Patriots

For the second time this month, Mac Jones improved his former team's possibilities of landing one among the highest picks within the 2025 NFL Draft.

Even though New England lost to the Bills on Sunday, their 24-21 loss in Buffalo kept the Patriots within the running for a top-three spot within the upcoming draft.

But Jones – currently the Jaguars' starting quarterback after Trevor Lawrence's shoulder injury – helped New England clinch one other spot within the draft order on Sunday.

Jones and the Jaguars fell 19-14 to the Raiders on Sunday, giving Las Vegas its first win since Sept. 29 against the Browns.

As a result, the Patriots have overtaken the Raiders within the rankings and at the moment are ranked No. 2 overall within the draft order, behind only the 2-13 New York Giants.

Here's a take a look at the present top 10 order, per tankathon:

• New York Giants (2-13, .554)
• New England Patriots (3-12, .463)
• Jacksonville Jaguars (3-12, .480)
• Tennessee Titans (3-12, .512)
• Cleveland Browns (3-12, .530)
• Las Vegas Raiders (3-12, .545)
• Carolina Panthers (4-11, .500)
• New York Jets (4-11, .502)
• Chicago Bears (4-11, .557)
• New Orleans Saints (5-9, .506)

All in all, Jones didn't have a foul performance for the Jaguars; He accomplished 25 of 39 passes for 247 yards and a touchdown. But Jacksonville still wasn't capable of beat Vegas' lackluster squad, with each Tank Bigsby and Brenton Strange ejected for fumbles.

Jones and the Jags tried to prepare a late-game rally with lower than two minutes left, but Jones couldn't reap the benefits of a 4th-and-11 play to maneuver the chains – completing an 8-yard pass to D 'Ernest Johnson to force a turnover on downs.

New England passing on the Raiders should put them in a chief position to either select a blue-chip prospect like Travis Hunter or potentially trade for a ton of picks, especially for a team in desperate need of a QB just like the Raiders or Titans.

Quincy Jones, who died on November 3, 2024on the age of 91, was one of the influential musicians in US history.

One would think such a notable figure would play a vital role in America's music classrooms. Still My research shows that Jones, who was black, is never mentioned in mainstream US music curricula.

As Black music professorI consider his absence reflects the incontrovertible fact that music education within the United States remains to be segregated along racial lines, because the country has been for much of its history.

In 2020, music theorist Megan Lyons and I analyzed the seven most typical music theory textbooks for college students utilized in the United States We found that only 49 of the nearly 3,000 music examples cited were written by composers who weren’t white.

Quincy Jones, the person and the music

As a composer, arranger, performer and producer, Jones was a musician whose influence on American music can hardly be overestimated. He has won 28 Grammy Awards, he wrote several film scores and was instrumental in a few of a very powerful musical developments in America within the mid-to-late twentieth century, reminiscent of the rise of the jazz artist as a preferred music arranger. He produced the world best-selling album of all time: Michael Jackson's “Thriller”.

Jones was a trumpeter who began his profession in 1953 with bandleader Lionel Hampton, but soon moved away from music and have become far more than simply a sideman.

At an early age he performed with legends reminiscent of Count Basie, Dizzy Gillespie, Elvis Presley and Frank Sinatra and produced and arranged music for singing greats reminiscent of Ella Fitzgerald, Sarah Vaughan and Diana Ross. His turn to pop music within the late Seventies helped usher in a revolution of funk, disco and early hip-hop.

I see Jones as an important piece within the history of American music. Nevertheless, like so many others, he’s missing from music lessons Black artists throughout history.

This absence is leading an increasing number of music educators to acknowledge what my research has also discovered: American music education stays deeply rooted in an ideology that has dominated U.S. history – white supremacy.

Segregation in music

One of a very powerful cornerstones of American white supremacy was racial segregation – that’s, Keep whites and blacks separate. This racial divide has been evident throughout American history, including in music education.

