Software Architect at Avid. He started out doing commercial audio software development 13 years working for BIAS Inc on titles like Deck, Peak, and SoundSoap. After leaving BIAS, he co-founded Sonoma Wire Works where he collaborated on the design and creation of a new audio recording application, RiffWorks. Dave eventually landed at Avid where he lead the design of the new Pro Tools plug-in platform, AAX.
• History of audio plug-ins and how they interact with DAW software.
• Overview of the current plug-in formats and plug-in market.
• Technologies that are driving changes into audio products and plug-in formats.
• DSP chips and their place in current technology.
Please note that this event may not be recorded.
Please remember that elections for Section Officers (Chair, Vice Chair, Treasurer and Secretary) will be held this year. If you are interested in running for any position, please contact section secretary David Bondelevitch atBondelev@me.com no later than April 1, 2012 so that you may be placed on the ballot.
Posted: Saturday, March 2, 2013
Schedule of Events Organized by members of AES Colorado
http://www.aes.org/events/133/
10:00 – 12:00 W1: Forensic Authentication of Digital Audio
14:15 – 15:45 B3: Broadcast Audio
14:00 – 16:00 T2: Forensic Digital Data Analysis
16:00 – 17:00 Technical Committee on Forensic Audio meeting, Chaired by Jeff Smith
17:30 – 18:30 Technical Committee on Networked Audio Systems meeting, Chaired by Kevin Gross
12:30 – 14:00 Education and Career/Job Fair. Visit the UCD/NCMF booths and chat with faculty about UCD undergraduate and graduate programs in audio recording arts and media forensics.
14:00 – 15:30 N2: Network Protocols
16:00 – 18:00 N3: Audio Networks Paradigm
11:00 – 12:30 N5: Interoperability Issues
11:00 – 12:30 LS11: Audio DSP In Time
Posted: Tuesday, October 16, 2012
October Event Announcement
RMAF
AES Colorado Event Reminder!
October Event Announcement:
Hot off the tails of our successful event at Sonic Sense (click here for section report), we want to announce our "Hang" for October!
The AES Colorado section is planning an informal gathering after the Rocky Mountain Audio Fest (RMAF) at 4:00 pm Sunday, October 14th, 2012. The RMAF is an annual convention for manufacturers and enthusiasts of high-end audio systems and related technologies. The show is at the Marriott Denver Tech Center. Exhibitors will have complete sound systems set-up in empty hotel rooms, and attendees are encouraged to bring their own audio sources and compare different components and systems. The festival is organized in part by the Colorado Audio Society (not affiliated with the AES), and has a $10 entry fee per day ($5 for students).
Local AES member and membership chair Jeff Merkel will be presenting a seminar on Measuring Loudspeaker and Room Performance for Everyone. Jeff's presentation is focused on measuring loudspeakers and small room acoustics, and interpreting and applying the results. Jeff's seminar runs from 2:30 - 3:30 pm on Sunday. We'll be meeting at the hotel lounge afterwards to discuss the event and other audio-related topics. Feel free to stop by even if you're not attending the Fest.
The Hang:
4:00 pm Sunday, October 14th, 2012
The Lift Restaurant & Lounge (on the south side of the hotel)
The Marriott Denver Tech Center
4900 S. Syracuse St.,
Denver, CO 80237 USA
(Click address for map to hotel)
www.marriott.com/hotels/hotel-information/restaurant/dentc-denver-marriott-tech-center/...
Posted: Tuesday, October 2, 2012
September AES-CO Event at Sonic Sense
Dear members of the AES Colorado Section,
Please join us for the next "Hang" of the Colorado Section of AES, September 26th from 6:30-9. This event is hosted by Sonic Sense, a Denver based pro audio retailor & systems integrator. Come for an opportunity to gather informally and meet with your fellow AES members from the area as well as lots of FREE BEER. Additionally, Sonic Sense will be providing a live demonstration of cardioid suboofer patterns for live sound as well as a casual studio monitors shoot out in their newly built control room. We'll have samples from Neumann, Genelec, KRK, Event, M-Audio, and ADAM. Feel free to bring yours along for a comparison or two.
What: AES-CO Hang
When: Sept. 26th, 6:30-9
Where: 1500 W Hampden Ave, Suite 3H
Sheridan CO 80110
*At the corner of Santa Fe & Hampden
(Click for Google Map)
Posted: Tuesday, September 4, 2012
46th International Conference of the AES on Audio Forensics
The 46th International Conference of the AES on Audio Forensics, June 14-16, is just around the corner. The full program is available online (www.aes.org/conferences/46/) and includes:
· Over 35 papers and posters from around the world on audio enhancement, authentication, speaker comparison, and more
· Vendor Exhibition including Conference Sponsors – DAC, iZotope, BCA – and more
· Keynote presentation on a re-analysis of the famous Watergate 18½ minute gap with Phil Mellinger
· Workshops include:
o Forensic Audio Enhancement. Presenters: Eddy B. Brixen (EBB-consult, Copenhagen, DK), Durand R. Begault (Audio Forensic Center, San Francisco, US), Mark Huckvale (University College, London, UK)
o WinHex for Forensic Audio Analysis – Introduction, Applications, and Scripting. Presenter: Douglas S. Lacey (BEKTEK LLC)
o Forensic Science and Expert Testimony: Insights and Strategies from the Advocate's Perspective. Presenters: Henry R. Reeve (Chief Deputy District Attorney and General Counsel, Denver District Attorney's Office), Peter Weinberg, PhD (Litigation and Trial Design Consulting, Litigare LLC), Joseph Mathews (Director of Government Relations, Milliman Care Guidelines)
· Evening events including a Historic Tour of Downtown Denver on Banjo Billy's bus
· And a special Pre-Conference Workshop at the NCMF on Forensic Voice Comparison with Dr. Geoff Morrison
Don't delay, register for the conference at the AES Website and book your room directly with the Warwick Hotel by May 14th to receive the discounted rate. Registration includes breakfast, lunch, and the cocktail reception.
And don't forget the 3-day classes at the NCMF on "Forensic Authentication of Digital Audio" and "Forensic Audio Enhancement" in the days before and after the conference!
