In 1962 the building was renovated to become the music building of Bradley's Campus.

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An unexpected journey: Tami Lane '96 makes movie magic

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HilltopicsBradley Hilltopics - Spring 2013At home on campus

### Like the name of your first crush or kindergarten teacher, it's unlikely that you've forgotten your college dormitory.

Follow our dormitory dateline to find where you studied, hung your posters, celebrated birthdays, slept in, and listened to music.

Whether it was Elvis on a roommate's hi-fi, the Eagles on an eight-track player, or Madonna on CD, the technology of the day doesn't really matter.

1931 What's the "prettiest" building on the Bradley campus?

A top vote-getter would have to be Constance Hall, sitting next to its decidedly younger but less attractive neighbor, University Hall.

Before the School of Music took it over in 1962, Constance Hall was the women's dormitory.

Fondly referred to as Connie Hall by alumnae who resided there, the tan brick building had a tragic origin.

It was constructed in honor of Jennie Constance, head of Bradley's English department from 1919 to 1928.

While pursuing her Ph.D. at Northwestern University during the summer of 1928, Miss Constance was robbed and murdered in Evanston.

Peoria-area women's clubs took on the cause, helping raise $65,000 for the building.

The sisterhood of Connies had its own chorus, a fall dance, spring formal, and monthly formal dinners to celebrate birthdays.

Constance could accommodate just 43 young women.

Before Constance Hall was erected, Laura Cottage was the only campus housing for female students.

In 1925, the 20 residents each paid $40 per semester for their rooms.

Upon the completion of Constance Hall, Laura Cottage opened its doors to men and became known as Freshman Hall.

Its nickname, the Greenhouse, came from the green beanies worn by freshmen.

Finally, in 1946, it was renamed Sisson House.

1932 The Great Depression prompts Bradley to offer summer school students the option of camping in an orchard.

1937 In memory of his wife, Charles Wyckoff, dean emeritus, donates $25,000 upon his retirement, as well as his house and life insurance.

His remodeled home becomes Glenwood Hall, a residence for nine coeds.

The stately pillared building that began its life on campus in 1904 as the USDA's Weather Bureau becomes North Hall, a dormitory for 15 young women and their housemother.

Seven years later, it is renamed Alumni Hall and converted into offices for the dean of students, as well as alumni work.

Its 1957 demolition allows for construction of the original Baker Hall.

1948 Room and board ranges from $210 to $240 per semester for women.

Men pay $65 to $80 each semester but purchase meals elsewhere.

Housing needs were great from 1951 to 1971, and one dormitory after another began to dot the Bradley campus.

For several years they had utilitarian names like Men's Residence Hall and Women's Dormitory — not surprising when you consider the Gothic campus building that went by "Gymnasium" for 50 years.

Attaching names to the buildings seemed to happen almost by chance in 1957.

Bradley President Harold P. Rodes was in Los Angeles and paid a visit to 96-year-old Charles Truman Wyckoff, an esteemed dean emeritus.

A month later, the Board of Trustees approved many of Wyckoff's suggestions for naming buildings, as well as floors, in honor of the respected leaders who helped shape Bradley Polytechnic Institute.

The generic men's dormitories became Burgess and Sisson.

The new women's dorm was named Lovelace.

In 1959, the gymnasium was even given a name — Hewitt Hall, for Cecil Hewitt, Bradley vice president and longtime track coach.

1951 Five dormitories in four separate structures are built in close proximity during an 11-year span.

That tends to make the squarish, four-story buildings difficult to tell apart.

Students still reside in two of them, while the others were converted to offices or classrooms long ago.

The first to open is the Main Street wing of the L-shaped Men's Residence Hall in 1951.

Its basement cafeteria, The Huddle, seats 120.

Not until 1957 is the dorm named Burgess Hall in honor of Dr. Theodore Burgess, Bradley president from 1906 to 1925.

Also in 1957, names for its four floors are given, including Ashman House (Dr. George Ashman, chemistry), Bishop (Frederic Bishop, physics), Crawshaw (Fred Crawshaw, woodworking), and Parsons (J.R. Parsons, first dean of the School of Horology).

As demand for female housing skyrockets, Burgess becomes a women's dormitory in 1959.

Women pay $10 less per month to live there than at Constance Hall.

Facing Elmwood Avenue, the second wing of the Men's Residence Hall complex opens soon after the first.

Together, the two wings accommodate 441 men.

In 1957, the Elmwood wing is named Sisson Hall for Edward O. Sisson, the first director of Bradley Polytechnic Institute.

Its floors are also given names: Swaim House (Verne Swain, physics and dean of men), Brown (Fred Brown, athletics director), Hewitt (Cecil Hewitt, vice president), and Moffatt House (William Moffatt, Latin and Greek).

Sisson now adjoins the Michel Student Center and houses Human Resources, housing, student support services, and student organization offices.

Whether or not you were "Greek," there's a street just a block south of campus that you're bound to remember.

Two long blocks of Fredonia Avenue have been home to rushing, parties, rituals, and Homecoming decorations for more than 50 years.

Plans for a fraternity row began in 1956 when Bradley trustees, intent on beautifying campus to go along with the University's new Student Center, set out to convert the north side of Fredonia into building lots for Greek housing.

Before that time, chapter houses for sororities and fraternities were in old houses near campus.

As Bradley's student body swelled, many of the houses were outgrown.

Some were demolished for the expanding footprint of campus.

"Attractive and adequate fraternity housing will be an asset to the University in many ways," Leslie H. Tucker, dean of students, said in 1956.

"It will strengthen the fraternity system, and it will attract new students."

Today, 16 Greek houses sit along or adjacent to Fredonia; three fraternities are on Bradley Avenue.

Chi Omega remains at its longtime location, although last year its block of Glenwood was renamed Tobias Lane.

About one-third of Bradley's undergraduates are currently members of a social fraternity or sorority.

By 1956, Bradley has 3,043 students, and 601 are female.

A new dormitory, overlooking Main Street and the Pi Beta Phi house, opens that year for 150 of the women.

Automobile traffic can no longer traverse the heart of campus as the new construction permanently closes Institute Place at Main.

The following year, the dormitory is named for Gladys and Thomas Lovelace, a longtime Bradley trustee and vice president of Commercial National Bank, who made a $100,000 gift to Bradley.

The respective floors of Lovelace are named in honor of Bradley employees: Huston House (Mary Blossom Huston, modern languages), Bartlett (Helen Bartlett, dean of women), Kedzie (Nellie Kedzie, head of home economics), and Schmidt (Emma Schmidt, presidents' secretary; Ida Schmidt, home ec professor).

1957 Women pay $365 per semester for room and board.

Housing for male students costs $100 to $150 per semester without meals.

Some rooms are available off campus for men, renting for $20 to $35 per month.

1959 Twenty-two years after his retirement, original faculty member Charles Wyckoff is honored with the naming of Wyckoff Hall.

Five houses are demolished to construct the 180-bed hall.

A decade later, Wyckoff Hall is connected to the new Harper Hall, and the two share an expansive lobby.

Wyckoff remains a men's dormitory until 1996 when women move onto the first floor.

There is only one stumbling block with the switch — not enough space for women's clothing until a second closet is added to the rooms.

Today, most Wyckoff residents are freshmen.

Just as today's student body can scarcely imagine a world without computers and cell phones, the notion of a different set of rules for male and female students is difficult to fathom.

Greater freedom for men was the norm on college campuses during the middle decades of the 20th century.

Young women had hours (or curfews) and rules about where they could live.

Most were from Peoria and lived at home with their families.

Women All non-resident freshman women were required to reside in Bradley dormitories.

The rules specified that all sophomores and upper-class women reside in either a dormitory or sorority house under the guidance of a housemother.

Exceptions were in the case of mature women who were 25 years old; women who had the opportunity to live in a private home, securing their board and room for services rendered; or women desiring to live near relatives.

Men Out-of-town freshmen were offered the "privileges" of the residence advisory system.

Later, freshmen were required to live in a Bradley dorm, "unless for good and sufficient reason" special permission would be given for them to live elsewhere.

Then came the 1970s and the proposed Equal Rights Amendment, and coed dorms were quickly ushered in.

As a rule, males and females inhabited the same residence hall but lived on different floors; however, Williams Hall was different.

With lounges and bathrooms dividing each floor down the middle, its design allowed for men on one side and women on the other.

Heitz Hall boasted four washers and dryers and an amazing 10 telephones for its 250 female residents when it opened in 1962.

IRENE PHILLIPS HEITZ, 1906, donated $50,000 for furnishing the four-story dormitory.

Food in its dining room was the last to be served family-style on campus.

Heitz Hall was extensively remodeled recently.

1964 University Hall opens its doors on Bradley Avenue as the new college home for 375 male students.

Three Bradley-owned houses, the Conservatory of Music, and the old Sigma Nu house were torn down to build the $1.4 million dorm — twice the size of any other on campus at the time.

In 1971, U-Hall becomes a women's-only residence hall.

Today, it serves as Bradley's main freshman dorm.

Its cafeteria was closed for years, but now it operates as Lydia's Lounge with food and entertainment.