Take for instance the incontrovertible fact that the majority of composers studied at American music institutions reminiscent of the Eastman School of Music and the Juilliard School, in addition to most major university music departments, come from a Western musical tradition and will not be American. I’m referring to Johann Sebastian Bach, Ludwig van Beethoven, Frédéric Chopin and Wolfgang Amadeus Mozart, in addition to a handful of other revered figures. These are all white, European men who died an extended time ago.

This is one reason why students who… Bachelor's degree in Jazz Studies In general, take classes completely outside the overall category from “Major Music”. Courses on jazz, a genre deeply rooted within the African American musical tradition, are sometimes not counted as core courses for music majors at many U.S. colleges, conservatories, and universities; Classical music courses do.

And in a recent twist on musical segregation, classical vocal and instrumental students are included at at the very least one college warned by their studio teachers to not sing or play genres related to Blackness reminiscent of jazz, gospel, blues or hip-hop, for fear that these styles would negatively influence their classical approach.

From the moment the U.S. Supreme Court declared segregation unconstitutional in its landmark 1954 ruling Brown v. Board of Education of Topeka Dominant white America has found latest ways to maintain the races apart.

In music, this manifests itself within the incontrovertible fact that the curricula are kept separate.

If you think that all pop musicians like Jones are banned from music classes, just google “the Beatles in music curricula.” There are countless university courses. The Beatles were has typically been studied for over 20 years.

The Beatles weren't even American, but they’re a part of the American music curriculum. And they were white.

Integration of music curricula

“American music academies,” as I previously wrote in The Conversation, “generally reflect the social norms of the day.”

And societal norms around race and racism are changing rapidly within the U.S., impacting a variety of industries, from fashion to finance.

So what might a relevant American music curriculum appear like?

I’d begin by introducing students to the primary great American musician, Francis “Frank” Johnson. Born in 1792, Johnson was a prolific composer, violinist and bandleader whose life and work are rarely studied within the United States. You shouldn’t be confused with him Frank Johnsonborn 1789, one other notable early American violinist and brass ensemble leader.

I’d proceed with other essential figures of the nineteenth century, reminiscent of the pianist from New Orleans Basile Barèswhose music filled American dance halls after the Civil War. Or Edmond Dedewho studied and lived in Paris, France for years before returning to his native New Orleans.

I’d direct your attention to the Broadway composer Will Marion Cookwho studied violin as a young person at Oberlin College and later with the celebrated virtuoso Joseph Joachim in Berlin. Or in regards to the conductor, composer and librettist Harry Lawrence Freemanwhose 21 operas are still remarkably little researched.

And I’d never allow my curriculum to go away out the vocal music of Margaret Bondsthe symphonic works of Julia Perrythe atonal music of Undine Smith Moore or the music theories of Roland Wiggins.

Although I've only scratched the surface, all of those musicians were African American – and I haven't even mentioned blues, hip-hop, Motown, rock or R&B artists.

In my opinion, black music and genres of music have had a greater impact on the course of American music than some other style or genre. For this reason, I consider that universities and music schools should integrate this music into their music curricula – and have it prominently and proudly.

From Francis Johnson to Quincy Jones, black music exemplifies the musical greatness that the United States can produce for Americans and the world.

On the duvet notes of a few of the most memorable and best-selling albums of all time you'll find the words “Produced and arranged by Quincy Jones.”

It was a high quality feature.

Jones, who died on November 3, 2024on the age of 91, modified our understanding of musical creation. His work spanned a long time and genres, from jazz and pop to hip-hop and film music. He worked with pop icons resembling Michael Jackson, Frank Sinatra, Ray Charles and Aretha Franklin, but additionally with lesser-known artists resembling Lesley Gore and Tevin Campbell.

Each of his projects, collaborations and forays into recent genres redefined what it means to rearrange music.

As Professor of Music Business and EntrepreneurshipI even have studied and taught Jones' techniques, which I hope can encourage the following generation of musicians.

