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What are states doing to make sure older drivers are safe behind the wheel?MINNEAPOLIS (AP) — Minnesota Vikings coach Kevin O'Connell's stirring locker room tribute to his team last week at Seattle was respectfully interrupted by seven-year veteran right tackle Brian O'Neill, who flipped the script on the game ball awards by tossing one to the boss in honor of his second 13-win season in three years. The Vikings have obliterated even the most optimistic of external predictions for this transitional season, taking a sparkling 13-2 record into their matchup against the Green Bay Packers that has made O'Connell the current favorite for the NFL Coach of the Year award. “It’s a credit to who he is as a person, as a coach and as a leader,” tight end T.J. Hockenson said. “We’re very fortunate to be able to play under him.” The Vikings can not only win the NFC North for a second time in three seasons, but get the No. 1 seed with a first-round bye and home-field advantage throughout the NFC tournament if they beat both the Packers at home on Sunday and the Detroit Lions on the road next week. Don't expect the Vikings to ponder that possibility, though, as tantalizing as it would be. “It can be a very tired cliché to talk about going 1-0 until you’ve systematically built your entire operation daily of just trying to do that every single day,” O'Connell said after Minnesota's eighth consecutive victory . “These guys, it’s not a cliché at that point. It becomes part of your football foundation and the makeup of your locker room, of your leadership, your coaching staff.” The Packers could be forgiven for being less than impressed by the impact O'Connell has made, for a reason beyond simply him coaching their biggest rival. Green Bay enjoyed even better out-of-the-gate success under coach Matt LaFleur, who was hired in 2019 and won 13 regular-season games in each of his first three years. Though they're in third place at 11-4, two games behind the Lions and the Vikings, the Packers too have secured a place in the playoffs even if they can't win their loaded division. They'll likely be the visiting team as long as they're alive this postseason. "I think that just all of us going against one another, it’s forced you to be at your best every week," LaFleur said. “You can’t afford a slip-up, just to keep up with everybody.” The road team has won each of the past three matchups in this series. The Packers are 0-4 against the teams with the top three records in the NFC: Detroit, Minnesota and Philadelphia. “We’ve got to be able to go win these games against the really good teams in the league and set ourselves up for the situation we’ll be in for the playoffs,” quarterback Jordan Love said. The running men Aaron Jones rushed for 93 yards on 22 carries for Minnesota in a 31-29 victory at Green Bay on Sept. 29. Released by the Packers for salary cap relief in favor of their premier free agency addition, the three-plus-years-younger Josh Jacobs, Jones just hit the 1,000-yard mark last week and can't hide from the significance of facing his former team. "They respect you because they were on your team or they've seen the work that you put in, but you want to gain their respect in another way from playing against them, like, ‘Man, this dude is really as good as I thought he was,’" Jones said. Jacobs, for his part, is fourth in the NFL entering Week 17 with 1,216 rushing yards for the most by a Packers player in a season since Ryan Grant (1,253) in 2009. Minimizing their mistakes The earlier matchup this season featured seven combined turnovers, four by the Packers and three by the Vikings. Both of these teams are among the NFL's best in the turnover department, with Green Bay at a plus-12 margin and Minnesota at a plus-10. The Packers have allowed a total of three sacks and have committed just two turnovers over their past five games. Picking up the Pace The Vikings are eagerly anticipating the return of second-year linebacker Ivan Pace, the sparkplug who has missed four games on injured reserve with a hamstring strain. They’ll be cautious with him and the tricky nature of that injury, but getting Pace back in the middle of the action with fellow linebacker Blake Cashman would be a big boost to the play-calling options for defensive coordinator Brian Flores. “He flies around. When he blitzes, he’s as impactful as anybody, and when you can really get him and Cash out there at the same time, they both can really play to their strengths,” O’Connell said. “They’re both really good blitzers. Cash is phenomenal in coverage and reading the quarterback, and when you can kind of pair those guys together, run and pass, that’s when we’re at our best.” Kicking correction Brayden Narveson missed both of his field-goal attempts for Green Bay, from 37 and 49 yards, in the two-point decision at Lambeau Field in Week 4. The Packers released Narveson a couple of weeks later in favor of 11-year veteran Brandon McManus, who has gone 16 of 17 on field-goal tries including game-winners as time expired against Houston and Jacksonville. ___ AP NFL: https://apnews.com/hub/NFL Dave Campbell, The Associated PressGuitar Player Roger Mayer is a legend. His innovations include the Octavia, a groundbreaking fuzz box that doubled signal frequencies, a sound not obtainable previously. Mayer and his effect heavily shaped albums like Jimi Hendrix's and . And then there’s his work with the Isley Brothers, whose guitar sound was tonally linchpinned by Hendrix and Mayer’s effects. Those sounds influenced a young gun named Junior Marvin, who Mayer worked with in the mid 70s and who would be drafted into Bob Marley and the Wailers at a time when Marley wanted his group to evolve from what Mayer describes as a "raggedy-assed" musicians to proper reggae icons. Mayer started from square one, tearing down Marley's rig and