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In celebration of Music for All's 40th Anniversary in 2015, we are featuring profiles of music educators who have made a difference in Music for All and in band and orchestra education. In this post, we feature a band director who has had bands invited to five Music for All National Festivals, including the debut Festival in 1992.
David Maccabee is currently Director of Bands at United Township High School in East Moline, Illinois, a position he has held since 1986. He previously taught in the Geneseo and Nokomis, Illinois school systems. At United Township High School, he is director of all instrumental music ensembles, including Concert Band, Symphonic Band, Marching Band, musical pit orchestra, and pep band. During Mr. Maccabee's tenure, enrollment in the UTHS Band program has grown from 100 to nearly 200 members.
He received his Bachelor's Degree in Music Education from Augustana College (IL). He received his Master's Degree in Music Education from VanderCook College of Music Education in 1989.
Mr. Maccabee is a frequent guest conductor, clinician, and adjudicator throughout the United States. Mr. Maccabee has also served the Illinois Music Educator's Association as Division Chair, All-State Auditioner, and member of the IMEA Mentoring Council. He is a member of the National Band Association where he currently serves as state chair for Illinois. In 2014, Mr. Maccabee was named "Bandmaster of the Year" by the Illinois chapter of Phi Beta Mu. He was the first recipient of the "Dr. Victor Zajec Award," given to him in recognition of the United Township High School Symphonic Band's performance at the 1998 Midwest International Band and Orchestra Clinic.
Tell us about your participation with Music for All and Bands of America?
We participated as one of eight bands in the very first National Concert Band Festival at Northwestern University back in 1992. We also participated in the National Concert Band Festival in 1995, 1997, 2001, and 2008. Our marching band was a semi finalist back in 1997, and we participated in regional Bands of America events back in the 90's as well.
What are some of the highlights and memorable moments from your experiences related to MFA/BOA?
During the first National Concert Band Festival I had an extended conversation with William Revelli. I learned a lot, especially about programming and literature. It was a very moving, memorable moment watching Fred Fennell working with the very first Honor Band of America back in 1992. Former students of mine who were in that band still talk about that experience. Many of the evaluators from the National Concert Band Festival have become trusted friends and colleagues. I continue to learn and be inspired by these people to this day.
What is one thing you'd say to a new band director who asks you "what is the one thing you wish someone had told you just starting out?"
You will touch more lives than you can imagine. Being a band director, your life will impact your students, their families, their extended families, the entire school including fellow staff members, custodians, bus drivers, the administrative staff – everyone. The community you work in will be profoundly touched by your work as well. Understand that your role as a music educator has meaningful impact far beyond your classroom.
What do you like to see Music for All focus on or accomplish in the next 40 years?
I hope Music for All will continue to hold their name "Music for All" as a guide for their whole mission. I fear that music education could become music for the "haves and have nots." I hope "Music for All" will continue to reach and support all of us, regardless of our resources, in our efforts to make quality music education available to all schools.
Thank you to Scott Lang for sharing this BIG announcement!
I am not sure of you can begin with a side note. Wait, it's my post and I can begin it with any note I want. How about a Bb? (Trust me, that was much funnier in my head.)
In the article below you are going to read about a HUGE project my team and I are working on. This project is on a scale that exceeds the scope of what we could do on our own. So we went looking for some help, and not just a little help, but a LOT of help.
Before you read about the project, I want you to know that there were seven companies that stepped up in a big way to help fund this incredible endeavor. They didn't ask if they would make money. They did not ask about what they would get out of it. They did not ask about logo placement. The only question they asked was, "How can we help?"
Being a music teacher can be an overwhelming experience. There is too much to do and never enough time. There are a sea of kids and no adults to help. We want you to know that we are here to help. We want you to know that we have seven friends who have your back too. Next time you hear that corporations don't have feelings, let me introduce you to my friends.
A couple of weeks ago, we said that we had a secret. A secret so big that we were dying to tell, but just couldn't. Well, it's not a secret anymore.
Nearly four years after it's first inception, we are proud to announce that Be Part of the Band has come full circle and is becoming Be Part of the Music, a K-12, cross-curricular (band/choir/orchestra) recruitment and retention solution. This audacious project hopes to replicate the successes achieved with band in all curricular areas (choir/band/orchestra) while also increasing the retention rate from grade to grade.
The project will begin production this summer, and our goal is to have the first components available for the start of school next year. The complete roll out will take a few years, but trust us when we say that we are already hard at work. As with Be Part of the Band, these materials will be available FREE of charge and available to download on the web.