A masterful musical architect

Musical arrangement may look like an abstract concept.

Simply put, it’s the art of deciding how a song develops. While a composer writes the melody and harmony, an arranger shapes the experience by selecting which instruments are played when, how textures are created, and where the dynamics change.

The arrangement transforms a song from notes on paper into a totally realized murals that resonates with listeners. Essentially, an arranger acts as a musical architect, design the structure of a song tell a charming story.

Jones took a visionary approach to arranging. He didn't just fill within the gaps around a melody with a drum beat here and a horn section there; he was create a musical narrative that gave each instrument a purpose and took listeners on an emotional journey.

From his early work within the Fifties and Sixties with jazz greats resembling Count Basie and R&B star Ray Charles to his blockbuster productions with Michael Jackson, Jones saw arrangement as a tool to take listeners from one musical moment to the following.

Uplifting voices

His work on “Sinatra on the Sands“is just an example.

Jones created lush, energetic big band arrangements that completely complemented Sinatra's smooth, warm voice. The alternative of brass sounds and the dynamic changes enhanced Sinatra's charisma and made the album a energetic, almost cinematic experience. Unlike many arrangements that usually remain within the background, Jones took center stage, mixing harmoniously with Sinatra's vocals and adding depth and tension to all the performance.

In Ray Charles' “I can't stop loving you“Jones used orchestral sounds and backing vocals to bring out the soul in Charles' voice and give listeners a deeply emotional experience. Through the intelligent combination of Charles' Gospel-tinged vocals With a classy orchestral arrangement, Jones captured the strain between grief and resilience – a testament to his ability to speak complex emotions through arrangements.

Songs develop into stories

Jones' ability to make use of arrangements as a storytelling device was exemplified by his collaborations with Jackson.

Albums like “thriller” And “From the wall“showcased Jones' talent for inventively layering sounds. On “Thriller,” Jones combined electronic and acoustic elements to create a multi-dimensional soundscape that set a brand new benchmark for production.

His ability to include textures, background vocals and unique instrument decisions – resembling a horror actor The iconic tale of Vincent Price on the song “Thriller” – transformed pop music that sets the stage for future producers to experiment with storytelling in their very own arrangements.

In Jackson's “Bad“Jones pushed the boundaries of the genre by mixing funk rhythms with pop structures, giving Jackson's music a timeless appeal.

The title track's arrangement features layers of rhythm and harmony that create a sense of tension and power, underscoring Jackson's message of confidence and defiance. Every instrument and background vocal in “Bad” serves a purpose, making a sound that’s daring, exciting and interesting.

Lessons for educators

For educators who teach music production and business music, Jones' approach offers a goldmine of practical lessons.

First, his commitment to genre fusion teaches students the importance of versatility. Jones' profession shows that by mixing jazz, pop, funk and even classical elements, something progressive and accessible may be created. Students can learn to interrupt free from the constraints of manufacturing inside a single genre and as a substitute see how Different kinds of music can work together to create fresh, appealing sounds.

Second, Jones' emphasis on storytelling through arrangements provides students with a framework for making music that resonates.

In my classes, I encourage students to ask themselves: How does each musical element support the emotional arc of the song? By studying Jones' arrangements, students learn to think about themselves as storytellers and not only sound engineers. You can start to think about arrangements as an art form in their very own right – one which can captivate audiences by involving them in a musical journey.

Ultimately, Jones' work demonstrates the facility of collaboration. His willingness to work across genres and with quite a lot of artists, each bringing a singular perspective, demonstrates the worth of open-mindedness and flexibility.

His life's work reminds us that music is greater than just sound; It is an experience marked by careful, conscious decisions, where every note and silence in a chunk of music serves a purpose.

The death of James Earl Jones forced me to reflect on the top of an era.

Harry Belafonte, Sidney Poitier and Jones were giants in my industry. They were black artists whose rise to stardom occurred within the turbulent Sixties once I was a toddler. All three were politically energetic, although each of them operated in a markedly different way.

