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Q: An outer measure is countable-additive on the measurable sets Given an outer measure $\mu^*$, i'm trying to prove that for any set $E$, and a countable number of distinct (pairwise) $\mu^*$-measurable sets $\{A_i\}_{i=1}^\infty$:
$$\mu^*\left(E \cap \left(\bigcup_{i=1}^\infty A_i\right)\right)= \sum_{i=1}^\infty \mu^*\left(E\cap A_i\right)$$
One inequality is obvious thanks to sub-additivity, but i'm having troubles with the other.
I figured out that i could maybe show
$$\mu^*\left(E \cap \left(\bigcup_{i=1}^\infty A_i\right)\right)\ge \sum_{i=1}^n \mu^*\left(E\cap A_i\right)$$
and then take the limit.
For that I would need to show only that
$$\sum_{i=1}^n\left( E\cap A_i\right)=\mu^*\left(\bigcup_{i=1}^n E\cap A_i\right)= \mu^*\left(E \cap \left(\bigcup_{i=1}^n A_i\right)\right)$$
If i'm right and all of this is really necessary, I guess that i'd need to prove that:

*

*for finite number of measurable subsets, the union is measurable

*finite-additivity for measurable sets.

I managed to prove the first for my outer measure $\mu^*$, but about the second - it is easy to show that for measurable subsets, but after doing all that I realised that $E \cap A_i $ does not have to be measurable itself.
Is anything of what I did useful to prove what I wanted?
How can I complete, or what steps should I take in order to prove it differently?
Thanks!

A: You can show the finite case with finite induction on $n$. It works because the disjoint union is monotone increasing in terms of containment as $n$ increases. For the infinite case observe that for all $n$
$$
E\cap\bigcup_{k=1}^\infty A_k=\bigcup_{k=1}^\infty E\cap A_k\supseteq\bigcup_{k=1}^nE\cap A_k
$$
so that
$$
\mu^*(E\cap\bigcup_{k=1}^\infty A_k)=\sum_{k=1}^\infty \mu^*(E\cap A_k)\geq\sum_{k=1}^n\mu^*(E\cap A_k).
$$
Since the LHS doesn't involve $n$, taking the limit finishes the proof!

More detail:
First I accidentally reversed the set names, see my edits above. Second, for the finite case, since each $A_k$ is measurable then for any set $E$ we have by induction:
$$\begin{align*}
\mu^*(E\cap\bigcup_{k=1}^nA_k)&=\mu^*((E\cap\bigcup_{k=1}^nA_k)\cap A_n)+\mu^*((E\cap\bigcup_{k=1}^nA_k)\cap A^C_n)\\
&=\mu^*(E\cap A_n)+\mu^*(E\cap\bigcup_{k=1}^{n-1}A_k)\\
&=\mu^*(E\cap A_n)+\sum_{k=1}^{n-1}\mu^*(E\cap A_k)\\
&=\sum_{k=1}^{n}\mu^*(E\cap A_k)\\
\end{align*}
$$

A: If $m^*\left(A \cap \bigcup_{k=1}^\infty E_k\right) = \infty$, the reserve inequality holds trivially.
If $m^*\left(A \cap \bigcup_{k=1}^\infty E_k\right) < \infty$, we can find a $G_\delta$ set $G$ that contains $A \cap \bigcup_{k=1}^\infty E_k$ and satisfies
$$
m^*(G) = m^*\left(A \cap \bigcup_{k=1}^\infty E_k\right)
$$
Since $G$ is measurable, we have
\begin{align*}
    m^*\left(A \cap \bigcup_{k=1}^\infty E_k\right) &= m^*(G) \\
    &\geq m^*\left(G \cap \bigcup_{k=1}^\infty E_k\right) \\
    &= m^*\left(\bigcup_{k=1}^\infty (G \cap E_k)\right) \\
    &= \sum_{k=1}^\infty m^*(G\cap E_k) \\
    &\geq \sum_{k=1}^\infty m^*(A\cap E_k)
\end{align*}
where the fourth line follows because $G \cap E_k$ is measurable for all $k$ and the inequalities follow from the monotonicity of outer measure.

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Troopers, NTSB recover victims of fatal plane crash near Seward
Saturday, June 22nd 2019, 2:09 PM AKDT
Sunday, June 23rd 2019, 2:34 PM AKDT
Alaska State Troopers confirmed the bodies of two passengers were recovered Saturday in the fatal crash near Little Johnstone Bay.
Troopers spokesman Ken Marsh says their remains, along with those of pilot Kem Sibbit, were flown to Seward and will be transported to the State Medical Examiner's Office.
Marsh says the state medical examiner will identify the passengers' bodies. Next of kin will be notified before their names are released.
Alaska State Troopers and the National Transportation Safety Board are investigating and working to recover victims of a fatal plane crash near Little Johnstone Bay southeast of Seward.
Troopers say they received a report of the crash at approximately 6 p.m. Friday. Rescue personnel with Alaska Army National Guard were also alerted.
Before rescuers arrived on the scene, troopers say a Seward commercial helicopter confirmed there were no signs of life on the aircraft.
According to NTSB Alaska regional chief Clint Johnson, the crash involved a single-engine plane. The site is on land but is only accessible by air and water, Johnson said.
The pilot of the Helio Courier has been identified as Kem Sibbit, 63, of Fairbanks.
It is believed that two other passengers were on the plane but they have not been positively identified, according to the troopers.
NTSB releases preliminary report on fatal Wasilla plane crash
Big Lake man named as pilot killed in Wasilla plane crash
2 Alaskans dead after plane crash in Canada's Yukon