We could not have done this without the generous support of our corporate partners (listed alphabetically) at the American String Teachers Association, Jupiter Instruments, Music for All, NAfME, St. Louis Music and Yamaha. Without their support we simply could not be doing this.
Next time you buy an instrument, or pay your dues, know that you are also supporting this incredible project. We are not completely funded yet, but with their support we know that we can and will get there. If there is someone you think we should be talking to, contact us and let us know.
There will be more information in the coming months, but for now, as you are in the midst of your recruiting and registration process, know that there are a lot of people and companies by your side and rooting for you, because without you, your students would never know what it's like to Be Part of the Music.
Hope our little announcement has helped to make your day a little brighter. Have a great rest of the week.
We are excited to announce Music for All's partnership with a brand new initiative aimed at helping children with special needs to become involved in their high school band and orchestra programs!
United Sound is a school-based instrumental music club for students with intellectual or developmental disabilities and their typical peers. Dedicated to promoting social involvement through shared ensemble performance experience, United Sound joins students with and without disabilities to learn and perform in the band or orchestra together.
With seven pilot programs currently running United Sound clubs around the country, Music for All is excited to be on the leading edge of this exciting new wave of inclusion in the performing arts.
Our mission, to create, provide, and expand positively life-changing experiences through music for all is enhanced when we reach out to include this ever-increasing population of children and truly make music for all.
Learn more about United Sound at www.unitedsound.org
Although universities do much to prepare music educators to begin their career, teaching music at any level in today's schools requires the willingness to deal with "on the job" training. All young teachers, no matter the subject, must leave any ego "at the door" and must be willing to learn and improve their craft EVERY DAY.
1) Work to create and maintain a positive and professional relationship with your administrators.
Make sure you consult your department head and/or assistant principal or principal before making any major decisions involving the band program. Keep them informed! Don't bug them, but make sure they know what's going on with the band. Try to find a short time where you can sit with your administrators and give them an overview of your vision for the future. Remember that if you go into your principal and complain, it's probably the 50th complaint they've heard that day. Go in with more than just the issue and have some possible solutions. Invite your administrators to concerts, contests, and festivals. If you have a marching band, ask your principal to go through warm-up and actually come on the field with the group. Make sure you provide all the current band spirit wear for your principal! Don't laugh! It's important!
2) Work with your most positive parents to create a band booster group.
Don't forget to constantly thank your parents for their assistance with things like uniform maintenance, raising money and putting out the "good word" about your program. Make sure your parents understand that YOU make the decisions for what's best for the program, but you should always listen and consider parent input. Deal with the positive situations in public and with the full parent group, but deal with any negative situations in private, either with a board of directors or your band booster president. There must be a POSITIVE relationship between the director and the booster group and that relationship must be based on mutual TRUST. Consistent COMMUNICATION is the best way for a director to earn the trust of parents.
3) Make sure your groups are fundamentally solid.
Set aside enough time in rehearsals to work on tone quality, blend, balance (especially within music), technique, intonation, and musicianship. That's a long list, but you cannot skip steps when it comes to developing your ensemble. Remember that you can rehearse the same music for weeks and still not sound good on your concerts and at festivals if your band is not built on basics. For example, a trumpet section that understands and applies the concept of "blending" will always sound like they have better tone and intonation than a trumpet section that doesn't understand the concept. If you can't demonstrate characteristic sounds on the instruments, then bring in good college players or local private teachers to do so. If these folks are not available, play great recordings of SOLOISTS on each instrument throughout the year so students will always have a model for their sound. Keep in mind that many bands don't do well at festivals because of a lack of sonority when they play. You must insist on excellence every time your group plays, whether it's on a long tone, technique exercise or a section of music.
4) Create a culture of excellence and integrity within all areas of the band program.
Work with your students and student leaders to develop the mantra of "excellence as a lifestyle". That simple phrase covers work ethic, behavior and respecting others, as well as setting a standard in everything that your staff, your students and your band parents pursue. I am a big believer that the quality of a person's life is related to their attempt to pursue excellence in all that they do. My great friend, Freddy Martin, taught me that there is no "wrong" or "right" in rehearsal. There is only "getting better"! Instead of making a negative comment to an individual or section, ask them if they can make it better the next time. With your help and suggestions, I'm betting your students will "get better" and have a positive experience in band. Ask yourself after each rehearsal: "Are my students eager to come back and make music again tomorrow?" If you're not sure, maybe a more positive approach will help. Students need "information" more than they need to be told they are right or wrong. Make sure the community, as well as the rest of the school respect the band program. Support other areas of the school by providing groups to play at athletic or special school/community events.