1966 Anne Collier Williams is present at the dedication of Williams Hall, built with a donation from Mrs. Williams and her late husband, Dr. HERBERT WILLIAMS, 1905, a great-nephew of Lydia Moss Bradley.

The five-story, $2 million structure initially houses women, although it is designed to be versatile enough to accommodate women, men, or both.

By the early '70s, it is a coed dorm featuring two cafeterias.

The basement features a coffeehouse for a short time.

The new and improved Harper — a seven-story, 135-room structure — opens for men in 1969.

One of its most appreciated features is air conditioning.

Its location next to Avanti's makes late-night runs for pizza bread and gondolas a little too convenient.

The restaurant moved in 1989, but it is still perilously close — just across Main Street.

Harper Hall honors Dr. William Rainey Harper, the first director of Bradley's faculty.

The original structure, built in the 1880s by Lydia Moss Bradley as a home for aged women, accommodated about 80 male students from 1946 until it became a residence for women in 1951.

Bradley's tallest building, Geisert Hall, is dedicated in 1971, a month after the death of its namesake, Charles Geisert.

The Pekin floral wholesaler left more than $400,000 to Bradley.

The $2.6 million hall was built to house 289 men and 108 women.

In 1986, a major selling point of the 10-story dorm was that some rooms were equipped with a computer and printer.

An extreme remodel to its popular cafeteria in 2011 includes a kosher kitchen.

1971 Sisson residents protest the closing of their dorm but move to other dorms in January 1972.

1971 Harvard offers coed living in 1970.

Bradley isn't far behind, introducing the college housing trend in 1971 — first with Burgess Hall and then the new Geisert Hall.

Twenty-four-hour visitation is implemented with young men and women free to visit each other's room.

1972 Refrigerators, the 1.7-cubic-foot variety, are permitted in dorm rooms.

Even better, each room comes equipped with a phone.

1977 Housing is in such short supply that almost 200 students are assigned rooms in the YMCA in downtown Peoria.

Buses transport them to and from campus.

1979 The housing shortage prompts Bradley to build the six-story Student Apartment Complex (SAC) east of campus on Underhill Avenue.

Its name may be a bit bland, but SAC helps meet the demand for housing with its 100 unfurnished, one-bedroom units.

1981 In the vicinity of the giant old satellite dish, three singles dorms are built near Geisert Hall on St. James.

Each with 50 rooms, they are named after streets: Elmwood, St. James, and Windom.

Two are later renamed Wendle and Lovelace.

Residents have 88 square feet of living space with furniture to arrange as they wish.

The Department of Nursing takes over Burgess Hall.

From 1972 to 1976, a portion of the building housed the Peoria School of Medicine (now known as the University of Illinois College of Medicine, Peoria).

1988 Sisson is connected to the Student Center as the major campus gathering spot undergoes a $2 million renovation.

1989 Bradley's Health Center in Heitz Hall is swamped when a springtime measles outbreak affects 107 students.

Those who can't go home are quarantined and cared for in the Heitz basement.

1990 Many off-campus rentals are torn down as Campustown shopping center is developed.

PEORIA — Of course, not all campus-area rentals were so dreadful.

Some landlords cared about their properties and tenants.

In an area with limited rentals, however, it wasn't so unusual to encounter landlords who managed to gouge students with unreasonable rents and/or substandard housing.

As for returning security deposits, that was often unlikely — even if students had left the place spotless.

The construction of new apartments made the off-campus housing situation more favorable.

A housing shortage prompted Bradley to build the six-story Student Apartment Complex (SAC) in 1979.

Two decades later came an even more groundbreaking development — St. James Place apartments.

Bradley students could have bedrooms of their own while sharing common living space that included a well-equipped kitchen.

Then in 2011, for students whose wants include the amenities they're accustomed to at home (a private bathroom, laundry machines, and garage parking, for instance) came a new development—Main Street Commons.

The complex features 88 two- and three-bedroom units.

1990 Enrollment reaches its highest level in 22 years.

Bradley answers the surge with three 35-resident "mini-dorms" on Bradley Avenue, plus Becker Hall, a temporary residence hall for 98 students.

Becker is constructed in record time — 3½ weeks — adjacent to the Garrett Center.

Its demolition in January 1995 makes way for the new Global Communications Center.

As for the trio of mini-dorms, one is College Hall for women, and the other two brick buildings become fraternity houses.

1990 Lovelace Hall on Main Street is greatly enlarged and transformed into Baker Hall, the home of the business college.

The Lovelace name lives on with the renaming of one of the three singles dorms located near the Bradley Bookstore.

1994 Dorm dwellers pay $4,440 for the year in room and board, including 20 meals per week.

1999 Four brick apartment buildings open for fall semester at St. James Place, a fenced development adjacent to campus.

Seven more buildings are ready in 2000, as well as an intramural athletic field, Meinen Field.

Eventually, St. James becomes a 15-building complex on almost 10 acres.

It continues to be a popular option for 550 Bradley students in modern one-, two-, three-, and four-bedroom apartments.

1999 Williams Hall offers the first residence hall food court, operating from 7 a.m. to 10 p.m.

The vegetarian program at the Geisert cafeteria is in its sixth year.

After his death in 1999, St. James Hall is renamed Wendle Hall for TIM WENDLE '72 MA '81.

The naming of the singles dorm honors the popular director of residential life, while it also eliminates confusion with the St. James Place apartments.

2003 Students pay $5,980 in room and board.

Or going back a bit further, the A&P grocery store?

The Main Street Commons complex with 88 units took the drugstore's place, giving Bradley its most amenity-rich housing option to date — including a private bathroom for each bedroom.

Each two- and three-bedroom furnished unit has its own washer and dryer, as well as furniture and a wall-mounted HDTV.

Downstairs there's a fitness room, media room, coffee shop, and clothing boutique.

For an added fee, garage parking is available below the $13 million, five-story building.

2013 Bradley residence halls offer 2,140 beds for students.

An online lesson with tips and expectations for living off campus must be completed by students not living in one of the 12 halls.

Room and board is $8,700 for the school year.

Visit bradley.edu/go/ht-housingplaylist for video tours of housing options now available to Bradley students.

A wall of miniature residence hall rooms is a star attraction at the Hayden-Clark Alumni Center.

From matching pink plaid bedspreads to today's lofted beds, the dioramas are outfitted with miniature decor that many former dorm dwellers will recognize.

Its first graduate, in June 1898, was Cora Unland.
 Originally, the institute was organized as a four-year academy as well as a two-year college. There was only one other high school in the city of Peoria at the time. By 1899 the institute had expanded to accommodate nearly 500 pupils, and study fields included biology, chemistry, food work, sewing, English, German, French, Latin, Greek, history, manual arts, drawing, mathematics, and physics. By 1920 the institute dropped the academy orientation and adopted a four-year collegial program. Enrollment continued to grow over the coming decades and the name "Bradley University" was adopted in 1946.
 The first music building on Bradley's Campus was built in 1930 and named after Jennie Meta Constance(the English department), who was murdered on August 28, 1928.


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This was one of the many research papers completed for the MIT Sloan Sports Analytics Conference that used SportVU data, including Kirk Goldsberry's paper in 2014 concerning the prediction of points and evaluation of decision-making in basketball.

With an ocean of new statistical information available, the NBA could be on the verge of understanding the value of every single movement on the court.

On February 13, 2013, the San Antonio Spurs found themselves in a surprisingly close game in Cleveland.

Late in the fourth quarter, Cavs rookie shooting guard Dion Waiters made the biggest basket of his young NBA career, knocking down a tough jumper to give his team a two-point lead with 9.5 seconds left.

Smelling an upset, Cavs fans at Quicken Loans Arena started going bananas.

The Spurs called a timeout, advanced the ball to half court, and decided to run one of their favorite plays.

Matt Bonner inbounded the ball to Tony Parker, who stood 30 feet from the rim.

Parker quickly attacked the left wing, where a massive Tim Duncan screen forced Tyler Zeller to switch onto Parker.

With 6.7 seconds on the clock, Parker raced toward the basket, poised to attempt a high-percentage game-tying layup.

A split second later, he saw something and changed his mind.

Kawhi Leonard was standing unattended in the weakside corner.

Parker's aggressive slash to the rim had drawn Leonard's defender, Waiters, all the way into the lane.

He was standing flat-footed in no-man's-land.

As soon as Parker noticed this, he hurled a perfect bullet pass along the baseline to Leonard.

The rest was almost a formality; at that point, the play was made and all Leonard had to do was sink one of his favorite shots.

He did, and the Spurs won the game by one point.

The box score reduces that sequence to a few basic integers; Kawhi Leonard is credited with one field goal attempt, one field goal made, and three points scored.

Tim Duncan's screen goes undocumented, and the totality of Parker's catalytic undertakings gets recorded as one measly assist.

Afterward, Parker reflected on the game's final sequence: "I thought I could have made the layup, but I saw Kawhi open.

I wasn't only playing for the win, but I'd been setting up my teammates all night, so I wanted to make the right play at the end."

Shortly after the 2012 MIT Sloan Sports Analytics Conference, I received a call from Brian Kopp, the John the Baptist of player-tracking data in the NBA and the person in charge of the SportVU project at STATS LLC in Chicago.