redpajama_set_name: RedPajamaCommonCrawl


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limestone is process to make what
Limestone—A Crucial and Versatile Industrial Mineral Commodity
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Limestone aggregates obtained from marble, travertine, and fossiliferous limestone rocks have various decorative uses in indoor & outdoor projects. The versatility of Crushed Limestone If you ever check the different application areas of crushed limestone aggregates, you may realize the versatility of it because it has a wide range of applications and suitable for residential, commercial, and ...
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Limestone Hall. 1,528 likes · 5 talking about this · 3,287 were here. Limestone Hall, at the Historic Courthouse is now booking end of 2021 events. The third floor is a full-time event space, and can...
Limestone - Wikipedia
Limestone is a common type of carbonate sedimentary rock. It is composed mostly of the minerals calcite and aragonite, which are different crystal forms of calcium carbonate (CaCO 3). Limestone forms when these minerals precipitate out of water containing dissolved calcium. This can take place through both biological and nonbiological ...
Calcium carbonate - Essential Chemical Industry
Limestone is also the main constituent of cement and concrete. In cement making Cement is made by first mixing limestone and substances such as clays (which contain silica, alumina and iron(III) oxide) to a fine powder. The mixture is crushed and fed into a rotary kiln, which is an iron pipe, 60-90 m long and approximately 6 m in diameter.. The pipe is rotated and heated to about 1700 K by ...
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9/2/2021· A specialized form of limestone is used to make hydraulic lime. The limestone is mixed with clay then fired in a kiln to high temperatures. This process removes much of the moisture from the lime and also produces mineral by-products known as silicates. The
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11.17.1 Process Description 1-5 Lime is the high-temperature product of the calcination of limestone. Although limestone deposits are found in every state, only a small portion is pure enough for industrial lime manufacturing. To be classified as limestone, the
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4/3/2013· Shells and Limestone are fairly inert and stable as they are, but make a good soil amendment for acidic, calcium poor soils. *Quicklime is not very much used as it is. It is highly unstable and quick to react with water to form Calcium Hydroxide powder or putty, which is very useful.
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Fear Complex: How Five Nights at Freddy's Overcomplicated It's Scares
Examining how the gameplay alterations to Five Nights at Freddy's make it less scary with each new sequel.
Let me start by saying I wish the creator of this series, Scott Cawthon, all the best. The first Five Nights at Freddy's took a genuinely simple concept, and created a new type of horror experience that was unbelievably tense and nerve-wracking. I've read that the first game was his last attempt to make a hit before he would have chosen another career path, so I'm glad it kept him in the industry, and I'm glad for the success it and it's sequels have giving him.
However, I've enjoyed each sequel less and less. And while part of this is due to general familiarity ( they're all basically the same concept, and were all released roughly within the same year), I can't help but feel that it's because the mechanically simple, elegant design of the original game has gotten muddled in each of the sequels, creating games that are less scary and far more frustrating than originally intended.
The original had a mechanically simple set-up: You must stay in a room from 12am to 6am and keep monsters out of it until the morning comes. Functionally, this meant keeping track of two meters—the time of night, and how much power you had left ( with the "usage" meter giving you feedback on how much power you were using at the given moment).
The challenge came with the three actions your character could take: either look through the cameras and track the baddies, hit the lights outside your door to make sure they weren't there, or closing your doors if they were. You didn't have enough power to simply shut your doors all night, and each action drained away at your power in different amounts, and combining actions (such as closing both doors and flicking the lights to see if the baddies had left) would drain it even further.
It was a simple set-up to a tense, scary game. But it's the simplicity that allowed it to be so scary—despite the multitude of inputs the player had, in the end they all boiled down to the one power meter. There were only two ways to die: failing to keep your power until 6am, or failing to notice a baddie outside your door and locking it in time. It created a tense form of play where you'd fight to conserve as much power as possible for those sudden moments where you needed to seal the room up tight.
The sequel, Five Nights at Freddys 2, amped up the difficulty considerably by adding more complexity to everything. In the first game, you had two openings to watch. In this you have three, as well as a series of vent systems besides the main rooms to examine. In the first game, you had four possible enemies that would come for you (excluding the golden Freddy hallucinations). In the sequel, you have the original four, redesigned versions of them, and new enemies like balloon boy and the killer puppet (FUCK that puppet). On top of this, enemies now need to be dealt with in different ways.
First, the instant death puppet. During the game, you must constantly wind up a music box. Failure to do so results in an instant death. Get used to this face:
While you're busy keeping the puppet's music box playing, you must deal with the other enemies. The main character doesn't have the luxury of shutting doors to keep monsters out this time—instead, if they get to close, he can "disguise" himself as one of them. This involves quickly putting on a mask to fool them and wearing it until the threat dissipates.
Third is the flashlight. The flashlight "stuns" all enemies momentarily, but is the only way to keep Foxy from rushing your room (the mask trick does not work on him). This is tied to a meter that slowly dwindles with more use, similar to your power meter in the first game.
That is A LOT of added complexity, and for me, I found it to be a lot of added frustration. While the first two nights in the game seemed scarier due to the added worries, the fear very quickly turned to anger as I found juggling all of these inputs far more irritating than scary.
Now you have multiple mechanics that aren't dependent on one another. Your flashlight is tied to a different meter than the music box, which are independent of the mask. The increase of things to keep track off is supposed to ratchet up the stress, which is does, but mainly because you will die over and over again trying to keep all of these plates spinning. I'm a guy who can enjoy a challenge, but survival horror titles must always tread the line between giving you enough of a threat to always feel uneasy, without being overly burdensome ( as every time the player dies they get more and more removed the from the experience). The altercations to Five Nights 2 left me furious, and I had to force myself to finish the game.
And now the third one is upon us, with a very different set of mechanics.
At first, it seems like a step in the right direction. Now there is only one monster, and there are only two ways it can enter your room. You look through a camera system to survey the rooms and vents as before, but now you can play audio in each room to make the monster scatter to another, stay in the room it's in, or lead it to a place you want it to go. If you find the monster in the vents, you can seal the vent it's in and prevent it from getting closer to you.
What's the wrinkle? Well, as opposed to having to conserve power for these systems throughout the night, they will all continually fail and need to be rebooted. You can do so one system at a time, or redo the whole thing, but it generally takes 10-15 seconds ( depending on if it's a partial reboot or full) to get everything back online. If your cameras go out, you can't track the monster. If the audio goes out, you can't lead it anywhere away from you. And if the ventilation goes out it's hallucination city, as you get jump-scared to oblivion by all of the characters from the previous games ( luckily none of them can kill you). From what I can tell, receiving a hallucination usually knocks out another system in addition to the ventilation.
In some ways this is a much smarter, tighter set-up than the previous game. Each of these systems are tied to one master input, as in the first game. There are fewer mechanics to juggle, and the idea that any of these systems could fail at anytime leads to some interesting new wrinkles. There is one element from the previous games that was removed that makes this one more frustrating: a last minute stop device for players.
In the original, you could shut the doors for a for moments. In part two, you put on a mask for a few moments. This third game has no such option. If the creature reaches you, you are dead.
Why is this a problem? Simply put, I've experienced ( and watched several others experience) moments where the monster makes it to the door, and the player is forced to have a staring contest with it, because there is simply no way to stop it at that point, but it's not an instant game over. Only when you bring up your console screen will the jump scare that ends your life occur.
This means there are situations where I actually hastened my own death because I knew I had a game over and needed to retry again. This removes the unpredictability, because I know that the monster will remain there until I put up my screen—in essence, I'm in control of it killing me at that point.
Read that again: In a horror game, I made the monster kill me just to end the level and try again. That is the definition of becoming overly comfortable with a horror game.
Also, to be frank, the third game does a terrible job of explaining how anything works, and it took quite a bit of trial an error just to UNDERSTAND the mechanics ( a fault I have no doubt the creator realizes, since you're given the entire first night to tinker with the controls without any fear of monsters).
Remember horror designers—you want your mechanics to be instinctive. Obfuscating how they work to make players more nervous may give the opening of the game a short adrenaline boost, but they will fail you in the long run. The more the player has to THINK about what to do, the less in the moment they are. You never want the player to be so focused on juggling or understanding a bunch of systems that the scares don't effect them. While I would argue that the third game does better than part two in this respect, I still feel the sheer, simple brilliance of the original was the high point of the series mechanically.
There's lots of talk that this will be the last Five Nights at Freddy's game, and personally, I think that's a good thing. The mechanics have been experimented with about as much as they can at this point ( for better and for worse), and now seems to be the right time to bow out and try a new project. And despite my misgivings with how the mechanics evolved in this series, I will be eager to see what the future holds for Mr. Cawthon.