See you there!!!
Jeff M. Smith
AES46 Conference Chair
National Center for Media Forensics
Posted: Monday, April 30, 2012
Free ProTools Mixing Seminar, Sonic Sense, May 10th
Sonic Sense, Inc is proud to announce another free educational workshop:
Pro Techniques for Mixing in ProTools
May 10th, 2012 at 6pm in Denver, CO.
RSVP by clicking on the image above or going to this link:
http://www.seattlesymphony.org/symphony/join/employment/#job99
Backstage Tour of the Cherry Hills Community Church Facility and A/V Systems
Date: Thursday, April 26, 2012, 7:00pm - 9:00pm
Cherry Hills Community Church
3900 Grace Blvd.
Scott Nelson, Production Director, will be hosting a backstage tour of the Cherry Hills Community Church (CHCC) at 7pm on Thursday April 26, 2012. CHCC has nearly 7000 members, a 3500 seat sanctuary, and utilizes state-of-the-art sound reinforcement, A/V, lighting, recording and broadcast technology. Scott recently completed overseeing significant upgrades to their A/V and lighting systems. In addition to getting a behind-the-scenes tour, we will also be discussing trends in house-of-worship A/V.
Attendance is free and open to AES members, students and non-members alike, so please feel free to forward this invitation to anyone who might be interested.
Cherry Hills Community Church was started 30 years ago in a small location on Orchard Road. Rapid growth resulted in an immediate move to a former school at Hampden and Colorado Blvd. The church quickly outgrew that location and purchased over 60 acres in the then new community of Highlands Ranch making the move in 1995. The church has a wide demographic of nearly 7,000 members making it a programming challenge each week to reach singles, young families and retired ages as well. While the worship is supported by a contemporary band, the church also includes a 250 voice choir that has recorded two CDs in the last 3 years with the City of Prague Orchestra. Each Easter Cherry Hills takes their main celebration service out to Fiddlers Green with a remote video link back at the church for those that prefer not to brave the elements.
With the current location, and its technical systems, over 15 years old, a major renovation was needed. The completion of renovation of sound, video and lighting has recently taken place. The lighting system now features over 70 robotic instruments and video has fully converted to 16 x 9 with full HD. The audio system is quite unique as it includes a 6.1 surround system in the 3,500 seat worship center. Audio transport is handled by one of the largest installed Optocore fiber systems. Mixing duties are handled by two of the new DiGiCo SD10 consoles and the main speaker system is comprised of Magnetic Audio Devices speakers, based on their planar technology.
Cherry Hills Community Church has a team of full-time technicians, but relies heavily on a crew of capable volunteers. Come tour the facility and meet many on the team responsible of implementing creative worship plans each week.
Posted: Saturday, April 7, 2012
Sonic Sense Workshop
This is not an official AES event.
Sonic Sense, Inc is proud to announce a free educational workshop: Solutions for Worship Audio April 9th, 2012 at 6pm in Denver, CO.
Featuring Doug Gould, a 26 year veteran of the music industry, who has been in upper management and technical direction for companies like Shure, Tascam and Emu.
Sonic Sense, Inc 1500 W. Hampden Ave., Suite 3H Sheridan, CO 80110
Some of the topics that will be covered are: • Utilizing the Presonus StudioLive line of consoles for live recording and internet streaming. • Integrating Apple's iPad and iPhones with the Presonus StudioLive consoles. • An in depth lesson on how to record up to 32 channels of audio for virtually immediate
upload to the web. • How to improve a room and optimize a sound system without a budget. • Advanced solutions for wireless mics and monitors.
We are proud to have Doug Gould as one of the speakers for this event. Doug is recognized as one of the foremost authorities on worship sound and microphone applications and is a respected author and faculty member for Integrity's Seminars4Worship, Christian Musician Summits, Worship Arts Technology Summit, School of Audio for International Worship Institute, Worship Together Live events, and more. Doug has over 26 years of experience in management roles with companies like Shure, Tascam and E-mu Systems, and was instrumental in bringing artists such as Chris Tomlin, Israel Houghton, Paul Baloche, David Crowder, Charlie Hall, Mercy Me, and Jeff Deyo into the Shure Artist Relations Program.
The program will also include C.J. Lewis. C.J. a freelance keyboard player/producer and technologist with over 20 years of experience in the music industry. As principal of Digital Revolution Marketing, CJ is the regional product representative for Presonus, Mogami, Genelec and many others.
Please RSVP as soon as possible, space is limited. RSVP's and any questions can be directed to Justin Long at 303-753-0201 or long@sonicsense.com.
Every attending organization will also be entered to win a free custom sound system evaluation from Marc Nutter and Preson Smits of Sonic Sense, Inc (a $900 value). Marc and Preston have done system design and installations for church from 200 seats to 5,000 seats and have years of experience in system design.
There will also be individual product give-aways such as Presonus' Studio One 2.0 Pro Software, a Presonus AB22VSL interface, T-Shirts, door hangers, etc.
We at Sonic Sense are committed to an expanding schedule of events and classes. Please let us know if you would like to join our email list.
AES-CO Hang and Open Mic at the Walnut Room
Join the Colorado Section of AES at our March "Hang".
What: AES-CO Hang and Open Mic at the Walnut Room
When: Wednesday March 21. 7:30 Hang, 8:30 Open Mic
Where: The Walnut Room, 3131 Walnut St, Denver, CO, 80205
(http://www.thewalnutroom.com/)
Price: Free (no cover)
Posted: Sunday, March 4, 2012
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Mickaël Pizzo est un footballeur français né le  à Saint-Denis (Seine-Saint-Denis). Il évolue au poste de milieu de terrain.