ensuring all involved in his midst were quite literally playing in tune. The result was what Mayer likens to perfection. "When everything else is perfect, recording a song is pretty simple," he tells . “There’s nothing special about that for me," he says. "Anybody could walk into a recording studio, hit record, and if the other things are perfect, it's gonna sound good." It's hard to argue with that, considering Mayer's work on Marley's iconic 1975 record . "I did everything I could in the studio to talk to Bob and Junior about how they could dial in what they heard in the brains," he says. Mayer did the job. catapulted the Wailers from a poorly produced group from the beaches of Jamaica to a powerhouse. The result was the album's title track reaching number one in Jamaica, number 14 in Germany, and the top 20 in the U.K. All the latest guitar news, interviews, lessons, reviews, deals and more, direct to your inbox! laid-back vibe meshed perfectly with Marley and Marvin's inspired guitar playing. As a result, tracks like "Three Little Birds," "Jammin'" and "Waiting in Vain" became Marley classics — and FM radio staples. Mayer is aware of all of this — and he'll be the first to tell you that he had a feeling about from the jump, meaning greatness wasn't just intended but inherent. "That record is very well thought of," he beams. "I knew what a hit record sounded like. We had all the puzzle pieces come into place. Like with Hendrix and the Isley Brothers, I'd helped, but it wasn't a mistake that it sounded that good." "I knew what a hit record sounded like. We had all the puzzle pieces come into place. Like with Hendrix and the Isley Brothers, I'd helped, but it wasn't a mistake that it sounded that good." I had a relationship with Junior Marvin before Junior signed on to work with Bob. We'd finished recording some original material in England in December 1976, so we'd spend a lot of time together while recording, alternating between New York and London. With Junior, we'd recorded at Music Mountain in Jamaica, at Electric Lady in New York and Island Studios in London, so yeah, I was aware of Bob Marley through all of that. I'd come to see him a few times, and I knew Chris Blackwell [ ]. Junior knew Chris too. But it wasn't until after we finished the record with Junior, and he signed on with Bob Marley and the Wailers, that I got to work with Bob. Junior was recruited into Bob's band to provide the rock and roll aspect to the Wailers, which they were lacking. Before the recordings started, Bob was aware that he needed to change direction so that the music had more international appeal. They came to be because, obviously, they'd heard the work I was doing with the Isley Brothers, Rick James, Parliament Funkadelic, and all those bands that had crossed over into the mainstream market. When I went to America with Jimi Hendrix back in '68 and then worked with Stevie Wonder, these were artists who had ties to Motown and were given free rein. To paint a picture, the idea was that Black artists in the '70s had a very difficult time in America as far as getting recognition because the music charts were more into white rock 'n' roll than R&B and soul. It was spread apart. So after Junior joined the Wailers, it helped because they became a bit more rock 'n' roll. "Black artists in the '70s had a very difficult time in America because the music charts were more into white rock and roll. After Junior joined, it helped because they became a bit more rock 'n' roll. After Junior joined, I sent him some of what they requested, which was some new equipment. I went and bought some guitars for Junior in New York and sent them to him after I'd modified them. That included some of the effects we'd used with Ernie Isley and Jimi Hendrix. And then, of course, everybody started to sit up and say, "Yeah, well, who is this new guitar player that Bob Marley's changed to?" Junior was a bit more rock 'n' roll and was a complete departure from Bob's previous records. Everything was going very well. I got invited down to Jamaica to meet Bob just before the One Love concert, and that's when I first met him. He was a very charming guy. I asked him, "What exactly do you want me to do? How can I help you?" Bob said, "I want to sound more international." That was the right answer, mate. I said, "For you to go forward in music and take a step forward — especially in record sales and international recognition — you have to have a record that sounds great.” I told him, “It has to stand up to the quality of what's around." He couldn't just come from an island and not have the same technological advantages that everybody else had. If he did that, his record would have sounded a big amateurish. Bob's early albums were kind of tolerated because they came from the islands, you know what I mean? People didn't expect the records to have the same sonic qualities that all the other top artists had, or some of the other artists I was working with. So, yeah... that's how I got roped into it. [ ] The first thing I did after meeting Bob was completely set up all the guitars for him. I'd listened to the band live and said, "The whole band's completely out of tune. For us to go forward, the first thing to do is make the band solid, if not perfect." In reggae, that's very important, as it is with any music oriented by bass. The bass and drum sounds had to be perfect, or else you lose the magical quality of the beat. The bass guitars had suffered being in Jamaica and needed a lot of work, so we started with that. I wanted to fix that up to give off a really authentic, top-quality sound. I moved on to Bob's guitars because Junior already had a guitar that I'd previously modified and had been used in concert and in the studio. I went through all of Bob's guitars, tuned them up, and rebuilt the whole guitar. Every guitar that had been down in Jamaica for years had to be