I was working at Harvard at the time, and Kopp was offering to share his incredible data set with basketball-minded academics; he asked me if I wanted to "play with some optical tracking data."

I leapt at the chance, having no clear idea what I was getting into.

A few weeks after the call, I got my first glimpse of the raw data that, according to many, was going to change basketball analytics forever; it was a true "Holy shit!" moment.

At the time, I was working on a giant, 27-inch iMac display, and when I double-clicked that first SportVU file, data immediately filled the screen.

All I could see was an ocean of decimal points, trailing digits, and hundreds of XML tags sporadically interleaved among them.

Right away, it was obvious this was the "biggest" data I had ever seen.

I'll always remember my surprise when it occurred to me that everything on my screen amounted to only a few seconds of player action from one quarter of one game.

I had thousands of these files; I knew I needed help.

I approached Luke Bornn, a young professor of spatial statistics, and told him about my predicament.

Luke suggested we form a research group on campus and enroll graduate students to create projects using the data.

The group quickly attracted four PhD students in statistics and computer science.

By early 2013, each student was tackling different projects.

Dan Cervone and Alex D'Amour were two of our first members.

Both guys are 27 and fourth-year PhD students in the statistics department at Harvard.

Both love sports, but not as much as they love coding and numbers.

Shortly after seeing the data and doing some brainstorming, they pitched the group a project idea that sounded equally innovative and impossible.

On the quest for the perfect analytical device, the first discovery should always be the inescapable fact that there is no perfect analytical device.

There is no singular metric that explains basketball any more than there is a singular metric that explains life.

It's hard not to improperly elevate the role of "big data" in contemporary sports analyses, but romanticizing them is dangerous.

Data are necessarily simplified intermediaries that unite performances and analyses, and the world of sports analytics is built upon one gigantic codec that itself is built upon the defective assumption that digits can represent athletics.

Still, the reality in 2014 is that Adam Silver's NBA has cameras in the arenas measuring every player's every move.

These stationary drones in the rafters are beaming gigabytes of potentially vital intelligence back to video rooms and practice facilities across the league.

Whereas just a few years back acquiring good data was the hard part, the burden now largely falls upon an analytical community that may not be equipped to translate robust surveillance into reliable intelligence.

The new bottleneck is less about data and more about human resources, as overworked analysts often lack the hardware, the software, the training, and most of all the time to perform these emerging tasks.

Despite all that, in the hands of talented, well-equipped statisticians, SportVU data is indeed awesome in terms of its potentially massive contribution to understanding the league we all cherish.

In Kopp's words, "We are just scratching the surface, and it takes a lot of work just to get to the point to begin advanced analyses."

The NBA's big-data possession is just getting started, and everyone is rooting for a slam dunk that benefits teams, athletes, media, and most of all, fans.

But that's not guaranteed, and in the words of Parker, we just have to make sure we "make the right play in the end."

Tony Parker is one of the best playmakers in the world.

For more than a decade now, he's been the straw that stirs the Spurs' stiff offensive drink.

But despite winning three rings and an NBA Finals MVP,1 Parker has never quite been considered a true superstar.

Once again this year, he'll begin the All-Star Game on the bench, playing behind guards who have somehow turned slighter successes into superior Q scores.

Maybe this is because Parker is a foreign player, or maybe it's because he plays in a smaller market deep in the heart of Texas.

But maybe it's also because our box scores undervalue the importance of the "little things" that players like Parker do and overvalue the most easily quantifiable events like made baskets and rebounds.

On one hand, the notion that we award Leonard three points for his buzzer-beating shot in Cleveland makes sense.

After all, he was the one who made the freaking shot.

On the other hand, giving Leonard credit for the basket is like awarding George Clooney the credit for Gravity.

"We practiced that play 1,000 times, so I knew we'd be able to execute it," San Antonio coach Gregg Popovich said after the game.

If we applied this conventional basketball accounting to the game of chess, we'd assign far too much importance to the singular checkmate move, while entirely overlooking that move's hugely relevant tactical precedents.

Chess matches are rarely won or lost in one final action, and the same goes for basketball possessions.

They are rarely decided by their terminal actions, and players like Parker or Chris Paul commonly put their teams in advantageous situations one way or another.

In the era of "big data," the current statistical system — the one that produces the box score — is a typewriter, albeit a reliable one.

It was born out of pencil-and-paper convenience rather than a desire to truly measure the contributions of the 10 athletes on the floor.

Still, it has worked well, and as a result it's persisted from the time of Bill Russell, through the Michael Jordan years, and well into the LeBron James era; its derivative dogmas have morphed into things we have termed "advanced stats" and "basketball analytics."

In the last few decades, pioneers like Ken Pomeroy, Dean Oliver, and John Hollinger effectively took advantage of spreadsheets and other newfangled accoutrements of the personal computing era to launch us headlong into basketball's computational era.

We continue to learn from their contributions, but things are still rapidly evolving.

Early in the spring semester of 2013, Cervone and D'Amour proposed a new project to measure performance value in the NBA.

The nature of their idea was relatively simple, but the computation required to pull it off was not.

Every "state" of a basketball possession has a value.

This value is based on the probability of a made basket occurring, and is equal to the total number of expected points that will result from that possession.

While the average NBA possession is worth close to one point, that exact value of expected points fluctuates moment to moment, and these fluctuations depend on what's happening on the floor.

Furthermore, it was their belief that, using the troves of SportVU data, we could — for the first time — estimate these values for every split second of an entire NBA season.

They proposed that if we could build a model that accounts for a few key factors — like the locations of the players, their individual scoring abilities, who possesses the ball, his on-ball tendencies, and his position on the court — we could start to quantify performance value in the NBA in a new way.

In other words, imagine if you paused any NBA game at any random moment.

Cervone and D'Amour's central thesis is that no matter where you pause the game, that you could scientifically estimate the "expected possession value," or EPV, of that possession at that time.

For example, imagine LeBron James holding the basketball completely unguarded underneath the basket.

We would expect him to score two points.

The EPV at that moment would be very close to two.

Conversely, imagine Dwight Howard holding the ball 40 feet from the hoop with one second remaining on the shot clock and three defenders in his face.

It's highly unlikely that Howard would score.

That moment would be ascribed an EPV very close to zero.

Of course, most on-court predicaments in the NBA are not this extreme, but they still can be evaluated through this EPV framework.

While that is novel, the really big ideas trickle down from here.

If we can estimate the EPV of any moment of any given game, we can start to quantify performance in a more sophisticated way.

We can derive the "value" of things like entry passes, dribble drives, and double-teams.

We can more accurately quantify which pick-and-roll defenses work best against certain teams and players.

By extracting and analyzing the game's elementary acts, we can isolate which little pieces of basketball strategy are more or less effective, and which players are best at executing them.

But the clearest application of EPV is quantifying a player's overall offensive value, taking into account every single action he has performed with the ball over the course of a game, a road trip, or even a season.

We can use EPV to collapse thousands of actions into a single value and estimate a player's true value by asking how many points he adds compared with a hypothetical replacement player, artificially inserted into the exact same basketball situations.2

This value might be called "EPV-added" or "points added."

Let's examine that Parker-Leonard buzzer beater again, this time through the lens of EPV.

The play begins with the Cavs leading by two points and just under nine seconds remaining in the game.

As Parker initiates the offensive sequence, the model estimates that the possession is worth 0.97 points.

After Duncan's screen frees up Parker to attack Zeller, EPV actually decreases as Parker penetrates through the midrange closely marked by Zeller.

But as he gets close to the basket, the EPV surges to 1.36.

Parker's dribble drive has already elevated that value of the possession by 0.39 points — but he's not done.

He increases the value of the play further when he fires that crazy baseline pass to Leonard, standing open in the corner.

EPV accounts for both Leonard's great corner shooting prowess and that he is wide open.

As a result, the EPV peaks at 1.75 as Parker throws the game-winning assist.

There is a slight decrease in value, to 1.58, as Dion Waiters frantically attempts to close out Leonard, but Waiters is too late.

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There are several ways to divvy up credit for the changes in EPV during this play, but the simplest method is to attribute them to the person in possession of the basketball at the time of those changes.

Using this approach, Parker would earn plus-0.78 points for this particular sequence, corresponding to the amount of EPV gain from the time he began his attack (EPV = 0.97) until the time Leonard received the pass in the corner (1.75).

In a parallel universe, without our conventional box scores, and with only EPV, Parker would get more of the numerical glory for this play.

But within our points-rebounds-assists framework, Leonard does.

The YouTube clip of the play is entitled "Kawhi Leonard's Game-Winning 3-pointer!"

Cervone and D'Amour began building a model to estimate EPV last year.

They derived their approach from "competing risk models," which are mostly used in survival analysis to evaluate multiple risks of death and changes to those risks over time.

Cervone saw an opportunity to apply them to basketball.

Instead of the duration of a human life, he would examine NBA possessions; in place of various causes of death would be various possession outcomes in basketball games.

This unique approach to basketball analysis is the subject of a research paper to be presented later this month at the 2014 MIT Sloan Sports Analytics Conference in Boston.