5) Get better as a musician, a rehearsal technician and as a leader everyday.
The most energetic teachers are those who can't wait to share NEW information with their groups. Attend clinics and workshops, go watch great teachers in front of their ensembles, and constantly invite other conductors or private teachers to work with your band or to run sectionals.
Watch and learn! Listen and learn! IF YOU DON'T KNOW SOMETHING, THEN FIND SOMEONE WHO DOES!
Surround yourself with people that are better than you in certain areas. Push yourself to become that teacher that students remember for years! Even if you only have ten students in your band, get help to make them sound amazing. Don't make excuses about why things can't happen at your school. It all depends on the teacher in front of the room: YOU!
- Richard Saucedo, Retired Band Director Carmel H.S., Carmel IN, Freelance Arranger and Composer
For several of us, the term renaissance triggers memories of college music history classes where the presentation of ones hair was in direct proportion to how recently they stopped tapping the snooze button. This Renaissance is not a music style period, but a renewal of emphasis and a distinctive twist on enrichment courses in public school music education. It is a recommitment or a doubling-down on music as a tool to help students matriculate through the school system––from recruitment out of the elementary grades to the completion of grade 12.
In many schools, secondary music features a team of adult stakeholders (teachers/directors) charged with this important responsibility. We are talking about the pragmatic case to systemically drive elective participation into classes with high potential student/teacher ratios––band/choir/orchestra––and engender a culture that strengthens these courses as comprehensive beginner through grade 12 vertical programs: A school within a school.
Music Expansion =Enhanced Economics
Bottom line: the more students in your program, the better it is for the school's finances. "Any circumstance that causes a decline in student enrollment or prevents students from participation will have a negative cost effect on the district budget" (Benham, 2011, p. 95). That is to say, expanding enrollment in secondary music can save money.
If the students are in your program, they are not in another class. The more students you have in your program, the more they are not in other elective classes. This translates into cost savings as your classes have high potential student/teacher ratios. Additionally students of the arts generate higher attendance, graduation rates, and test scores (Texas Music, 2015). Therefore, school systems promoting participation in secondary music supports inherent cost savings and improved achievement data, while providing tremendous student benefits. This is known as a high ROI (return on investment).
As a band director of a growing program I would say that it was not my job to know where the students aren't, but where they are. As an administrator I say that robust fine arts programs increase the bang for your educational buck.
Think Win, Win…Win
In today's culture of choice and downloaded-gratification, we just can't do fine arts to our students the way fine arts was done to us. "My way or the highway" will simply push kids to the information super-highway or other endeavors absent the aesthetic, cognitive, and relational benefits of our programs. A rising tide lifts all boats; therefore an inclusive approach to expand access and excellence to arts education is a high-yield recipe to serve our students, schools, and communities. Enter a renaissance of traditional enrichment.
As school systems we don't need to invent new things for students to do. Arts can provide stabilization for education based on personalization. They build achievement on discovering the individual talents of children and putting them in an environment where they want to learn and can find their true passions (Robinson, 2009).
Literature and research-based benefits of music education––and more specifically instrumental music education––cast a long shadow over the latest (and possibly not greatest) educational fad or business-based solution to fix education. The trick is to think win, win… win. When decisions need to be made, remember: Everyone is in it for the students (win), and we all want staff to be taken care of (second win)… The trick is to scan the environment and decode/prepare/present how what you need for your students and staff is also best for the system as a whole (a win thrice).
For example, if your program would benefit from a change within the school schedule (good for your students and staff), be sure to find other classes/programs/activities that could benefit from the change. This process builds consensus, which is ultimately anyone's most effective weapon in the politics and bureaucracy of public education.
A Systems Approach to Traditional Enrichment
Combining music expansion = enhanced economics with win/win… win, provides the foundation for strategies that have worked to change conversations from music cuts to music expansion. Every community, school, and department are different, so adapt accordingly and let us all keep working for greater student access and excellence to music education through innovation––a renaissance of traditional enrichment
- Jeremy Earnhart, Director of Fine Arts, Arlington, TX Independent School District
Benham, J. L. (2011). Music advocacy. Lanham, MD: Rowman & Littlefield Education.
Robinson, K. (2009). The element. New York: Penguin Group.