completely pulled apart and rebuilt because of what the humidity in the tropics would do to the electrics in the guitar. Once I made sure the band was mechanically sound, and actually in tune, and sounded perfect with all the harmonics resonating, that's when we could really get started. That was the beginning of it. “That's why every track we recorded with Jimi Hendrix sounds so accessible. It's not just a case of buying a pedal, plugging it in, and playing. It's more complicated than that.” My job was working with Junior to get the right guitar sounds and with Bob. Once Bob's guitar was perfectly in tune, his approach to the song became different because of the way he played. The feeling, solos, and overall feeling of the record became different. This might sound mundane, but you can only record what's there. In my case, the actual job became making good sounds, and after that, it was recording the sound. I didn't have to do anything. The bass and guitar sounds were perfect. Bob set the people up to play the vibe, and the performances were amazing—much better than before because they were all playing in tune. They were all very highly attuned to the vibrations and the perfection of it all. So, while putting together the tracks, Junior and I would go into the studio and discuss what he wanted to do, for example, "Waiting in Vain" or "Three Little Birds." Those tracks have my touch on them with the various guitar tones, and we worked together to select the perfect tones for each track. That's one of the secrets! You have the have the ability, and in my case, technical ability, to change the tone, and make it fit the track. That's why every track we recorded with Jimi Hendrix sounds so accessible. It's not just a case of buying a pedal, plugging it in, and playing. It's more complicated than that. It's having the knowledge of being in the studio and using recording equipment and consoles to know exactly what sound you have to produce in the studio to make it come out well on record. You have to have a whole knowledge of the whole process of recording. It's about knowing where to put microphones and how they should sound in the studio. You had to really, really know how with some of these bands back then, you know, with how to actually tailor the sound so that they can record a song. Yeah, but at the same time, I'd been in the studio many times before when lots of famous records were made. I wasn't new to what a hit record sounded like. I had a good idea of what it should sound like, so, yeah, , after the tracks were put together, sounded really good. But the magic of isn't just that it's a really good collection of songs; there's more to it than that. Remember: A lot of the songs on have been recorded before. They weren't new. There were previous incarnations of "Three Little Birds," from what I remember. The difference, I think, with Bob and was the actual sound of that record. It's perfect. It sounds great. The sound of the music, and the beat, just the whole thing, makes that record sound international. It doesn't sound like a raggedy bunch of Jamaican musicians. It's interesting and culturally different, but before that, they weren't producing the international quality of music that sounded like that. I've been involved with many records, but I've been involved with very involved in three or four, like, really records, I think. is great. The sound of it is just unbelievable. But these things don't happen by accident, right? It doesn't happen by mistake. The people involved in that record weren't just fortuitous; my sound, equipment, and electronics are on so many hit records. That's not me boasting; it's just the truth. But Bob and Junior were a pleasure to work with and making that record didn't happen by mistake. It's like they say: you could get a well, a well-nourished orangutan with a pencil and a piece of white paper is not going to make a great picture. It was all the right pieces at the right time. It doesn't happen otherwise. Andrew Daly is an iced-coffee-addicted, oddball Telecaster-playing, alfredo pasta-loving journalist from Long Island, NY, who, in addition to being a contributing writer for Guitar World, scribes for Rock Candy, Bass Player, Total Guitar, and Classic Rock History. Andrew has interviewed favorites like Ace Frehley, Johnny Marr, Vito Bratta, Bruce Kulick, Joe Perry, Brad Whitford, Rich Robinson, and Paul Stanley, while his all-time favorite (rhythm player), Keith Richards, continues to elude him.

WASHINGTON (AP) — President-elect Donald Trump has named billionaire investment banker Warren Stephens as his envoy to Britain, a prestigious posting for the Republican donor whose contributions this year included $2 million to a Trump-backing super PAC. Trump, in a post on his Truth Social site Monday evening, announced he was selecting Stephens to be the U.S. ambassador to the Court of Saint James. The Senate is required to confirm the choice. “Warren has always dreamed of serving the United States full time. I am thrilled that he will now have that opportunity as the top Diplomat, representing the U.S.A. to one of America’s most cherished and beloved Allies,” Trump said in in his post. Stephens is the chairman, president and CEO of Little Rock, Arkansas-based financial services firm Stephens Inc., having taken over the firm from his father. Trump has already named many of his nominees for his Cabinet and high-profile diplomatic posts, assembling a roster of staunch loyalists. Over the weekend, Trump announced he intends to nominate real estate developer Charles Kushner , father of Trump’s son-in-law Jared Kushner, to serve as ambassador to France. During his first term, Trump selected Robert “Woody” Johnson, a contributor to his campaign and the owner of the New York Jets football team, as his representative to the United Kingdom.

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