"Instead of death," Cervone explains, "we're applying the 'risk' to look at the probabilities of different on-court actions or outcomes over time."

As described in the full paper, the model estimates two key values at every moment of every game:

By definition, the current EPV of a possession is the weighted average of the outcomes of all future paths that the possession could take.

Calculating this requires a model that defines a probability distribution over what the ballhandler is likely to do next, given the spatial configuration of the players on the court, as we need to understand what future paths the possession can take and how likely they are given the present state.

We call this model the possession model.

Using a Markovian assumption, the possession model allows us to estimate both (a) the probability that a player will make a particular decision in a given situation and (b) the resulting EPV of the possession after the player makes that decision.

Taken together, we learn both how valuable any moment in a possession is, as well as the features of the offense's configuration that produce this value.

Here's an example of the key values estimated by the model taken from a Spurs-Thunder game from last season.

Kawhi Leonard holds the ball near the top of the arc; the model estimates what is most likely to happen next, and what changes in EPV will result from that particular action.

If you ask Cervone the hardest part of this project, he'll quickly address computation.

His answer is instructive as sports analytics races headlong into its own version of the "big data" era.

In total, the 2012-13 SportVU data set used for the paper included 800 million locations of NBA players.

Keep in mind, the data was collected in only 14 NBA arenas last season — it's collected in every arena this season.

The database the group built for the project ended up being 93 gigabytes.

As a means to squeeze this unwieldy database through the demanding model, Cervone and D'Amour turned to Harvard's cluster computing service, known as Odyssey.

It took the enhanced computational horsepower of 500 parallel processors and two terabytes of memory to complete the analysis.

Relative to the basic math and smallish data that we've been dealing with over the past few decades, analyzing this new kind of data is extremely challenging, both from a personnel and a computational standpoint.

How many NBA teams have employees who even know what a competing risk model is, let alone people who know how to design and implement one?

How many NBA teams have computational clusters or employees who know how to use them?

Those answers may not be zero, but they are surely much closer to zero than they are to 30.

Of all the players in the NBA, Chris Paul had the highest "points added" at 3.48 per game over the 2012-13 season.

Most people around the league would describe him as the best point guard in the game.

By adding 1.5 points per game, he is 20th out of 327 players with a qualifying amount of possessions.

Ricky Rubio had the lowest, at minus-3.33 points added per game.

"When we say Paul had a points added score of 3.48," D'Amour explains, "we mean that his team was expected to score 3.48 more points per game because it was Paul, and not the average player, who made the decisions every time he touched the ball."

"In general, players who are well adapted to the tools they have to work with, like their own shooting ability and the abilities of their teammates, add lots of points," D'Amour said.

"If a player has a shot that he can hit at a higher rate than anybody else (say, Dirk Nowitzki's midrange shot), or takes advantage of the unusual talents of a teammate (say, passing often to a 3-point shooting guard like Ray Allen), the player comes out as a positive.

If a player takes hard shots when most other players would pass to better shooters, or fails to adapt to a teammate who is having an unusually poor shooting season (Ricky Rubio when Kevin Love had a bad wrist), the player comes out as a negative."

Rubio owes most of his "points lost" to his unfortunate shooting skills.

Relative to league averages, he struggles to make shots in every part of the scoring area.

In terms of EPV "over replacement," almost every jumper Rubio decides to take is a proposition less valuable than if almost any other similar player took that exact same shot.

For this reason, although Rubio regularly adds value with his non-shooting plays, the model docks him overall.3

The overall contribution of the EPV project remains unknown; it is in its infancy and is by no means going to "revolutionize" basketball analysis.

But perhaps it will eventually fuel a new supplementary approach to assessing performance in the NBA.

Maybe it won't, and its contribution will be less about figuring out true player value and more about simply raising awareness about the kinds of thinking, computation, and analysis that are required to really generate new basketball insights going forward.

For years, we have talked about "advanced stats" when what we were really talking about was slightly savvier arithmetic.

That's going to change, whether we want it to or not.

Don't get me wrong — metrics like points per possession and PER have significantly improved the analytical discourse surrounding basketball.

Still, there's a tremendous amount left to do.

And given these vast haystacks of newfangled player tracking data, we're in desperate need of similarly newfangled needle-extraction techniques.

Sadly, as the best data sets become harder to acquire and the computational requirements become more intense, the days of bedroom analytics might be numbered.

Not to mention, Parker was a few bounces away from likely earning a fourth ring and second Finals MVP last season.

This is similar but not identical to the idea of Value Over Replacement Player (VORP) introduced by the great Keith Woolner, formerly of Baseball Prospectus.

You can see more results from the paper here.

Filed Under: NBA, SportVU, Tony Parker, San Antonio Spurs, Kawhi Leonard, Gregg Popovich, Kirk Goldsberry, Sloan

Kirk Goldsberry is a professor and Grantland staff writer.

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Click here to watch 'Jalen & Jacoby,' Grantland Features, and video podcasts!

In 2016, STATS and the NBA met an agreement to extend SportVU tracking data to many more media outlets around the world including ESPN, NBA on TNT, and Bleacher Report.
 Beginning in the 2016-2017 season, STATS would serve as France's Ligue de Football Professionnel's official data and tracking provider. STATS would use SportVU to provide various football data and statistics.
 After the NBA's full adoption of SportVU tracking technology in 2013, many statisticians and data scientists have utilized tools such as machine learning to provide more complex statistics from the tracking data.  At the 10th annual MIT Sloan Sports Analytics Conference in 2016, STATS's own Director of Data Science and his team was awarded the grand prize for their contributions to a research paper concerning the prediction of shot outcomes in tennis.


His son, Ian Wallace, achieved fame as an opera and concert singer and broadcaster.

(meta data) TITLE: Ian Wallace Obituary | Music | The Guardian

(meta data) AUTHOR: https://www.theguardian.com/profile/dennis-barker

(meta data) PUBLISHER: https://www.facebook.com/theguardian

(meta data) PUBLISHED DATETIME: 2009-10-13T14:34:19-0400

Available for everyone, funded by readers

Opera singer and actor who went on to star in the BBC Radio 4 quiz show My Music

First published on Tue 13 Oct 2009 14.34 EDT

Ian Wallace, left, with the My Music panel.

Steve Race, seated, Wallace, Denis Norden, Frank Muir and John Amis.

Ian Wallace, who has died aged 90, was an affectionately regarded example of a rare, versatile breed.

An opera bass-baritone of distinction, he also helped popularise the Michael Flanders and Donald Swann revue number The Hippopotamus Song – "mud, mud, glorious mud" – and was a star of the BBC Radio 4 quiz show My Music.

Wallace was as at home in pantomime as he was at Glyndebourne, while his London stage work included co-starring with Robert Morley in the musical Fanny at Drury Lane in 1956.

Rotund and good-natured, Wallace had a unique talent as a raconteur.

He had an unerring eye for human weakness and absurdity, but was himself so unmalicious that he was able to tell stories that made even the "victims" laugh.

One of his favourite anecdotes concerned the occasion when he felt faint on stage in opera and grabbed the soprano in front of him for support.

Afterwards she thanked him for supporting her when she felt faint.

Just as Wallace seldom spoke ill of anyone, few spoke ill of him.

As Jeanette Chalmers, his agent of many years, put it, he succeeded not only because he had talent but because he was very good with people – "he was very untheatrical … and very straightforward".

He was, however, capable of straight talking.

When in the 1980s the BBC accountants prescribed the abolition of some of the BBC orchestras as part of a cost-cutting exercise, Wallace was one of the performers who took the risk of publicly opposing wholesale cuts, while other BBC stars found it politic to keep their mouths shut.

From the first, Wallace had an affinity with the lighter and funnier side of life, though he did suffer early setbacks despite coming from a privileged background.

Born in London, he was the son of Sir John Wallace, Liberal MP for Dumfermline between the two world wars, who wanted his son to become a barrister.

For this ambition, the portents were not good.

Ian and his mother Mary were fascinated by the stage.

The boy made his first stage appearance at the age of five in a school production of A Midsummer Night's Dream, playing Bottom the weaver.

During the performance he was beset by fits of coughing and only afterwards was it realised that he had been suffering from whooping cough.

Though his father did not encourage his acting ambitions, he regarded them with tolerance.

Ian was taken to variety performances at the London Coliseum, and saw the Houston Sisters, Layton and Johnstone and the clown Grock.

After Charterhouse school, in Godalming, Surrey, he read law at Cambridge, a course which his father thought would set him up as a barrister and, ultimately, a politician.

After making more of an impact in amateur dramatics than in the law faculty, he emerged with a good third-class degree when – as he told it – his tutor was unable to get him a bad second.

The career dilemma was postponed by the war, in which he joined the Royal Artillery but was invalided out after a motorcycle accident.

He returned to military service after he recovered, but as a lieutenant was invalided out again in 1944 with tuberculosis of the spine after spending a long time in a military hospital, where he entertained fellow patients with his own show, High Temperature, despite being in a plaster cast.

"I've been here about 16 months and I got bored, so I asked if I could do this show.

We're having a wonderful time," he told journalists who turned up at Horton emergency hospital in Epsom, Surrey.