Biographie

Formé au Red Star, ce natif de Saint-Denis est porte drapeau, à l'occasion du match inaugural du Stade de France, France-Espagne, le .

En 2001, il quitte son club formateur pour rejoindre le club écossais de Kilmarnock. Il n'y reste qu'une saison et décide de rentrer en France.

Il signe alors à Grenoble, club qu'il quitte en  pour s'engager avec Sénart-Moissy, équipe de CFA. En 2006, il rejoint Avranches, club de CFA 2, avant de signer à Poissy en 2007.

En 2009, il signe un contrat d'entraîneur avec le club de Plaisir pour entraîner les moins de 19 ans et jouer avec les seniors.

Il entraine la réserve de l'équipe de nationale 2 de Poissy.

Carrière
 1989-2001 :  Red Star
 2001-2002 :  Kilmarnock
 2002- déc. 2004 :  Grenoble Foot
 déc. 2004 -2006 :  US Sénart-Moissy
 2006-2007 :  US Avranches
 2007-2009 :  AS Poissy
 2009-2010 :  Football Olympique Plaisirois
 2010-2011 :  J.C. Drancy

Statistiques
 4 matchs en Coupe de l'UEFA
  24 matchs en Ligue 2
  13 matchs et 1 but en 1 division écossaise

Notes et références

Liens externes

Footballeur français
Naissance en mars 1979
Naissance à Saint-Denis (Seine-Saint-Denis)
Joueur du Red Star
Joueur du Kilmarnock FC
Joueur du Grenoble Foot 38
Joueur de l'AS Poissy
Joueur de l'US Avranches
Footballeur préformé à l'INF Clairefontaine

redpajama_set_name: RedPajamaWikipedia


How many rings of power were given to Mortal Men?
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100% 925 Real Sterling Silver Beautiful Chain Necklace Jewellery.
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100% Genuine 925 Sterling Silver Jewellery Crystal Heart Pendant Necklace. Mother and Child Jewellery Love Necklace.
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Acupuncture is one of the oldest forms of proven medicine. Acupuncture uses fine needles to target the nerve meridians that, according to Traditional Chinese Medicine, run throughout the body. By stimulating specific points on the nerve meridians, qi is unblocked to flow evenly through the body and health is restored.
See Zeel massage therapists for acupuncturists in each location.