In 1967 More than 150 riots fueled by racial tensions occurred in US citiesMany Americans feared that the nation would implode due to racial conflict, and President Lyndon B. Johnson appointed the Kerner Commission to research the causes of the racial unrest.

At this time, Jones was an actor with growing fame on television and on the stage. He had appeared in “Danton's Death“ on Broadway and was in the NBC series “Tarzan”, amongst other projects.

Jones was confronted with an issue that troubles many artists then and now: What should an artist do in difficult times?

He didn’t give rousing speeches, like BelafonteNor did he personally hand over money to student activists in Mississippi during Freedom Summer, as Poitier had done.

Instead, Jones decided to work on a play a couple of boxer.The great white hope“, written by Howard Sackler on the Arena Stagea Washington-based theater company throughout the growing regional theater movement.

Embodiment of Black Power

Why would an actor who desires to make a difference play a boxer while cities are burning across America? If he's not willing to risk his life, shouldn't he not less than work on a play concerning the civil rights movement, racism, or police brutality?

However, “The Great White Hope” was not a straightforward, sentimental sports drama. Sackler based the play’s protagonist, Jack Jefferson, on the boxer Jack Johnson, who became the primary black heavyweight champion of the world in 1908.

African Americans celebrated Johnson wildly, who won the title just 45 years after the Emancipation Proclamation. In the face of virulent Jim Crow racism, Johnson was seen as a person who, if given a good likelihood, could beat anyone.

In his book “A Beautiful Spectacle: African American Theater, Drama, and Acting in the Harlem Renaissance, 1910-1927”, theatre historian David Krasner argues that Johnson’s victory was one among the important thing events that fuelled the Harlem Renaissance, the black mental and cultural movement that galvanised jazz music, the poetry of Langston Hughes, the writings of Zora Neale Hurston and the sculptures of Augusta Savage.

Johnson's confidence was infectious: if a black man could easily beat a white man within the boxing ring, there was no reason why black artists and writers couldn't create groundbreaking works and, like Hurston, explore their lives and histories and grow to be champions of black culture.

The play is written in three acts and follows Jefferson and his fictional white lover Eleanor Bachman from 1908 to 1915. After Jefferson wins the title, the couple is persecuted by the federal government, partly due to their interracial romance. Officials eventually arrest them as they leave Ohio under the person acta law supposedly passed to stop prostitution but often used to intimidate interracial couplesThe government tells Jefferson that they are going to drop the costs if he agrees to offer the fight to an inferior white boxer.

Jones won a Tony Award for his portrayal of a black man filled with talent, confidence and strength whose biggest problem was that he simply refused to follow his own path.

A special sort of fighter

Boxer Muhammad Ali was also a giant fan of Jones' performance.

Ali was stripped of his heavyweight title in 1967. because he was a conscientious objector to the Vietnam War and refused to start out the war after being drafted. When Ali saw The Great White Hope, he felt like he was looking within the mirror.

“Just change the time, date and details and it’s all about me!” Life magazine quoted him as saying.

It's strange to think how historical events could be reduced to emotions like fear, love, jealousy, and righteousness. But James Earl Jones by some means managed to interact a black boxer who loved a white woman in conversation with someone who couldn't bring himself to fight in Vietnam.

Jones probably realized that acting on a stage seen by only a number of thousand people would do little to finish the Vietnam War, racial inequality, or police brutality.

But I believe Jones wanted to alter the culture. He wanted to alter the country's understanding of what it means to fight – and what a freedom fighter is.

Is a fighter someone who knocks out his opponent? Or someone who follows his heart? Is a fighter someone who takes up arms on the behest of his government? Or is a fighter someone who’s willing to risk his livelihood for his values?

Sometimes activism could be so simple as creating art to one of the best of your ability – or as WEB Du Bois wrote“to put the world in order through beauty.”

Patriots

Drake May played only one series against his hometown Carolina Panthers last week during his NFL preseason debut.