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L'équipe de Belgique de hockey sur gazon représente la Belgique dans le hockey sur gazon international masculin et est contrôlée par l'Association Royale Belge de Hockey, l'instance dirigeante du hockey sur gazon en Belgique.

La Belgique a remporté la Coupe du monde masculine de hockey sur gazon en 2018, le championnat d'Europe en 2019, la Ligue professionnelle 2020-2021 et la médaille d'or aux Jeux olympiques d'été de 2020. Ils ont également remporté une médaille d'argent et une médaille de bronze aux Jeux olympiques d'été de 2016 et de 1920, respectivement. Ils ont atteint huit demi-finales au Championnat d'Europe depuis 1995, dont une troisième place en 2007 et des finalistes en 2013 et 2017.

Histoire
Le hockey a été introduit en Belgique en 1902. Le premier club du pays a été fondé en 1904. En 1907, plusieurs clubs ont créé l'Association belge de hockey. La Belgique a joué son premier match international contre l'Allemagne et a été l'un des membres fondateurs de la Fédération internationale de hockey (FIH).

Entre 1920 et 1978, la Belgique a participé à deux des trois premières Coupes du monde et à onze des treize Jeux olympiques d'été. Après les premières années couronnées de succès (avant les années 1950) avec trois fois parmi les cinq meilleurs aux Jeux olympiques d'été, cela durera six décennies avant que la Belgique n'atteigne à nouveau le sommet international du hockey sur gazon à partir des années 1990.

Au début des années 2000, l'Association Royale Belge de Hockey a commencé à investir massivement dans la jeunesse et a modernisé ses structures. En 2007, la Belgique a remporté la médaille de bronze au Championnat d'Europe, une première dans l'histoire du pays. La Belgique s'est également qualifiée pour les Jeux olympiques d'été de 2008, pour la première fois en 32 ans.

La Belgique a remporté une médaille d'argent aux Jeux olympiques d'été de 2016, une deuxième médaille après que la Belgique ait terminé troisième aux Jeux olympiques d'été de 1920 à Anvers. Deux ans plus tard, la Belgique a remporté la Coupe du monde 2018. Il s'agit du premier titre international majeur de l'histoire du pays. Un an plus tard, la Belgique a remporté la médaille d'or au Championnat d'Europe qui s'est déroulé à Anvers. Ils ont obtenu leur deuxième médaille olympique consécutive en gagnant le match pour la médaille d'or aux Jeux olympiques d'été de 2020.

Honneurs
Jeux olympiques
  Champion : 2020
  Vice-champion : 2016
  Troisième : 1920

Coupe du monde
  Champion : 2018
  Vice-champion : 2023

Championnat d'Europe
  Champion : 2019
  Vice-champion : 2013 et 2017
  Troisième : 2007 et 2021

Ligue professionnelle
  Champion : 2020-2021
  Vice-champion : 2019 et 2021-2022Ligue mondiale  Vice-champion : 2014-2015Champions Challenge  Champion : 2011
  Troisième : 2005Trophée national du Mérite sportif Vainqueurs : 1959 et 2019Sportif belge de l'année Vainqueurs :' 2012, 2016, 2018, 2019 et 2021

 Histoire dans les tournois Une case rouge autour de l'année indique un tournoi joué en Belgique. Jeux olympiques

 Coupe du monde

 Championnat d'Europe

 Ligue professionnelle

 Ligue mondiale (défunt)

 Champions Trophy (défunt)

 Champions Challenge (défunt) Les matchs nuls comprennent les matchs décidés aux tirs au but. Équipe
 Composition actuelle
Les 22 joueurs suivants ont été nommés le 12 octobre 2021 pour les matchs de Ligue professionnelle contre l'Allemagne les 16 et 17 octobre 2021.Sélections mises à jour au 16 octobre 2021, après le match contre l'Allemagne.''