Texas Music Educators Association. (2015). Fine arts participation data [PowerPoint presentation]. Available January 10, 2015, TMEA Web site: http://www.tmea.org/resources/advocacy/materials
How MFA Summer Symposium can help you and your students...
Have you given any thought to what you might do differently this next year regarding your band's marching band season? I have to be honest, since I am the visual caption head at Carmel High School and not an actual band director, I get lots of time in the "off season" to think about marching band – while you all are doing concert band, jazz band, pep band, etc.
Last year Dynamic Marching put out a survey about what the biggest areas of frustration are among band directors. The results were not too surprising! One director said, "The greatest challenge is finding ways to teach the students what is beyond the notes on the page (phrasing, dynamics, balance, articulation, etc.). In addition, when it comes to marching, we are in need of a fresh start regarding the technique of marching." Another director answered, "I have a very small staff and I really need to count on my section leaders. I feel like I spend too much time pushing and pulling my section leaders to get their help and not enough time actually getting better." Wow! If you asked 1,000 band directors if they have similar frustrations – you would likely get universal agreement. We all want our students to be more musical, to have great fundamentals, and to be great leaders.
Good news! We can help you with all of that. While I am probably not the guy to fix your woodwind intonation, I am the guy who can help you and your students to establish a top-notch visual fundamentals program. I can still help your woodwinds though… AND your brass. How? I have assembled a staff that is the "best of the best" that your students will not only learn from but LOVE.
Our music staff at the MFA Summer Symposium is led by Matt Harloff, Richard Saucedo, and Scott Atchison – our music team represents great teachers from some of the very best bands and drum corps in the country (Carolina Crown, Blue Stars Drum & Bugle Corps, University of Kentucky, Avon H.S., Broken Arrow H.S., Carmel H.S., Center Grove H.S., LD Bell H.S., Lassiter H.S., and more) ! Our visual staff: Features instruction from me, Chris Kaflik, and Jordan Lalama (Carmel H.S., Broken Arrow H.S., Blue Stars Drum & Bugle Corps).
3 Skills that your student leaders need right now!
Through small-group sectionals with nationally recognized teachers, students who attend the Music for All Summer Symposium marching band track will return to your group with a better understanding of:
Visual Artistry
Utilizing full-group & small-group fundamentals exercises, students who come to the marching band track learn various fundamentals of marching & movement such as:
We are really working diligently to integrate the training and curriculum from the Drum Major track at camp with the marching band track. We are well aware that the students you send to the marching track this year may be the section leaders and drum majors in the next couple of years and working with Bobby Lambert to develop leadership skills in these students is a priority for us. They will learn skills such as:
For years now, I have been wondering why band directors automatically send their drum majors to summer camp, but they do not do the same for the student leaders and section leaders.
I feel that this is a critical step that will help you to have a more successful season. Send us one or two students from each section of your band and we will return them to you more knowledgeable and more qualified to help you and their section-mates. And – just to sweeten the deal - your students will get to perform part of the actual Carolina Crown show for a gigantic DCI audience at the end of the week!!! Win…. Win.
Music for All and Music Travel Consultants have entered into a five year agreement to share sponsorship of the "Music for All Indiana State Fair Band Day, presented by Music Travel Consultants."
The State Fair Band Day has been held every year since it began in the 1940s and was for decades considered Indiana's state marching band finals. Music for All Indiana State Fair Band Day, presented by Music Travel Consultants, features more than 40 bands annually.
Participating bands are "track band" style marching bands, and are adjudicated by a panel of educators. Many of the bands that participate are part of the Central Indiana Track Show Association (CITSA), which presents several invitationals each summer for its member bands, leading up to State Fair Band Day.
"Music for All is thrilled to support the State Fair Band Day and the many bands for which it is the pinnacle of their summer performances," says Eric L. Martin, President and CEO of Music for All.
"Music Travel Consultants is excited to join Music for All in presenting the 2015 Music For All Indiana State Fair Band day. We are proud to partner and support CITSA's membership by providing new opportunities and resources for its students to pursue excellence in music", said Mark Harting, CEO of Music Travel Consultants.
The 2015 Music for All Indiana State Fair Band Day, presented by Music Travel Consultants, will be held Saturday, August 8, 2015 at the Indiana State Fairgrounds in Indianapolis.
Music for All is proud to announce it will launch a track for middle school band students at the 2016 Music for All Summer Symposium, presented by Yamaha.
The Symposium already includes a track for Middle School Band Directors. The new track will offer a concert band experience for all middle school band students.