In the dismal two years he spent virtually on his back, his thoughts turned more and more to the theatre.

He first appeared on the professional stage at the Little Park Theatre in Glasgow, playing the nobleman in Ashley Duke's The Man With a Load of Mischief.

One of the critics compared him with the distinguished actor Charles Laughton, and not only because he weighed 16 stone at the time.

He never received any kind of formal instruction in acting.

After a play at the Citizens Theatre and some drama and school broadcasts for the BBC, he made his London stage debut in 1945 at Sadler's Wells in James Bridie's play The Forrigan Reel.

It was produced by the actor Alastair Sim.

Shortly afterwards, Wallace appeared in a singing role in The Glass Slipper at the St James's Theatre.

He began to feel that his future might lie in doing character parts in musicals, regarding his voice as not good enough for opera.

His friends disagreed and persuaded him to audition, with the result that he got the part of Schaunard in La Bohème for the New London Opera Company.

Princess Elizabeth was in the royal box on the opening night in 1946.

Wallace worked for the group for two years.

The musical director was Alberto Erede, and the singers were half British and half Italian.

From there he went, in 1948, to Glyndebourne, the opera house near Lewes, in East Sussex, appearing in comic roles as principal buffo at the Edinburgh Festival and broadcasting many of the productions for the BBC: his association with the company lasted till 1961.

He also appeared in revue, sang under Sir Malcolm Sargent in The Mikado and Iolanthe, and performed the comic songs of Flanders and Swann.

In 1953 he was in the Royal Command Variety Show at the London Palladium as well as singing in opera in major houses in Europe and beyond, and, in 1962, his stage "after-dinner entertainment" 4 to the Bar – arranged with a cast of four after he had modestly declined to bear the responsibility of a one-man show – was well received.

It lampooned the then "hot" Irish playwright Brendan Behan by showing him singing about "Mountains of corn/Sweeping down to the sea".

Wallace later relented and devised a one-man show, An Evening With Ian Wallace.

My Music (1967-94) always ended with singing from Wallace and John Amis, accompanied by Steve Race, who devised the questions put to them and the comedy writers Denis Norden and Frank Muir.

It was just one of the programmes on radio and television that made Wallace a popular figure without his ever losing authority as an opera singer.

In the late 1960s he appeared regularly with Scottish Opera in roles such as Leporello in Mozart's Don Giovanni and Pistola in Verdi's Falstaff, and 1987 saw him both as a classical singer for Victoria Wood: As Seen on TV, and as the college Praelector in the Cambridge spoof Porterhouse Blue on Channel 4.

Wallace had a handsome home in Highgate, north London, and a Norfolk cottage which was useful to a man who liked sailing, golf, photography and walking.

In 1983 he was appointed OBE, and in 1991 made honorary doctor of music by St Andrews University.

In 1948 he married Patricia Black, from Fife in Scotland, and they had two children, Rosemary and John.

John Amis writes: There were many pleasurable things about being in My Music on radio, and briefly on television.

One was that I was actually paid every week to listen to Ian's singing: ballads, folksongs, straight songs and opera, he sang them all so that you could savour the words, and the actual sound was thrilling, a high bass-baritone with a marvellous, sonorous top F, a sound that went to the heart.

I heard him first in Jay Pomeroy's New London Opera company at the Cambridge Theatre, London, then at Glyndebourne, where he sang Doctor Bartolo in Rossini's Barber of Seville.

His big E flat aria was a highlight – his voice was so strong and lyrical that it could match any native Italian.

He also excelled in the same composer's Comte Ory and Cenerentola.

Funnily enough, he never bothered to learn to read music, which made for slow learning.

But once he had learned something it was there in his head forever.

Ian was not a complicated man, certainly not an intellectual.

He was kind, completely lacking in malice: what you saw was what you got, a really nice guy.

His one-man shows were a delight, with audiences eating out of his hand.

He was London Scottish so it wasn't quite true when he began one of his shows:

On My Music he proved to be a good raconteur, regaling us with stories of the stage, working with Robert Morley in musical comedy (before it became musical), and explaining: "We basses and baritones never get the girl.

We always have to play a drunken monk or someone's uncle.

The nearest we ever get to kissing the soprano is giving her a chaste peck in Act 3 for something the tenor did to her in Act 1."

He was happily married to Pat, a nurse, and a good friend who cared for him when latterly he seemed to have two sorts of asthma, which affected his heart.

He occasionally betrayed a Scottish sense of looking after the "bawbies" when he once said: "Pat has been a wonderful wife: she doesn't care at all for jewels or perfume."

• Ian Bryce Wallace, singer, actor and broadcaster, born 10 July 1919; died 12 October 2009

 He was elected at the 1918 general election as Coalition Liberal Member of Parliament (MP) for Dunfermline Burghs. However, when sought re-election as a National Liberal at the 1922 general election, he lost the seat by only 201 votes to the Labour Party candidate William Watson.
 Wallace stood again at the 1923 general election, this time as a Liberal, but Watson increased his majority. He did not stand in the 1924 or in 1929 elections, but contested the seat again at the 1931 general election, this time as a Liberal National. He won the seat with a comfortable majority of 4,616 votes, and held it until his defeat at the 1935 general election. He did not stand for Parliament again.
 He was knighted in the New Year Honours 1935, for "political and public services".


He also spent time with Selangor FA in the Malaysian league scoring the winning goal in the Malaysia Cup Final in December 1997.

(meta data) TITLE: Chris Kiwomya | Arsenal Player Database | History | Arsenal.com

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Arsenal celebrates 25 Years of community work

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Ground Forces overcome Aerial Onslaught!

Chris Kiwomya joined Arsenal for £1.25million in January 1995 but failed to nail down a regular first-team place during his three-year stint at the Club.

He made his name at Ipswich, where he notched up over 200 appearances over seven years as a professional at the club where he began his career as a trainee.

In 1995 he became one of George Graham's last signings as Arsenal manager, joining the Club just seven weeks before the Scot's departure.

The striker scored three goals in 17 appearances for the Gunners but wasn't selected by new manager Bruce Rioch during the 1995/96 season and found himself on the transfer list that January.

Kiwomya remained an Arsenal player but spent the following term on loan at Le Havre and the 1997/98 campaign with Malaysian side Selangor.

He finally left Arsenal for Queen's Park Rangers in May 1998.

He made over 100 appearances for the Rs before ending his playing career at AaB Aalborg.

In July 2008 Kiwomya was appointed as Reserve Team Development Coach at Ipswich Town.

Arsenal history: On this day... February 25

Vieira Week: Official Arsenal magazine interview with Patrick

 He signed for Arsenal in a £1.25million deal in February 1995, as one of George Graham's last signings for the club, along with John Hartson. He made his debut against Everton on 14 January 1995 and was rarely out of the side that campaign. Kiwomya scored his first goal for Arsenal in the 1-0 win over Nottingham Forest in February 1995. He made his European debut against Auxerre, on 2 March 1995 and was an unused substitute in the European Cup Winner's Cup Final match between Arsenal and Real Zaragoza. Kiwomya scored three goals in 17 appearances in 1994–95. Graham had been sacked in February for a highly publicised "bungs" incident, and Stewart Houston had remained in charge until the appointment of Bruce Rioch after the end of the season. The acquisition of Dennis Bergkamp, as well as competition from the likes of Ian Wright and Hartson, left Kiwomya down the pecking order.
 He spent 1996–97 on loan at Le Havre AC of France, making 7 appearances.


After her freshman year, she transferred to Ringling College of Art and Design in Sarasota, Florida, where she learned digital photography technology, digital media and printing.

(meta data) TITLE: Thomas French Fine Art Spring Preview - Collective Arts Network - CAN Journal

(meta data) PUBLISHER: https://www.facebook.com/pages/Collective-Arts-Network-Journal/168371669907989

## Thomas French Fine Art Spring Preview

This spring, Thomas French Fine Art is pleased to announce three exciting online exhibitions on thomasfrenchfineart.com, as well as our participation in the Northern Ohio Art Dealers Association (NOADA) Art Expo May 10-12 in Cleveland, at which we will feature the work of African American artist Sedrick Huckaby.

Architecture + Urbanism in April will feature a wide selection of architectural studies of the urban environment.

Historically, artists' work has been as much about the built environment as the people who inhabit it.

The interaction of these two spheres, known as urbanism, offers an insightful lens through which to consider these cityscapes.

Ultimately, this consideration allows the viewer to develop a greater appreciation for the special role that artists have held in recording life around the world throughout history.

Artists featured in this exhibition will include: G.B. Piranesi, Joseph Pennell, Childe Hassam, John Taylor Arms, and Robert Delaunay.

Several depictions of Cleveland by Louis C. Rosenberg, August F. Biehle, and Yvonne Jacquette will also be included.

Our May online exhibition will demonstrate the artistic evolution of printmaker Ray H. French (1919-2000) in honor of his May 16th birthday.

A founding member of the Iowa Print Group, French began his artistic career in the late 1940s and early 1950s with his classic line engravings.

Over time, he also developed a unique style of mixed intaglio and did pioneering work on blind embossings, in which he combined line intaglio and embossing in a three-dimensional shadow box to create what is now known as a graphic construction.