The Patriots have approached the rookie quarterback's development cautiously this preseason. Patriots coach Jerod Mayo said the concerns in regards to the offensive line had something to do with how little Maye played last week.

But there’s one other factor that influences the Patriots’ timidity with the No. 3 overall pick in 2024, in accordance with Tom Curran of NBC Sports Boston.

The Patriots are hesitant partially due to the end of the Mac Jones deal, and their fears have also affected how they take care of Maye, Curran said during a recent appearance on NBC Sports Boston.

New England drafted Jones No. 15 overall in 2021. He had a successful rookie season before being traded to Jacksonville for a sixth-round pick within the offseason after two disastrous seasons.

“Do I think they're doing the right thing by playing it safe? No,” Curran said. “You can play it out, you can pass it off, you can run draws, you can run screens. You can leave everybody there to block. You can leave him on the field a million percent of the snaps Bailey Zappe took, a lot of the snaps Joe Milton took. None of those guys got blown up.”

“So to me, that's way too cautious, but that's what happens when you look back and destroy a first-round quarterback,” Curran added. “The wreckage is still smoldering.”

The Patriots have been scarred “a million times” by the course of Jones' profession, Curran said.

“The owner, Mayo, and everyone else involved in making decisions, Eliot Wolf, as members of the management team, saw what had happened at Mac Jones and said, 'We're not making that mistake again,'” Curran said.

Mayo said earlier this week that Maye would play more within the Patriots' second preseason game against the Eagles on Thursday. Mayo said he was unsure how much he would play.

“I'm excited to get out there,” Maye told reporters Tuesday. “I'm excited to go out there with the guys and try to make some plays. I'm going to dress up. I don't know how much I'm going to play, but I'm going to go out there and play until they take me out.”

As usual, this yr's Outside Lands lineup is diverse and can appeal to fans of a wide range of genres. The festival's offerings in San Francisco's Golden Gate Park include some industry heavyweights – resembling headliners Sabrina Carpenter, Sturgill Simpson and The Killers – in addition to quite a few up-and-coming stars.

In addition to Carpenter, Grace Jones, The Postal Service, Chris Lake, ScHoolboy Q, FLETCHER, K.Flay and others were also present on the second day.

You can find more stories about Outside Lands here.

Originally published: August 11, 2024 at 12:29 pm

SAN JOSE – Although the San Jose Sharks have likely already done all of the heavy lifting on the subject of signing free agents, there should still be one spot to fill before training camp begins in September: signing a 3rd goalie.

The Sharks have had at the least five goalies under contract over the past two years under general manager Mike Grier, but they entered this week with only 4 NHL contracts: Mackenzie Blackwood, Vitek Vanecek, Magnus Chrona and Georgi Romanov.

Barring any significant changes or injuries, Blackwood and Vanecek will begin the season with the Sharks and Chrona and Romanov might be assigned to the Barracuda.

What the Sharks are missing is a 3rd goalie with NHL experience, someone who will be brought back from the AHL at short notice without the Barracuda being understaffed.

On July 1, Grier said the Sharks would “continue to look around and look at the No. 3 spot at some point in the offseason.”

With this in mind, a return of Martin Jones to San Jose may very well be an excellent option.

Jones was the Sharks' top goaltender from 2015 to 2021, posting a 171-120-27 record, making him the franchise's second-most successful goaltender behind Evgeni Nabokov (293). He made 60 consecutive playoff appearances between 2016 and 2019, and his .916 postseason save percentage is one of the best of any Sharks goaltender who has appeared in at the least five playoff games.

Between the regular season and the playoffs, from the 2015–16 to the 2020–21 season, no goalie within the NHL has played more games (387) than Jones.

But all that work took its toll. Jones' game deteriorated and his time with the Sharks ended unhappily.

After their second consecutive playoff-less season in 2021, the Sharks and then-general manager Doug Wilson bought out the ultimate three years of Jones' six-year, $34.5 million contract. The contract will remain on the team's books through 2027 – at a price of $1.666 million per season.