Entraîneur :  Michel van den Heuvel

Appels récents
Les joueurs suivants ont été appelés pour l'équipe nationale au cours des 12 derniers mois ou font partie de l'équipe d'entraînement actuelle.

Voir aussi
 Équipe nationale féminine

Références

Liens externes
 Site officiel de l'Association royale belge de hockey
 Profil FIH

Belgique
Équipe de Belgique de hockey sur gazon
Lauréat du Trophée national du Mérite sportif

redpajama_set_name: RedPajamaWikipedia


text:
Santa's North Pole Experiences Success Implementing Japanese 5-S Strategy
Post author:prodadmin
With all the buzz about lean strategies we thought we'd take a moment to share with you some insight into the latest buzz on supply chain strategies. While this strategy isn't necessarily new, the Japanese 5-S Strategy has received a lot of press in supply chain circles in 2010.
While the concept was designed for manufacturers, we think it applies to every company. MaxQ will soon be moving to our new offices and as we look at all the stuff we've accumulated over the last 10 years, we may give the 5S strategy a shot. We were struck by how easy the concept is, yet how difficult it is to start and maintain. So take a look around your own workspace and see what improvements you might be able to make in 2010. The following is a primer we wrote to explain the Japanese Lean Strategy called The 5 S's set in a very familiar setting. If you never saw the 1964 animated classic TV special "Rudolph The Red Nose Reindeer", we feel very sorry for you.
Enjoy and Happy Holidays from all of us here at MaxQ Technologies.
North Pole Experiences Success Implementing Japanese 5-S Philosophy
Even the North Pole is not immune to taking a hard look at Lean strategies for their business. In an effort to streamline 2010 operations, reduce costs and improve elf relations The North Pole began a major initiative after the 2009 Christmas season as part of their 5-year Lean Implementation plan.
After much contemplation and surfing the net for the latest in business trends, Santa Klaus, CEO and President of the North Pole, rounded up his management team last January for an exploratory meeting to see if The 5 S's strategy might be a complementary approach to their Lean initiatives.
The 5-S Strategy is based on 5 Japanese words that begin with the letter S, and focuses on workplace organization and the standardization of work procedures to maximize efficiencies. By reducing waste and non-value-added activity, manufacturers and distributors simplify their work environments which maximize quality, efficiency and safety.
Implementing Lean Manufacturing initiatives over the past 5 years has not been easy for The North Pole.
"Years ago kids were satisfied with Tinker Toys, Hot Wheels, or Twister," said Heinrich Frieze, CFO, North Pole. "We used to rely on receiving hand written lists from our customers which helped us manage inventory, but that model is a thing of the past. Today we're moving so fast monitoring Facebook and Twitter, and adapting to changes in demand, that we leave a wake of clutter and mess behind that actually decreases our ability to improve efficiencies."
"Implementing The 5-S Philosophy is an easy concept, but staying with it is another matter," said Yukon Cornelius. "We've been diligent about maintaining our new changes and experienced a fantastically smooth 2010 season thanks to the changes we implemented."
SEIRI (Sort)
The first S of the strategy focuses on eliminating unnecessary items from the workplace. In the first quarter of 2010, North Pole elves placed a red tag on all items in their workplace that was not required to complete their job. The Sort process is for evaluating "red tag" items. Items that were used occasionally were moved to other areas, while unneeded items were discarded. Sorting provided a way to free up valuable floor space and eliminated things like broken tools, old cardboard game spinners, scrap and excess raw material. An added benefit for the North Pole was that this phase assisted in combating the "just-in-case" hording tendencies prevalent among elves.
SEITON (Set In Order) is the second S and focuses on efficient and effective storage methods. Each elf was required to ask themselves:
1.) What do I need to do my job?
2.) Where should I locate this item?
3.) How many of this item do I need?
In the second quarter of 2010, the shop floor at The North Pole decided to paint their floors to outline work areas and specific locations. They installed modular shelving and cabinets to better organize items like trash cans, tape, gift wrap, Allen wrenches, etc.
"These items should be readily available to all elves and in a place where all elves can find them," said Clarice Thedoe, who became certified to implement The 5-S Strategy for The North Pole. "Once we eliminated the debris that cluttered up our workspace, and found proper homes for items that we use, the next step was to thoroughly clean the area."
SEISO (Shine)
"Seiso means Shine. With daily shining we consistently keep areas neat and efficient," Clarice continued. "The idea is that clean and clutter-free work areas help to create a feeling of ownership in both the equipment and our facilities. Elves are now able to notice much more quickly when our ribbon bow machine is misaligned, or if the gift boxes are produced off-spec. Items like these, when left unattended, could lead to equipment failure and loss of production. Our Xbox demand is just too high for us to risk anything that could impact our production lines."
SEIKETSU (Standardize)
Late in Q2 of 2010 the fourth stage of the strategy began to standardize best practices in each work area. "We felt it was critical that Elves participate in the development of best practices as they are an often overlooked source of information regarding how daily work can be better streamlined," said Cornelius.
SHITSUKE (Sustain)
"I'd say the most difficult stage to implement and maintain was the last stage of Sustaining. Elf nature, like human nature, is to resist change. Many organizations take months to complete their first 4 S's only to find themselves in a dirty, cluttered shop a few months later. The tendency to return to the status quo of the "old way" is a constant obstacle to a successful implementation, but with a little hard work and determination we saw the benefits of implementing this strategy this Christmas season."
Morale is up evidenced by a recent survey of Elves who for the last six months have been working in clean and organized work areas. Best practices are fully defined and the elves are enjoying the results of executing work flows the most efficient way. The good cheer has bled over to the transportation department who no longer has to wait around in freezing temperatures caused by the elves missing fulfillment and shipping deadlines.
"Overall, we're quite happy with our 2010 season results," beamed Klaus. "Continuous improvement has lead to less waste, better quality and faster lead times. We were able to execute 30% more on-time shipments this year over last year and are much more organized in how we process orders through Amazon, Wal-Mart.com and Best Buy. The online world creates a constant challenge for us, but through our Lean initiatives we are poised to rise to the challenge and look forward to a spectacular 2011 Holiday Season."
We hope you have a wonderful Holiday season and best wishes for a happy, healthy and prosperous New Year.
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Take me out to the ballgame, take me out with the crowd of LED-sign brandishing robots. Sounds odd, right? It looks odd, too… seeing faceless avatar robots sitting where human beings once sat in a baseball stadium.
That's the new normal for the Hanwha Eagles, though. They recently deployed a squadron of creepy automatons to help lift the spirits of their fans — fans who have been struggling to keep a positive outlook while watching their team's win-loss record become increasingly lopsided for the past five years.
The Eagles have piled up more than 400 losses. That's an average of 80 per year, which would mean near-500 ball for an MLB franchise. In Korea, however, they play closer to 130 (128 starting in 2013 and 133 before that), which puts the Eagles more around the .390 mark. That has led to empty seats in the stadium, and an increasing number of fans watching from a distance on their phones, tablets, and home computers.
Perhaps a robotic injection of team spirit can help turn the tide. In tech-forward Korea, fans and players actually seem pretty keen on the new metallic cheerleaders. Former Minnesota Twin (and fellow Canuck) Andrew Albers "think[s] it's a pretty neat idea," and that they're helping to keep the crowd fired up.
The bots can lead chants, and they've each got an LED placard they can hold up to spell out messages just like their rowdy human counterparts. They can even get the wave started when it's called for.
But the icing on the cake is this: you can actually upload an image of your face and it just might be displayed on one of the robots during the game. Can't make it to the game because of work? Don't have money for a ticket? No problem. Just snap a selfie and post it.