French's artwork has been acquired by over 500 museums and institutions including: the Museum of Modern Art, the Library of Congress, the Metropolitan Museum of Art, the Smithsonian American Art Museum, the Victoria and Alber t Museum, the Bibliothèque Nationale, and the Brooklyn Museum.

In June, we will showcase the abstract photographs of Adrienne French (1987-) who carries on the artistic lineage begun by her grandfather Ray H. French by focusing her lens on the urban landscape.

A recipient of the prestigious fine art scholarship at Ohio Wesleyan University, Adrienne began her studies with nationally regarded photographer, educator, and museum director Justin Kronewetter.

She then studied photography at the Ringling College of Art and Design, where she developed a keen understanding of photographic technique, which coupled with her ability to see beyond the unseen, has led her to capture striking and inspiring images.

Specifically, Adrienne finds beauty in the often neglected urban landscape and has revealed that the more dilapidated and unattractive something may appear at first glance, the more beauty she sees and tries to capture.

This ability has attracted the attention of many discerning galleries, museums, and collectors including: the Halcyon Gallery in Terre Haute, Kenneth Paul Lesko Gallery in Cleveland, the Midwest Museum of American Art in Elkhart, as well as scholar collectors Dr. Henry Adams and Dr. Marianne Berardi.

Finally, in addition to our online exhibitions, we will also be exhibiting at the NOADA Art Expo May 10-12 in Cleveland, where we will feature the work of Sedrick Huckaby (1975-) as well as our large inventory of works on paper.

An extraordinary draftsman, Huckaby applies his creativity to his religious devotion and African American family heritage.

A recipient of the 2004 Joan Mitchell Foundation Painters and Sculptors Grant Program Award and the 2008 Guggenheim Fellowship Award, Huckaby's work has been acquired by the Whitney Museum of American Art, the Museum of Fine Arts Boston, the Art Institute of Chicago, and the Minneapolis Museum of Art.

Our selection of his work will include paintings, pastels, drawings, and a unique suite of hand colored lithographs created specifically for the Art Expo.

We are looking forward to sharing in the excitement of all these events with you and seeing you at the NOADA Art Expo n May.

In the meantime, please take a moment to subscribe to our email newsletters via the homepage of our website and follow us on Facebook and Tumblr for information on our exhibitions, acquisitions, events, and promotions.

Subscribe to our emails to keep up-to-date on CAN & art related events around Northeast Ohio

Holiday Market Opening ReceptionCAN Journal Fall 2019 Issue Launch PartyThird Friday Art Walk, Eileen Dorsey Studio[ view all ]

Born in Akron, Ohio, French attended Ohio Wesleyan University in Delaware, Ohio. While at Ohio Wesleyan University, French was one of the only freshmen in the photography program, where she studied traditional wet darkroom methods.


Gennady Chkhaidze (Georgian: გენნადი ჩხაიძე; Uzbek: Геннадий Чхаидзе; born June 19, 1974 in Tbilisi) is a retired amateur Georgian Greco-Roman wrestler, who competed in the men's heavyweight category.

(meta data) TITLE: Gennady Chkhaidze Bio, Stats, and Results | Olympics at Sports-Reference.com

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გენნადი ჩხაიძე

Affiliations: Trade Union Sports Club, Tashkent

Gennady Chkhaidze had the following finishes at major championships – 1999 World Championship: 97.0 kg. Greco-Roman (5th); 2003 World Championship: 96.0 kg.

Greco-Roman (7th); 1998 World Championship: 97.0 kg.

Greco-Roman (12th); 1999 European Championship: 97.0 kg.

Greco-Roman (5th); 2004 Asian Championship: 96.0 kg.

Chkhaidze (GEO) decision (1-1) (9:00), Matviyenko (KAZ)

Lowney (USA) decision (2-0) (9:00), Chkhaidze (GEO)

Chkhaidze (GEO) decision (2-0) (9:00), Wroński (POL)

Chkhaidze (GEO) decision (4-2) (6:00), Başar (TUR)

Peña (CUB) decision (4-0) (6:00), Chkhaidze (KGZ)

Chkhaidze (KGZ) decision (1-3) (6:00), Hashemzadeh (IRI)

Chkhaidze (KGZ) decision (5-2) (6:00), Dinchev (BUL)

Chkhaidze (KGZ) grand superiority (10-0) (1:47), Tarkong, Jr. (PLW)


In 2009, Sheen departed from the group to study abroad and was replaced by Erik Malave.

(meta data) TITLE: An interview with Pyrrhon | LURKER

Underground & Independent Art. Interviews May 21, 2011

Death metal's charm wore off pretty quickly.

The decades of adultery that followed its initial explosion introduced a putrid sheen, as bands shook off the filthy sound in favour of produced wankery.

But there was a small bastion of bands that held their own, particularly Gorguts, who proved there were far more things to explore in what was often a formulaic genre.

While not strictly comparable to the godfathers of technical death metal, the band certainly shares this experimental spirit, so fans will feel at home as they delve into Pyrrhon's self-released album, An Excellent Servant But A Terrible Master.

Their fiercely modern slant infuses the record with whole new vistas of death metal.

From blistering speed to sloth-like flailing, dissonance to melody, hectic shred to megalith riffs, the band never lets up in its unique vision.

Chaos is conquered and released through disciplined musicianship into finely tuned epics.

And they never shy away from intriguing songwriting either, crafting sprawling pieces that are ready to dive into dark atmospherics or freak jazz at a moment's notice.

Eager to learn more about this very young band, the LURKER inquisition began…

I perform vocals and write lyrics for Pyrrhon.

There's a lot of talent packed into Pyrrhon.

It was all quite serendipitous, actually.

Our founding guitarist Dylan and I grew up in adjacent Philly suburbs, and we hung out a couple of times during high school.

In late 2008, Dylan met our original bassist Mike by chance on a subway platform.

Mike knew our drummer Alex through college.

Those three wanted to play music together, and Dylan knew that I had experience doing vocals, so he asked me aboard.

Mike went abroad for school in 2009, and Alex knew our current bassist Erik through a session gig they'd both worked on.

In March we brought aboard a second guitarist named Kyle.

I've known Kyle for a couple years and he's an incredible musician.

He recently moved into the New York area, so he was a natural fit for our long-vacant second guitar slot.

You sound like death metal from the future.

Is there any discernable lineage to Pyrrhon?

We use death metal — especially Death, Gorguts, Morbid Angel, and Immolation — as our backdrop and build on that backdrop to create something new.

We're very interested in music that uses dissonance to build identifiable but unconventional melodies.

Musicians from all over the genre spectrum have found ways to achieve this end, and we adopt tricks from quite a variety of them.

Everyone from King Crimson to Black Flag to Ornette Coleman to Sonic Youth is fair game.

The album artwork has a DIY feel to it, yet seems to provoke some of our darkest fears.

The modern world can be a terrifying enemy.

A very talented young artist named Caroline Harrison created the album cover.

We wanted the artwork to reflect the album's lyrical themes and claustrophobic aesthetic, and she worked closely with us to develop the "technology mandala" image that ended up on the cover.

We also opted deliberately for a gritty-looking cover.

So many modern tech-death albums feature über-slick cyborg space monster art that looks just as computer-generated and phony as the albums themselves sound.

We're human musicians who make mistakes, and we wanted art that spoke to that feature of our musical personality.

What is it that drives the apocalyptic lyrics?

That's a hard question to answer succinctly.

A lot of the imagery comes straight from dreams I've had, but there's more to them than that.

Basically, I think the world is a very scary place.

At this moment in history, humanity is facing a set of problems it has never faced before and isn't terribly well equipped to face.

The world is grossly overpopulated and becomes more so every day.

In the past, mankind has compensated for its own increasing numbers with technological innovations of various sorts.

I find it hard to imagine that we can continue to deal with the population problem this way indefinitely.

At some point, our species will suffer a massive and violent population reduction.

It's simply a question of when and in what matter.

To make matters worse, we seem unable to reach popular consensus on even basic facts (witness the current state of American politics for countless examples).

Modern communications technology, with its immense capacity for deception, bears a great deal of blame for this state of affairs.

We're bombarded with distractions and falsehoods every hour of every day.

So much contradictory information is available that most people can't parse out a worldview that even approaches "the truth," if such a thing exists.

It's very easy to lapse into paranoia, solipsism and amorality under these circumstances.

Ironically, most Americans—myself included—can't imagine life without this technology.

Don DeLillo's novel White Noise portrays this dilemma beautifully, and it was a great source of inspiration for me when I was writing the lyrics for the album.

The city of New York was another major inspiration for me, however clichéd that may be.

This place is a powder keg that's ready to explode at any moment.

If you ever want to witness some honest human behavior, spend some time riding the subways at rush hour.

Colin Marston was enlisted for mastering duties.

How did that come about, and are you happy with the results?

Colin is an enormous talent, and he's played in a lot of bands that we listen to.

His studio is in Queens and he's heavily involved in the scene here, so he was a natural choice.

Colin did a great job with the album and we're really happy with his work.

Dan Pilla, who tracked and mixed the album, also deserves a shout-out.