After his ignominious departure from San Jose, Jones spent a season in Philadelphia and Seattle. His numbers in each cities, each traditional and advanced, weren’t great.

So why would Jones be an excellent fit as San Jose’s No. 3 goalie?

Last season, he played the identical role for the Toronto Maple Leafs, starting in NHL games after Joseph Woll was sidelined for nearly three months with an ankle injury and Ilya Samsonov's form declined.

Jones worked consistently, recording a record of 11-7-1 with a good .907 save percentage in 20 games from early December to late February.

Last month, The Athletic reported that Jones may very well be open to a return to Toronto, where Woll and Anthony Stolarz are under contract for next season.

Like Toronto, San Jose offers free agents the good thing about having the NHL and AHL teams in the identical city. But if the regrouping Sharks want Jones, they might should pay him greater than the $875,000 he made last season with the Leafs. That's not an issue considering the team's ample salary cap space.

Perhaps a reunification will not be out of the query.

PAVELSKI’S RETIREMENT: With former Sharks captain Joe Pavelski's retirement now official, it's time to contemplate whether his resume is sufficient to induct him into the Hockey Hall of Fame.

Our conclusion: Maybe sooner or later, but not immediately when he’s eligible in three years.

There are a couple of things to contemplate.

Pavelski, who turned 40 last week, never won a serious individual award, but his name was often within the running for the Selke and Lady Byng honors. He was voted an All-Star 4 times and was chosen to the All-NHL second team after a 41-goal season in 2013-14. Beginning with the 2011-12 season and ending after the 2018-19 season, Pavelski scored 252 goals, a complete surpassed only by Alex Ovechkin (357), Steven Stamkos (274), John Tavares (266) and Patrick Kane (253) during that span.

The highly respected Pavelski won a silver medal with the US national team on the 2010 Olympic Games and is ranked 71st on the NHL's all-time list with 1,068 points. With a couple of exceptions, all players ahead of him are either within the Hall of Fame or still lively.

Joe Thornton, 14th on this list with 1,539 points, needs to be inducted next yr in his first yr of eligibility. Patrick Marleau (53rd, 1,197) may not be far behind.

When and if Marleau is inducted, discussions about induction into the Pavelski Hall of Fame can begin, not before.

CALDER RACES: Despite being chosen first in June, Sharks forward Macklin Celebrini is neither a surefire favorite nor a betting favorite to win the Calder Trophy as NHL Rookie of the Year next season.

According to DraftKings, Philadelphia Flyers forward Matvei Michkov is the favourite to win the Calder at +450, with Celebrini at +500. He is followed by Dallas' Logan Stankoven (+550), Anaheim's cutter Gauthier (+650) and Sharks forward Will Smith (+700).

Both Michkov and Celebrini might be top-six forwards and power-play mainstays this season. But with Michkov, you might have to wonder how he’ll function under Flyers coach John Tortorella. What happens when Michkov doesn't fight hard enough for a puck or doesn't run to the purpose fast enough to get in the way in which of a shot? Will that affect Michkov's ice time or his feelings toward the coach?

Something to have a look at.

MORE EX-SHARKS: A report from the Czech Republic speculated this week that Filip Zadina, who has not signed a contract with an NHL team, could return to his home country to play for his father Marek at Dynamo Pardubice. Zadina, 24, scored 13 goals and 23 points in 72 games for the Sharks last season.

He's not the one former Shark still in search of work: Three weeks into free agency, forwards Kevin Labanc, Mike Hoffman, Alexander Barabanov, Ryan Carpenter, Nikolai Knyzhov and Calen Addison are still on the roster.

Soft ball

Overfelt 34, James Lick 7

Second semester Daijaah Jones And Mya Eti Had per week's value of offense Monday, possibly more, helping Overfelt to a five-inning home win over James Lick within the Blossom Valley Athletic League West Valley Division game.