The division is being coordinated by two middle school band directors who currently teach in the Chicago suburbs: Keith Ozsvath, band director at Rotolo Middle School in Batavia, and Greg Scapillato, band director for Northbrook School District 28. Both Keith and Greg are deeply familiar with Music for All and the Summer Symposium, having attended the camp as high school students and having served as SWAG Team members (counselors and teaching assistants) as college students and young band directors.
"I am very excited that middle school band students will now be able to experience the same positive energy and amazing educational environment that the Summer Symposium is known for," says Ozsvath. "These students will make music, new friends, and lasting memories while learning from outstanding educators."
"This is a big win for middle school band programs everywhere!," says Scapillato. "A natural 'next step' for the Symposium, this camp is uniquely positioned to foster both the growth of the young band student and their desire to continue performing. As an organization, MFA has excelled at shaping the band experience of countless high school students. Those of us living in the world of middle school band will benefit greatly from MFA's positive influence.
"Simply put, the MFA Summer Symposium is the best place for a middle school band student, for all the reasons that matter to students, directors, and parents: engaging conductors and clinicians; exciting evening concerts; motivated peers with similar interests; a safe and welcoming environment for personal growth. Students will return to their band programs infused with positive energy and renewed motivation. I am genuinely excited to bring this new opportunity to the students in our band programs!"
"Music for All is excited to begin offering the MFA educational, positively-life changing experience of our summer camp to middle school band students," says Deb Laferty Asbill, Vice President of Marketing and Communications for Music for All. "We believe it will not only improve their immediate band experience and provide valuable skills they can take back to their own bands, but will also play a role in retention and in choosing to continue to participate in their high school music programs."
Details and curriculum are in development. Registration information and applications will be available in December 2015, when the full 2015 camp registration goes live during the Midwest Clinic.
In celebration of Music for All's 40th Anniversary in 2015, we will be featuring profiles of music educators who have made a difference in Music for All and in band and orchestra education. In this post, we present the first of our music educator profiles. Watch for more throughout this year!
How long have you been teaching?
KS I began teaching in 1969, so 46 years.
Where do you teach now? If not teaching now, when did you retire from teaching, and what are you doing now?
KS While I retired from having to get up every day at 5:00 a.m. to teach in 2004, I do still consider myself a teacher.
Where have you taught in the past?
KS I started as a graduate teaching assistant at Central Michigan University, then on faculty at CMU. Went to the Bridgeport, MI, public schools and then to Lake Park High School in Roselle, IL.
Where did you go to college? What degrees do you earn?
KS Central Michigan University for BSEd and MM. Later various places for an additional 45 hours.
What would you say to a new band director who asks you "what is the one thing you wish someone had told you just starting out?"
KS Patience! Developing a culture of excellence takes time and consistent attention. There are no good quick answers. It needs attention and maintenance every day.
Tell us about your participation with Music for All and Bands of America.
KS My bands from Bridgeport were finalists at the first three BOA (then MBA) Summer Nationals 1976-78. [Wife] Pamela and I did Weekend With The Experts sessions all over the country several years for the then parent company and we both judged some of the earliest BOA (MBA) Regionals. We both worked the Summer Symposiums, then at Whitewater, several times. I was briefly in the MBA office as the adjudication coordinator in 1980 where I wrote the first version of the rules and adjudication manual. My bands at Lake Park started participating in MBA/BOA events with a regional in 1984 and first went to Grand Nationals in 1985 where the band was a finalist. The Lake Park bands were Grand National finalists 18 times, placing in the top five for 11 consecutive years, 1987-1997. In recent years I have had the opportunity and honor to judge some of the BOA events. It is a wonderful experience to witness performances of so many dedicated student performers and see the efforts of talented and creative teachers and designers. Very humbling.
What are some of the highlights and memorable moments from your experiences related to MFA/BOA?
KS The first Summer Nationals finals with Bridgeport. The wonderful camaraderie among
the clinicians at the early Whitewater symposia. The first regional finals with Lake Park.
The band making Grand National finals for the first time in 1985.
The band being Grand National Champion in 1996.
Being inducted into the Bands of America Hall of Fame in 2004.
What would you like to see MFA focus on or accomplish in the next 40 years?
KS Be a major voice for instrumental music advocacy. Things will be getting much more difficult for programs in the future. Without help, not only will there be no BOA/MFA, there will be no school music.


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Town Square
GIGANTIC Garage Sale for the Animals!