Dan is a young guy too, and he's a truly gifted and dedicated engineer who I expect to get a lot of attention in the future.

We recorded and mixed the entire album in a week, and the hours Dan put in were truly astounding.

I'm surprised he isn't better-known already.

What does An Excellent Servant But A Terrible Master refer to?

It's a shortened version of "The mind is an excellent servant but a terrible master."

I first came across the phrase in a famous graduation address given by David Foster Wallace at Kenyon College.

He calls it an "old cliché," but it's really his use of it in that speech that we're referring to.

It's from a passage about the importance of choosing how we construct personal meaning from the information available to us in the world.

You should really just go read the original.

It's one of the most inspiring things I've ever read and I can't really do it justice in retelling.

With no members over 24, you must all be insanely talented.

Well, I'm not really a trained musician.

I come out of a punk/hardcore background and developed my vocals and my riff-writing ability in a death metal studio project called Seputus.

I also spent a ton of time reading and writing while I was in college, and I wrote reviews for MetalReview.com for about five years.

The other guys can speak for themselves:

I started listening to Meshuggah and Tool when I was in 8th grade.

After that, the floodgates opened, and the wide world of death metal was opened to me.

My first real tech-death album was Origin's Informis Infinitas Inhumanitas and it absolutely blew me away.

I've always been into fusion, jazz, and more eclectic types of music, and I find that these have a lot in common with great death metal.

I went to school for jazz performance, and I've taken lessons for my entire time on the instrument, so it was great to have proper instruction and guidance in developing not only as a drummer, but as a real musician."

I took lessons throughout middle school, high school and college, dabbling in blues, jazz and classical mainly.

As far as the metal playing goes, I basically taught myself everything I learned and have been doing it since middle school.

The only bands I played in before Pyrrhon were a couple disorganized (cover) bands in middle and high school.

My musical background started with listening to classic progressive bands like Sabbath, Zeppelin, and ELP since I can remember, saxophone at an early age, and bass since I was 10 years old, learning quickly moving from playing rock and nu-metal to death metal, with a constant background of funk and latin music.

Basically, when I was a kid, I wanted to play guitar like Yngwie Malmsteen and other guitar "virtuosos."

So, I spent years listening to guitar "gods" and melo-death bands with good guitar playing (Arch Enemy, Bodom, Wintersun, etc.) and growing my hair down to my ass.

Then in my late teens I realized that a six-minute excuse to have a guitar solo was lame (excluding Wintersun; I still say Jari Maenpaa is a king among men) and that well written heavy/evil/musically challenging stuff was much cooler.

I just happen to bring all the tools of guitar wankery along with me.

Pyrrhon has shared the stage with a wealth of great bands (Evoken, Liturgy and Cannabis Corpse to name but a few).

We play physical, visceral music that is really meant to be heard in person.

There are a lot of great bands in the NYC underground these days—Castevet, Flourishing, Malignancy, Humanity Falls, Tombs, Painted Rust, Krallice, etc.—so local shows here are a joy to play and attend.

If anything, we'd like to play out more.

Touring is a tough proposition because of our various school/work situations, but we're trying to put together a couple of mini-tours this summer and fall.

If anyone within a day's drive of NYC is interested in setting up a show, by all means, get in touch.

How do you think the band has progressed since the Fever Kingdoms EP?

When I listen to the EP now, it doesn't even feel like the same band recorded it.

We were still feeling out our abilities and learning how to write and play with each other.

It's a much more conservative recording—'truer' death metal in a sense.

It's good, but I feel like it pales in comparison to the LP.

What are you all spinning obsessively at the moment?

Ulcerate – Everything Is Fire Blut Aus Nord – 777 (Sects) Agoraphobic Nosebleed/Despise You – And On And On… Young Widows – In And Out of Youth and Lightness Angra – Temple of Shadows Charles Mingus – The Black Saint and the Sinner Lady Drugs of Faith – Corroded Hate Eternal – Phoenix Among the Ashes KEN Mode – Venerable

Any plans to release the album in a physical format?

Well, yes, we want to press and release a physical version of the album—Caroline's got a layout pretty much ready to go.

We just can't afford to do it ourselves, and it wouldn't be worth it given that we have no way to distribute it.

So basically, we need to hook up with a label to press it.

We do have a t-shirt design in the works, so there should be some actual merch soon.

Other than that and gigging around mid-Atlantic (and hopefully the rest of the east coast), we're working on material for another album.

We've got skeletons of four or five songs already.

Thanks for listening to our record and taking the time to talk to us.

Listen to and purchase An Excellent Servant But A Terrible Master on Pyrrhon's bandcamp.

– WAR GRIND HELL Next articleDemos from the dark past: Deathspell Omega

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Words for eternity Time is a flat circle: A year in retrospect (II) Dub Buk – Talented & Defiant Standing Naked Outside Her Window: An Interview with Intestinal Disgorge On Corpsepaint and Calvinism: A Talk With Morean Of Dark Fortress

Guitarist Dylan DiLella and bassist Mike Sheen met on a subway platform. The two decided on forming a band and invited drummer Alex Cohen, a classmate of Sheen's, and vocalist Doug Moore, whom DiLella had known since highschool, to join the band. After some dispute the group settled on recording and performing under the name Phyrrhon, inspired by the Greek philosopher, Pyrrho. The band was officially formed in November 2008.


But in late 1980, the riverboat was accidentally dropped from a crane, attempting to lift it into the dry dock area for a routine overhaul, and its hull was completely destroyed beyond repair.

(meta data) TITLE: Liberty Square Riverboat | WDW Radio - Your Walt Disney World Information Station by Lou Mongello

The Internet Archive discovers and captures web pages through many different web crawls.

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View the web archive through the Wayback Machine.

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The Wayback Machine - https://web.archive.org/web/20120614142901/http://www.wdwradio.com/2007/09/liberty-square-riverboat/

By: Lou Mongello on Monday, September 17th, 2007

Although the Rivers of America may seem quite deep, it is only about 7 feet.

How can a riverboat like the Liberty Belle float and traverse such shallow water?

Belle riverboat actually rides along a rail that is attached to the riverbed below.

What the water was drained from the river in 1996, maintenance trucks were able to drive around the dry riverbed, with their roofs just reaching what would have been the water line!

The Admiral Joe Fowler took its first trip around the River of America on October 2, 1971 – just one day after Walt Disney World opened.

, the boat was named after a retired U.S. Navy admiral who was responsible for overseeing the construction of both Disneyland and Walt Disney World.

Unfortunately, during routine maintenance in dry dock in 1980,

the boat was dropped from a crane and sustained irreparable hull damage, forcing it into early retirement.

The other riverboat that traveled the Rivers of American was the Richard F. Irvine.

Known as the Liberty Belle since 1996, the Irvine didn't debut until May 20, 1973 .

After the name change to the Liberty Belle, two of the ferry boats between the Magic Kingdom and the Transportation and Ticket Center were renamed the "Richard Irvine" (originally "Magic Kingdom 1″), and the "Admiral Joe Fowler" (originally "Magic Kingdom 2″)

The Liberty Square Riverboat is a leisurely 17-minute ferry boat ride around the Rivers of America.

Splash Mountain is the next longest ride at 11 minutes, followed by the Haunted Mansion at 8 minutes, and Big Thunder Mountain Railroad at just about 4 minutes.

The Liberty Belle Riverboat is a real, working paddle steamer, built entirely from scratch in dry dock at Walt Disney World.

Everything about the Belle is authentic and working, except for the steering, since the boat travels on a steel track hidden underwater!

The 400-passenger steam wheel paddle boat Richard F. Irvine was the first boat built at the Walt Disney World on-site metal shop.

Construction took approximately six months.

View of the cabin and bait shop from the Riverboat

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As to Disney artwork/properties: © Disney - Disclosure.

(meta data) TITLE: Admiral Joe Fowler and Richard F. Irvine Riverboats

Collection: Wikipedia Outlinks March 2016

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other collections, is a complex problem.

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This one, the seed list was built from all 865 collections.

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Admiral Joe Fowler and Richard F. Irvine Riverboats | Country Bear Christmas Special | Country Bear Vacation Hoedown | Davy Crockett's Explorer Canoes | Diamond Horseshoe Revue Show Formats | Hall of Presidents: Original Show | Mike Fink Keel Boats | Frontierland/Liberty Square Shops and Restaurants

Named after the retired navy admiral who was in charge of construction for Disneyland and Walt Disney World, the Admiral Joe Fowler riverboat didn't travel the Rivers of America on opening day in 1971.

The other riverboat, the Richard F. Irvine didn't debut until May 20, 1973.

It was named after a Disney designer and WED executive.

It is the only riverboat that currently travels the Rivers of America and was renamed the Liberty Belle in 1996.

In 1997, the Magic Kingdom II ferryboat was renamed the Richard F. Irvine.

Both boats docked at a landing right in the middle of Liberty Square and traveled around the Rivers of America to view sights such as the burning settler's cabin and Indian village.

The boats would also steam past attractions such as Tom Sawyer Island, Big Thunder Mountain and the Haunted Mansion.

In 1980, The Admiral Joe Fowler was taken to dry dock for routine rehab.

While the boat was being lifted by crane, it slipped and the hull was completely destroyed.