Jones went 6 for six, drove in eight runs, scored five runs, hit a house run, a double and two triples.

Eti finished 4 for 4, had two home runs, knocked in seven runs and scored six runs.

Senior Cynthia Arellano had two doubles amongst her five hits, drove in 4 runs and scored six runs.

Overfelt scored 13 points in the primary game to erase an early two-run deficit, and within the second game Overfelt scored 11 points to enhance to 12-5 overall and 10-2 within the league. The Royals scored 35 goals.

Lick fell to 6-7, 4-5.

San Ramon Valley 16, Washington-Fremont 0 (5 innings)

Brianna Schapiro, Sophia Jin And Gianna Baccei Each hit three runs and led San Ramon Valley to a victory by mercy rule over visiting Washington in non-league play.

student in the primary yr Lila Mcleod and within the second yr Isla Higgins combined in a one-hit shutout as SRV improved to 10-8.

Washington is 5-10.

Berean Christian 11, Las Lomas 7

Jacqueline Sanchez, Madison Seuis, Alissa Jones, Le Ana Cimarra, Emmalyn Decarlo And Sierra Talbot Each had two hits as Berean Christian held off Las Lomas in a Diablo Athletic League Valley Division game.

Berean Christian is 8-4, 4-3. Los Lomas is 6-8, 2-3.

Burlingame 10, Sequoia 2

Burlingame scored seven goals in the highest half of the sixth to show the Peninsula Athletic League Bay Division game against Sequoia right into a rout.

Kasey Lyons had two hits, including a double, and drove in two runs and Lily Grenier doubled and had an RBI to present the Panthers the lead, who improved to 9-7, 4-4.

Sequoia is 1-12, 0-8.

Milpitas 6, Los Altos 2

Sophia Delgado went 4 for 4 with two doubles, hit a run and scored three runs and Kaelyn Cunanan added three goals to assist Milpitas to an away win over Los Altos in Santa Clara Valley Athletic League De Anza Division play.

Lily Whiting had two hits and two RBIs for Los Altos.

Milpitas is 11-8, 4-2. Los Altos fell to 7-10, 1-6.

baseball

Lincoln-San Jose 18, Mt Pleasant 0

Diego Casorla had three hits with 4 RBIs and Ryan Rogers finished the sport with two hits and two RBIs as Lincoln defeated Mt. Pleasant in a non-league game.

Lincoln improved to 16-3. Mt Pleasant 8-7.

Terra Nova 10, Sequoia 9

Terra Nova scored six runs in the highest of the seventh to beat a three-run deficit and beat Sequoia in a non-league game.

Joseph Donati led Terra Nova with two hits, including a triple, and knocked in 4 runs and Vincent Smith added a double and two RBIs to prepared the ground.

Tyler Steele drove in two runs for Sequoia.

Terra Nova is 6-10-1. Sequoia fell to 10-10.

Monte Vista 13, Berkeley 8

Luke Claussen had three hits, knocked in 4 runs and scored two times Brad Ballard He hit a house run to steer Monte Vista past host Berkeley in a nonleague game.

Akanni Yearbook had two hits, including a house run, and drove in 4 for Berkeley.

Monte Vista is 11-7. Berkeley slipped to 10-7.

California 9, Antioch 4

In a 4-4 tie after five innings, California scored two goals within the sixth and three goals within the seventh to defeat Antioch in nonleague play.

Logan Kellogg tripled and drove in two runs, Ben Johnson had 4 hits and Angelo Sherman added three hits, including a triple, to steer the Grizzlies, who improved to 10-10.

Angelo Nunes had 4 hits and an RBI for Antioch, which fell to 6-15.

Mt Eden 6, Mission San Jose 5

Trailing 5-3 after three innings, Mt. Eden struggled at home to maintain Mission San Jose winless this season.

Hector Duenas And Javier Alfaro III Each took two runs to the highest of Mt Eden, increasing his record to 6-11.

MSJ fell to 0-17.