text:
Looking For Ghosts
Horseteeth Ringen. The phrase sounds like a Russian greeting in translation or perhaps a salute before tossing down a shot of whiskey at an Irish racetrack. It isn't either. It is a boy's name.
When I was a kid in Northwest Indiana my father stopped the car across from a vacant lot near the Shell Station on the North side of town. "That," he said, "use to be Brown's Field where we played pickup baseball when I was growing up. Horseteeth Ringen hit a home run here one day, touched first, second and third, and then as he touched home plate, collapsed and died of a heart attack."
I was mortified. A little bit because the thought of a twelve year old kid having a heart attack was frightening, but mostly because this poor kid, who could be me, had the nickname, "Horseteeth." Even with the backlash against political correctness this couldn't happen today.
But nicknames were still around in the 50s and 60s. There was kid who played basketball at my college that was called "The Kosiosko County Jumping Jack." My two favorite nicknames are both from baseball, one for one of the greatest first basemen of all time, "Stan the Man Musial," and the other a pun on Musial's nickname given to a relief pitcher named Don Stanhouse whose combination of Harpo Marx hair and primal screams led an ESPN wag to give him the nickname, "Stan the Man Unusual."
Today most nicknames are the first letters of a teammate's first and second names; K.D., C.J., T.K., or hybrids of the first name with a couple of letters tacked on, Kimmer, Jimmer, and Emster. I wonder if in the South "Bigun" is still popular? Horseteeth, Badfeet, Enormous Head, Slowtwitch and Smelly would be snipped off in the first encounter with organized sport, which for most kids is about three.
Some of you may be wondering if the story about Horseteeth is true. It is, but because it took place in the 1930s you are going to have to take my word for it. If it happened after 1994 you could look it up. Horseteeth would likely be on Facebook or Myspace and possibly have an account with Friendster, Linkedin, Twitter or Classmates.com. If Horseteeth's last name was Swenson you could possibly find him on Lunar Storm, a networking site in Sweden, and if he had a true disability, not just bad teeth, you might find him on disaboom, a network for people with MS, cerebral palsy and other health issues.
But of course Horsetooth died before any of this existed. Horsetooth died before television and Pez dispensers. If he collapsed after hitting a home run in 1994 you could google his name, search for him on pipl.com, and chances are you would find an archived news story about an unfortunate kid who collapsed in a field in Crown Point, Indiana with an undetected heart defect, while playing an unauthorized game of baseball next to a Pennsylvania Railroad roadbed where the tracks had been ripped up thirty years ago.
She would be fifty-six years old now; five foot ten inches tall, although if she were still wearing the Afro she had when I first met her, her personality, her presence and her hair would make her seem much taller. Her most distinguishing characteristic besides her skin color would be the fact that she is left-handed.
Carolyn Hawkins was from Henderson, North Carolina nineteen miles and 45 minutes North of Louisburg College one of the oldest two-year colleges in the United States. Louisburg College was chartered in 1787, held its first classes in 1805, and became Louisburg Female Academy in 1815. In the early part of the twentieth century it became affiliated with the Methodist Church and reorganized as a junior college.
Carolyn and I both arrived on the Louisburg campus in the Fall of 1974, she as one of the first female athletes to be recruited on an athletic scholarship, while I was hired to teach English and coach men's golf and tennis. Neither of us was prepared to be a part of the first women's volleyball team that Louisburg College fielded and both of us assumed our roles, mine as coach and Carolyn's as player, by happenstance.
Carolyn was recruited to play on Louisburg's first women's basketball team by the head coach, Sam White, a confirmed bachelor who had spent most of his life coaching baseball at multiple levels in small towns throughout the South. I became the volleyball coach one week before practice began when the President of the college overheard a conversation at a dinner party that I had played for a men's team in Chicago.
Both of us assumed our roles because we were asked. Carolyn was encouraged to tryout for the volleyball team by her high school basketball teammate, Debbie Tyson, who was also recruited to play basketball at Louisburg, and who would later go on to become the head volleyball coach at the University of Virginia. I said yes to the President when asked, although I thought he was talking about a men's volleyball team. I was no more aware of the fact that Title IX legislation had been passed the year before providing opportunity for women in sports than I was that woods and ponds North of the College were home to copperheads, water moccasins, abandoned tobacco barns, and large mouth bass bigger than possums.
Carolyn had two nicknames: Hawk and Turkey. The first was an abbreviation of her last name but also conveyed the change in alertness that came over her in competition. The second was a high school nickname that I assumed referred to her ability to become the center of good-natured kidding about her tendency to be oblivious to whatever was happening whenever she was not in competition.
On a team of fifteen players, none of whom had ever played organized volleyball, her number was eighteen, which was only possible because we made our own uniforms from shirts and cloth bought in Raleigh. The numbers were sewn on by a lady who was friend of Dr. Ruth Cook, who served as Louisburg College's first senior women's administrator, and who watched women's basketball and volleyball competition from a lawn chair perched on a stage in the gymnasium.
Because we ran a 4-2 with the setter positioned at the net in the middle of the court, Carolyn was both a left side and right side attacker, although using those terms would indicate more tactical preparedness than was actually the case. She was the first player in the history Louisburg volleyball to spike the ball, and by the end of her sophomore season was probably the second best attacker in a state that has as many Division I schools as any in the country.
Her development as an attacker allowed her to earn a full volleyball scholarship to the University of North Carolina at Chapel Hill when she graduated from Louisburg with her junior college degree. She may have been the first black female athlete to play volleyball for North Carolina, which was located 55 miles and an hour and a half from Louisburg depending upon which two lane roads you took, and how many men with hats on were driving below the 50 mph speed limit.
She was not the first black athlete. Phil Ford was running the famed four corners offense for Dean Smith and Tarheel basketball. Local rival North Carolina State had recently won its first national championship with David Thompsen whose vertical jump challenged the laws of physics. Duke had not yet become Duke. The ACC was becoming the best men's basketball conference in the country. Women's volleyball, like women's sport in general, was like a small amusement park ride on the edge of the state fair.
If Chapel Hill seemed like a charming, progressive college town that might appear on the cover of the Saturday Evening Post to most people, it must have been a culture shock to someone raised in Henderson, North Carolina via Louisburg College. Small towns in the Piedmont were in parallel universe waffling between 1775 and 1955.
Farmers still played marbles at near dusk in Rocky Mount. The owner of a small breakfast café that was my first restaurant meal in Louisburg talked about darkies while he was cooking sausage on the grill. Public sanitation did not include the black neighborhood on the other side of the river. White folks vacationed and golfed at Nags Head or drove South to Myrtle Beach. Black folks fished with worms in the Tar River.
