![]() But just how much is turf really to blame for these injuries? And can anything actually be done about it? The answers and solutions aren't as simple as you might think. That cycle played out most recently when Aaron Rodgers' tore his achilles just four plays into his Jets debut. He's diagnosed with a significant injury, his season ends, and then social media sounds off, calling on the league to move away from artificial turf. Stop us if you've seen this before: a star NFL player falls down on a turf field - sometimes without contact - and clutches his knee or calf before being helped off the field. ![]() So today, a week ahead of the Grizzlies season opener - which Morant won't be a part of due to a 25-game suspension - ESPN's Tim McMahon joins the show to tell us how Morant's issues might be putting his basketball career in jeopardy. But despite his limitless basketball potential, Morant's behavior off the court has become not just a distraction, but problematic. 2 pick coming out of Murray State, the expectations for Morant were high and he has exceeded every single one of them. A young, overlooked, and under recruited point guard that drew Damian Lillard comparisons when he was the No. Ja Morant has been an NBA superstar since pretty much the night he was drafted. 18: What's Behind Ja Morant's Off-Court Struggles? Depe nding on the day and time, recent episodes might only appear in the playlist above. Many podcast platforms limit the number of episodes in the show feed, but the entire archive of ESPN Daily episodes is available in the playlist above and the list below. It's a great way to ensure you didn't miss any of our favorite stories of the year. We've assembled a collection of our best episodes of 2022. It's where the breaking news of SportsCenter meets the deep dive storytelling of 30 for 30. ![]() Monday to Friday, we bring you an inside look at the most interesting stories at ESPN, as told by the top reporters and insiders on the planet. The ESPN Daily podcast: How to listen, episode guide and moreĮSPN Daily kicks off your morning with the best sports story you'll hear all day. Pires’ analytically detailed playing tunnels deep inside the poetic soul of Beethoven’s score no glossing over his abrupt changes of mood, the confrontation between soloist and orchestra in the slow movement given Stravinskian objectivity – although you do wish the Finale could have been a little more peppery and genuinely vivace.You have reached a degraded version of because you're using an unsupported version of Internet Explorer.įor a complete experience, please upgrade or use a supported browser Some of my reviewer colleagues have suggested that at this tempo Pires and Harding let the momentum droop, but personally I hear liberation within their deliberation. With Daniel Harding and the SRSO resonating in empathy, Pires stretches the opening movement to just short of 20 minutes which, although not unprecedented, blows air through the structure, allowing us time to look around, to reacquaint ourselves with what we know from a slightly oblique angle. Her view of Beethoven’s Fourth Piano Concerto not only enters into a pianist-composer dialogue, but also probes our relationship as consumers of this (too) regularly recorded masterwork. Onyx’s first installment from Portuguese pianist Maria João Pires shows how foolish Deutsche Grammophon were to let her go. The Swedish Radio Symphony Orchestra plays superbly and the Linn engineers achieve a fine separation… ![]() Robin Ticciati has proven himself heir to Colin Davis with his Berlioz series on Linn (a fresh Fantastique, a moving L’Enfance du Christ and a very special Nuits d’Été) and this last instalment is, if anything, even finer. A pity, as with a little imagination (and enough money for the substantial forces), it is full of drama, poetry and intensely original orchestral passages. The result was a unique hybrid that even now struggles to find a home in the concert hall. Shakespeare was too sublime to risk throwing it away on the Opéra (who had recently massacred his Benvenuto Cellini), so the French maverick embarked upon his third, and most unusual symphony to date. Romeo and Juliet had been close to his heart since his then muse and now wife had played the heroine a decade earlier – but Berlioz was never one to choose the obvious. It was the famous gift of 20,000 francs from the aging Paganini that allowed Berlioz to take time out from the drudgery of music journalism in 1839 and devote himself to a new work.
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