The boat was then retired due to "mechanical problems".

The broken boat was taken to the backstage "bone yard" for awhile before being buried somewhere on the property.

The Liberty Belle supposedly has a life ring from the Admiral Joe Fowler on board.

(Special thanks to SJHYM at LaughingPlace.com for information on the Admiral Joe Fowler.)

This is an unofficial fan site that is not affiliated with the Walt Disney Company or Disney theme parks.

Please respect the work I put into compiling both existing and my own information on this site by not linking to any text or pictures without crediting that they were located on this site.

The riverboat was built by Tampa Ship Repair & Dry Dock Company in Tampa, Florida, the same place where the Walt Disney World Railroad's (WDWRR) four steam locomotives were refurbished.
 Strangely, the "Admiral Joe Fowler" riverboat hadn't entered service yet until a day later, after the Magic Kingdom park opened on October 1, 1971. On May 20, 1973, a second riverboat named the "Richard F. Irvine", which had been renamed as "Liberty Belle" in 1996, have entered service.


An expansion to "Saints Row IV", titled "Saints Row: Gat out of Hell" and developed in partnership with High Voltage Software, was released in January 2015.

(meta data) TITLE: Out This Week: January 20, 2015 - IGN

(meta data) COPYRIGHT: IGN Entertainment, Inc.

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Star Wars Resistance TV Series Gets First Trailer and Premiere Date

IT Chapter 2: James McAvoy Mildly Injured Fighting Pennywise

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New Super Mario Bros. U Is Reportedly Coming to Switch

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You Can Now Preorder the Nintendo Switch Mario Tennis Aces/1-2 Switch Bundle

2015 starts stepping up its game with the arrival of the Resident Evil remake and the EarthBound-like, Atlus-published Citizens of Earth.

With so many new games and movies coming out, it can be hard to keep up.

Lucky for you, IGN is here to help with a weekly round-up of the biggest releases each and every week.

Check out the latest releases for this week, and be sure to come back next Monday for a new update.

Note: The prices and deals compiled below are accurate at the time we published this story, but all are subject to change.

See it on Steam for $19.99 (PC) Also downloadable on PS4, PS3, Xbox One and Xbox 360

As I creep though the familiar-yet-eerie corridors of Resident Evil, I can't help but feel terrified of Crimson Heads.

Even 19 years after I first encountered them, it's genuinely frightening every time they spring back to life to try to tear a hole in my esophagus, but they're also a great example of why Resident Evil still holds up.

Inconsistent art and persistent clipping problems give away that this is an update of a 1996 survival-horror game, the scares, puzzles, and atmosphere of the creepy corridors of Spencer Mansion are as potent as ever.

See it on Steam (PC) Also downloadable on Wii U, 3DS, PS4 and Vita

Citizens of Earth is an RPG that places you in the shoes of the Vice President of the World!

He's a classic bureaucrat: charming, charismatic, but practically useless.

After recently winning the vice presidency, he returns to his rural home town for some vacation.

But he soon inadvertently discovers that there is some very strange stuff happening around town.

Feeling a sense of responsibility as an elected official you decide to do something about it!

But being the bureaucrat you are, you don't actually want to get your hands dirty.

Thus you go about using your charisma to recruit normal townsfolk to help you investigate and fight your battles for you.

The game defies traditional hero types and character classes seen in RPGs -- instead, you're able to recruit and fight with the town Baker, Barista, School Teacher, Homeless Guy, and plenty of other seemingly ordinary characters brought to life in unique and charming ways!

See it on Amazon for $19.96 (Xbox 360, PS3, PC)

Johnny Gat is on a mission to shoot the Devil in the face!

In this standalone Saints Row action game Saints Row IV: Gat Out of Hell, players take on the role of Johnny Gat as he is sent into hell via a nefarious spirit board incident and left to combat demons, the horrors of the underworld (including prominent historical figures) and, of course, the Devil himself.

Play as either Johnny Gat or Kinzie Kensington as you tear apart Hell in a quest to save the leader of the Saints' soul.

Historical icons, old friends, older enemies, a talking gun, a full length musical number, and a whole lot of other shenanigans all await you in the open world expansion playground that is Saints Row: Gat Out Of Hell.

See it on Amazon for $49.72 (PS4 or Xbox One, Combo Pack with Gat Out of Hell)

From our Review: Saints Row IV is just as much silly, largely challenge-free fun in Re-Elected as it was originally, even if it doesn't look as impressive as other recent remasters.

Gat out of Hell's short but fun demonic adventure doesn't really justify re-buying the whole thing, but the Re-Elected package is the best way to experience Saints Row IV's power trip for the first time.

Splice is an experimental and artistic puzzler.

Immerse yourself in its microbial world and start splicing!

Every level ("strand") consists of a number of cells that you will need to rearrange into a target structure in several moves ("splices").

Exploration and experimentation are key in determining how the curious little cells react to each other.

Predict the sequence of splices you'll have to make in order to successfully arrange each strand.

-sequence, mutate, and splice your way through this unique puzzle experience, and you'll exercise your ability to visualize sequential series of shapes over time.

Solve your way to the final strands and you'll be left with a heady sense of mental accomplishment!

From our Review: Around an hour into Blackguards 2, the main character finds the lecherous mage from the first game bound in the chains of slavery and buys him for a pittance.

She keeps him in slavery to do her bidding, and it's but one of many ways in which the selfish, dishonorable characters live up to the title of Blackguards.

This is a sequel that successfully ousts some of the more humdrum elements of its dark fantasy tactical RPG.

Release Date: Wednesday, January 21, 2015 (Open Beta)

Nosgoth is a competitive, team-based Human vs. Vampire free-to-play multiplayer game set in the dark fantasy world of the Legacy of Kain franchise.

Do battle as Human or Vampire, using each race's unique fighting style to conquer and crush the opposition in a war for supremacy and for survival.

As a human, arm yourself for the hunt with an arsenal of devastating ranged weaponry and specialized equipment.

As a vampire, unleash your inhuman force with savage close-combat melee attacks and supernatural abilities.

Yes, "Grey Goo" sounds like a funny name for a real-time strategy game.

It conjures up images of harmless blobs, or World of Goo's adorable sticky building blocks.

[Ed. note – Or booze, if you add an "se".]

But when you actually read up on the concept, which involves swarms of self-replicating nano-robots that break down anything and everything (including people) for materials with which to build more self-replicating nano-robots, it becomes downright terrifying.

Like the atomic bomb and biological warfare, it's a means by which humanity might eventually destroy itself through unchecked scientific advancement.

Be sure to check back at the beginning of every week for a round-up of the week's hottest game and movie releases.

You can follow Lucas M. Thomas on Twitter, @lucasmthomas.

Resident Evil HD Remaster Tips, Tricks, and Tactics

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New Super Mario Bros. U Is Reportedly Coming to Switch

AC Odyssey's Mercenaries Provide Unending Challenges

History.:"Saints Row IV" and "Agents of Mayhem", layoffs (2013–present).

A fourth "Saints Row" game, "Saints Row IV", was released in August 2013. In September 2014, creative director Steve Jaros left Volition to join Valve Corporation.


The remainder of the field participates in a round-robin series at one subregional site.

(meta data) TITLE: Legends Classic - Legends Classic

## WISCONSIN, AUBURN, RICHMOND, & NEW MEXICO TO PLAY IN 2019 LEGENDS CLASSIC PRESENTED BY OLD TRAPPER

###### Tickets for the Championship Rounds at Barclays Center go on sale Thursday

## CHAMPIONSHIP AND REGIONAL ROUNDS SET FOR 2019 LEGENDS CLASSIC PRESENTED BY OLD TRAPPER

###### Auburn, Wisconsin, Richmond, and New Mexico to square off at Barclays Center Nov. 25-26

###### Featuring St. John's, Temple, VCU, and California at Barclays Center

## ST. JOHN'S CLAIMS LEGENDS CLASSIC TITLE IN THRILLER

###### Detroit Mercy wins Subregional Championship

###### Here's a look back at some of the highlights from Legends Classic Championship Rounds over the years.

###### Here's a look back at some of the best individual performances in Legends Classic history.

###### Here's a look back at some of the best games in the history of the Legends Classic.

## LOOKING BACK AT LEGENDS CLASSIC WITH ANDY KATZ

###### A look back at the history of the legends classic including top performances and players creating their own legacy.

## SCHEDULE COMPLETE FOR GOTPRINT.COM LEGENDS CLASSIC PRESENTED BY OLD TRAPPER

###### St. John's, Temple, VCU, and California to square off at Barclays Center Nov. 19-20.

SIGN UP & SAVE BIGSign up for emails and receive exclusive ticket discounts, announcements for next year's field of teams, access to early pre-sales and much more!JohnSmithjohnsmith@example.com

The Legends Classic is an annual, early-season, college basketball tournament which started in 2007 and takes place at the beginning of the college basketball season in November. Eight teams (from eight conferences) compete in the Legends Classic, which has four of the top programs from the most prestigious conferences in the country tip-off the season with Regional Round games played on their home courts. Four teams then go to New York City – at the Barclays Center – to face each other for the Legends Classic championship.