1975 marked the second year for integration at the High School. Four drugstores were located at the same intersection on the square in a town of two thousand people. The movie theater had been closed for several years. Entertainment outside of high school sports was still segregated. People rooted for State or Carolina for different reasons. White people because they were alums, black people because of David Thompson, Charlie Scott and Phil Ford.
The campus that Carolyn Hawkins moved to was bivouacked in the twentieth century. Chapel Hill was actively recruiting black athletes to compete with North Carolina State; The Carolina Coffee shop on Franklin Street welcomed blacks as did the men's store across the street which provided the men's basketball staff and players with a as deep a discount as you can get on the dress suits players wore when they traveled. (On most college campuses in the 70s, discrimination was not primarily black and white, but football and men's basketball on one plane and every other sport on another. To some degree this continues at many major institutions.)
1976 was Carolyn's first year at North Carolina and my last year at Louisburg before moving to Nebraska. We competed against each other that Fall at Louisburg with Louisburg winning in straight sets, and Carolyn playing well for the Tar heels. After the match she was more "Turkey" then "Hawk" mingling with her former teammates, laughing while being both the center of attention and affection.
I could tell she missed the intimacy of Louisburg, but I was also reassured because her head coach at North Carolina, Beth Miller, was a very caring coach who would provide all the support Carolyn needed to succeed in an opportunity that none of us could have dreamed of two years before. Beth told me that while Carolyn faced the challenges that any student does from moving to a major university from a small liberal arts two year college, she was confident that Carolyn would ultimately succeed and graduate with a degree from one of the most prestigious schools in the country. And she did.
She played her senior year but then I lost track of her, partly because I was consumed with my own challenges at my new coaching position at Nebraska, partly because there was no internet, no cell phones, no texting, no twitter, no facebook. I would run into some of her former teammates who entered the coaching profession at clinics and conventions, and following hugs and embraces our first interaction almost always was, "Have you seen Carolyn? Do you know where she is?" And then we would retell stories about how we could get her to perform at a higher level in practice if we had someone come in and pretend to video tape her for the Raleigh evening news.
In the early 1980s one of my best friends, Terry Davis, a former basketball and volleyball coach at Louisburg High School told me he thought he saw her walking down the street in Greensboro, North Carolina but by the time he doubled back she was gone.
There were reports, with no attribution, that she had joined the military, and then for a year or two there was rumor that she had died, either in an accident or perhaps in military service. With the advent of the Internet, several of us have tried to find her. Her family is gone from Henderson. I phoned the administrative offices at Louisburg College and they do not have any records indicating that she ever attended the school. I was so dumfounded I couldn't speak.
Beth Miller lost track of her as well. There are over forty Carolyn Hawkins listed in Linkedin living in North Carolina. There are hundreds on Facebook, none of the images have her countenance or smile. Of course she could be married with a different name. She could be living in Europe. Pipl.com does not list any death records that would correspond to her age, but she could be deceased.
I've explored the best people search engines: Google, 123 people, spock, and spokeo. There are pay sites that are probably more thorough but I have been hesitant to use those resources for a couple of reasons. After two years of searching for a former high school teammate, I finally found a phone number and address and there was a 99% chance that it was him. His relatives all matched. The age matched. Everything said it was him. But I hesitated. Why?
Something in me said that perhaps he didn't want to be found. He hadn't check in at his high school or college website. He hadn't contacted any of our mutual friends. He or anyone from his family hadn't been seen at class reunions in over thirty years. Two years before I called someone that I thought for sure was him based on a picture on facebook. Same bone structure. Same interests. Same age. The gentleman laughed, appreciated, and understood my passion to find my friend. But it wasn't him. That is one reason. And the other reason . . . perhaps she is gone but as long as I don't know for sure there is hope.
So why do I do this? Am I looking for someone from my past or am I looking for myself in my past. With a former player it's different. Even when they are fifty-six it is like looking for a lost child. There is a sense that I should have made more of an effort. That I should have made sure that she was doing okay. I should have been there when she enlisted, got married or disappeared.
To some degree Carolyn Hawkins represents the first generation of young women who had the opportunity to compete. They played before there were accurate statistics or records. They played before there were media guides or youtube. For the most part, their pictures are not in trophy cases and they are either to busy to attend or not invited to reunions. They are becoming ghosts. But they still live in their coach's mind. If I saw her today coming around the corner, if by chance I am lucky enough to find out that she is alive, healthy and doing well, this is what I would say:
Hawk, how are we doing?
Terry Pettit is the author of Talent and the Secret Life of Teams, available at www.terrypettit.com
Carolyn Hawkins
Louisburg College
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Kelly Daniels
Mr. Pettit,
When I was stationed at Camp Lejeune in the early 80s I found that the local residences seem to be habitual. In regard for locating Ms. Hawkins may I suggest these options? Contact her old local town newspaper. Those who get married in these local communities tend to put the engagement and or marriage in the hometown newspapers. I was shocked to find this out when I got engaged to my wife who's from a Virginia community somewhat like Ms. Hawkins. Down in those small communities like Henderson, NC it's county is the city. County records might be able to assist. Your article did not mention if you had tried to contact her old HS. I know I'm around the same age of Ms. Hawkins and the only person that is still around in my old HS counselor, who happens to be the principal now in her early 70s. 😉
July 25, 2011 Reply
Tom DeBenedittis
I remember watching Carolyn play volleyball for you. Smiling, she could jump out of the jim. I remember you beating me in a game of chess while i watched tv and read the tv-guinde. Ok ok so i was smug. Grins you were so happy. But i also remember getting my revenge on the tennis court one evening. Been a long time. Glad to see you and yours have done so well.
Hello Tom,
It is great to hear from you. I do remember the chess match, which may have been the last one I ever played. I hope all has gone well with you. I returned to Louisburg a few years back, most people were long gone but I did rendevous with former players, Debbie Tyson, Lynn Capps, Martha Mitchell and Barbara Burrell. It was a good time to be a Hurricane. Thanks for checking in.
London Hawkins
Still wearing the afro! lol. But its salt and pepper now!
Thanks London. I had a great talk with you mom and I look forward to having many more. Terry
Annette Hawkins
Hello Coach Pettit,
I don't know if you remember me but I am Carolyn's sister. I remember coming to her games and watching the awesome team you had. I have always been her number one fan! Those were the good old days. I often wonder how far she could have gone in a different time. Thank you for putting her life at Louisburg to words. Annette
March 21, 2014 Reply


Gardens to visit all around the village. St. Mary's Church is happy to invite you to the 2017 Open Gardens weekend.
Please visit us for a pleasant afternoon spent visiting the village's gardens, browsing the charity stalls, seeing the displays in the church, and enjoying cream teas and refreshments on offer.
Proceeds to St. Mary's Church, Barton Mills.
By donations at garden gates.
Information and village plan from our stall at the church or from participating gardens.
Barton Mills is situated off the A11 between Newmarket and Thetford, just south of the 5 ways roundabout. Free car parking on the playing field. Start at St. Mary's Church.


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Home Opinion There are no seats in the theater of American politics
There are no seats in the theater of American politics
Nell Srinath
Speaker of the House Nancy Pelosi, D-Calif., stands beside a chart outlining a path to a $15-per-hour minimum wage as she holds her weekly news conference at the Capitol in Washington, Thursday, March 11, 2021. Although House Speaker Nancy Pelosi seemed resolute to "persist" on the fight for a $15 minimum wage in a press conference on Thursday, Mar. 11, the sheer inability of Democrats to deliver on the promises of their platform renders this resolution less than sincere. Photo courtesy of J. Scott Applewhite / AP Photo.
Last week, many Americans may have found themselves irked, even angry, at a spectacular display taking place on the floor of the United States Senate during the vote for a bill establishing a $15 federal minimum wage.
The act that prompted the acute backlash was an enthusiastic performance by senior Arizona Senator Kyrsten Sinema, who accompanied a "no" vote against a living wage for workers on the front lines of a pandemic with a curtsy and a thumbs down. On the same day, Sen. Sinema reportedly brought a large chocolate cake onto the Senate floor for staffers who worked overnight during a meticulous readthrough of the $1.9 trillion coronavirus relief package.
While not exactly her "let them eat cake" moment, the theater of Sinema's actions the day of the vote reveals a nonetheless sinister pattern of behavior in bourgeois American politics — that is to say, holding a bouquet in one hand and a knife in the other. As a matter of fact, American politics today are dominated by a spectacle in which random acts of kindness, courage or quirk cover an undergirding project of violence and theft. The value of the dramatic crudeness with which Sinema cast her vote against higher wages for frontline workers is that the senator laid bare the brutality of bourgeois American political theater.
What is political theater? Michael Crowley of The New Republic magazine defines the term and its synonyms, the most famous of which is the pejorative "Kabuki dance," as "a performance, in which nothing substantive is done." Although this definition suffices to describe many aspects of American politics, it fails to account for the fact that political theater is often extremely substantive; the substance, however, is what the people are not meant to see. In essence, it is propaganda.
In Sen. Sinema's case, last week's revue was a poorly-acted, self-directed curtsy and midnight snack for Senate staffers. The substance — the work behind the scenes and between the lines — was allowing a crisis of capitalism to continue to plow through the working class whose economic safety net is unravelling due to a volatile market economy and the high costs of housing, healthcare and education that come with it. This is nothing short of complicity in violence, as almost 11 million families face eviction.
Although House Speaker Nancy Pelosi seemed resolute to "persist" on the fight for a $15 minimum wage in a press conference on Thursday, Mar. 11, the sheer inability of Democrats to deliver on the promises of their platform renders this resolution less than sincere. Speaker Pelosi, too, is engaging in propagandistic political theater.
The examples continue: While both efforts to impeach Donald Trump were without a doubt contentious, ripping tearful or chest-thumping performances from members of the Democratic and Republican parties alike, the material ramifications of impeaching or even convicting Trump were, to put it generously, trivial. To liberals, making a mockery of the United States' bourgeois, settler-colonial Constitution may be egregious; however, in a macroscopic scale, this is the equivalent at enforcing the use of coasters in a burning house.
President Joe Biden and first lady Jill Biden walk to a motorcade vehicle after stepping off Marine One at Delaware Air National Guard Base in New Castle, Del., Friday, March 12, 2021. Biden's calls for unity and healing between fractured niches of the country, passionate as they may sound, are utterly heartless in effect. Photo courtesy of Patrick Semansky / AP Photo.
Who was held accountable for the other crimes concurring with the Trump administration? Was there a House probe into the bombing of Afghan and Somalian civilians, whether under Trump or Obama? Did any government official face repercussions for the extrajudicial detention of migrant families and the coerced sterilization of detainees in Georgia? Will Puerto Rico ever see restitution for the criminal neglect of its American colonizers whenever a natural disaster crosses the austerity-riddled island? For the time being, the answer is a resounding no.
The same is true of the theater of President Joe Biden, or the highly anticipated revival of Obama-era governance and diplomacy. Biden's calls for unity and healing between fractured niches of the country, passionate as they may sound, are utterly heartless in effect. Unity and convalescence sound idyllic, appealing to a fundamental desire for harmony in a world muddled with contradictions. What does unity mean, however, when the contradictions between oppressive systems and oppressed subjects can only resolve in the subjugation, if not wholesale destruction, of the less powerful group?
Demanding compromise between workers and the capitalists extracting the value they create; between Black and indigenous peoples and reactionary police forces and penitentiaries; and between women, queer and trans people, and state legislatures populated by misogynists is a futile effort, if not actively malicious. Calls for unity under racial capitalism and patriarchy are not substantive; they propaganda; they are theater.
To its credit, the Biden administration has made no placative calls for togetherness on the world stage — save with allies like Saudi Arabia and Israel. Instead, he orders illegal drone strikes in Syria to mount political pressure on Iran, and continues to support Saudi militarism under the pretense of helping "Saudi Arabia defend its sovereignty and its territorial integrity" (Vox). Here, Biden is putting on an imperial drama meant to conceal the U.S.' violent hegemony in West Asian and North African countries — or as Secretary of State Anthony Blinken puts it, "leading with our values."
Until the U.S. pays reparations for the genocidal conditions for which it is responsible in Yemen under the Obama administration — one which has wrought havoc to the tune of 230,000 deaths and currently places millions of Yemenis at risk of acute malnutrition — the foreign policy of the Biden administration will be little more than posturing.
Of course, to meaningfully apologize for the atrocities of US imperialism would bankrupt the country. U.S. sanctions on Venezuela alone have cost the Latin American country at least $38 billion since 2016 — how does one comprehend the payment due for other recent crimes like the illegal occupation and destabilization of Iraq and the endless war in Afghanistan? The answer, bluntly, is incomprehensible. Naturally, the United States will continue to adhere to its model of imperial hegemony, exploiting phraseology such as "supporting our allies," "promoting democracy" and "leading the free world," to hide more militarism and exploitation of Black and brown workers around the world.
Whether it be domestic or international, the United States is the most prolific actor known to date. It plays a theater with no seats, unilaterally enacting a regime of violence against workers and nations subjected to empire. Little good fortune comes for those who critique it. At home, they are incarcerated; abroad, they are bombed. America's kind words to the citizens of the globe are without exception undercut by what comes afterward; the task of Americans is to decipher and organize against these actions.
Political theater and propaganda are almost as ubiquitous as the nation state; that it will be eradicated as a practice even subsequent to a radical transformation of society is a highly improbable outcome. Although this is a bleak reflection of our current material conditions, we must dare to struggle to the conditions in which the administrators of our governments say what they mean and mean what they say; the power of propaganda lies in dissuading us from this goal. The solution, which is no doubt revolutionary, will manifest through the organizing efforts of the perceptive individuals of today who know that the oppressed people of the world deserve more than meager concessions and unscrupulous leaders; and although I am habitually cynical about the future of American politics, I am happy to inform that many of the change-makers of tomorrow are here at the University of Connecticut.
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Nell Srinath is a contributor for The Daily Campus. They can be reached via email at nell.srinath@uconn.edu.
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