Original post made by Mary, Parkside, on May 20, 2011
Saturday, May 21 and Sunday May 22
3229 Curtis Circle - Pleasanton (at Parkside)
All proceeds will benefit VALLEY HUMANE SOCIETY'S building campaign and animal care program
Please share this information!
If you have donations they can be dropped off today.
Comments (1)
a resident of Parkside
on May 20, 2011 at 3:55 pm
I live on Curtis Circle. They sure do have a lot of stuff for this garage sale. There have been people dropping stuff off all day.
Looks to be a huge success.
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Another bad idea from the air board
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Sept. 5 (Bloomberg) -- Daniel Morgan, global commodity analyst at UBS, discusses the decline in iron ore prices and the outlook for coal with Angie Lau on "First Up." (Source: Bloomberg)
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One in four Ontario hospital visits treats disease caused by smoking
Chronic obstructive pulmonary disease (COPD) is placing a huge burden on emergency rooms, an Ontario study has found.
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A quarter of all hospital visits in Ontario are made by patients with a condition linked to smoking, a new study has found.
Ontarians who have chronic obstructive pulmonary disease (COPD) — about 11 per cent of the population — account for one in four of all hospital and emergency room visits, according to the study released Wednesday by the Toronto-based Institute for Clinical Evaluative Sciences.
Often found in smokers older than 35, COPD is a terminal disease that only gets worse with age. In the short term, a person with COPD suffers from shortness of breath, wheezing and coughing. Long term, it can lead to heart and lung diseases.
Respirologist Andrea S. Gershon spent the last year poring over every single medical file belonging to the province's 853,438 COPD patients. Alongside her team of four other doctors, Gershon discovered that patients with the disease are clogging up hospital waiting rooms.
"What we found is that it really has a huge burden on these emergency departments. They aren't just for COPD, they're for a lot of different things caused by COPD: shortness of breath, coughing up stuff, wheezing. They might be tired, have decreased exercise tolerance and sometimes they need oxygen," Gershon said.
COPD remains the fourth leading cause of death in Canada, but it receives less money and attention than conditions like cancer and heart disease. Some doctors claim the reason is that COPD has been labelled a "smoker's disease."
Because of this stigma, Gershon insisted her study shouldn't be used to add blame to smokers — it only perpetuates the problem.
"Accusing them stops us from treating this seriously because we just blame the patient. And if one quarter (of visits) are made by people with COPD, we need to do something about it rather than blame them and call them victims of their own fate," she said.
Instead, Gershon said Ontario needs programs that teach patients how to deal with the disease at home. These could include on-call nurses, medications and oxygen tanks inside a patient's home.
"There are diabetes programs out there. There are heart programs out there — they can go see nurses or nutritionists. There's nothing like that for COPD," she said. "We need respiratory educators teaching people with COPD how to handle their disease at home so they don't have to end up in ER."
The study also revealed that people with COPD have a 63 per cent higher rate of hospitalization than Ontarians without the disease. In addition, 35 per cent of people in Ontario nursing homes and retirement homes are diagnosed with COPD.
Gershon's study was the first of its kind because it analyzed each and every COPD file in the province.
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Delaware dismisses junior guard Jarvis Threatt
Jun 10, 2014, 4:30 PM EDT
Delaware will have to move on next season without potential CAA Player of the Year Jarvis Threatt, as the junior guard was dismissed from the Blue Hens in a release from the school on Tuesday.
The 6-foot-2 Threatt appeared in 25 games for the Blue Hens last season and averaged 18 points, 5.8 rebounds, 5.4 assists and 2.5 steals per game. The speedy guard also shot 41 percent from the field and 21 percent from the three-point line on the season.
Threatt missed nine games during the 2013-14 season due to multiple suspensions but returned in time for the CAA Conference Tournament, where he won Tournament MVP honors in helping Delaware make the 2014 NCAA Tournament with a win over William & Mary.
An ironman when he was with the team, Threatt averaged 37.1 minutes per game as a junior and scored 14 points on 2-for-9 shooting in a Round of 64 loss to Michigan State.
The dismissal from the program for Threatt on Tuesday comes "due to violations of team rules." Schools officials have no further comment on the matter, according to the release.
- bballfan123 - Jun 10, 2014 at 4:32 PM
basically puts Hofstra, Northeastern, and William and Mary in the driver's seat for top 3 next season. UD now has virtually no scoring returning.
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Mystery of man walking London streets shirtless with 'terrible' burns
Detectives were today trying to unravel the mystery of a man found wandering the streets bare-chested with "terrible" burns.
Arsenal striker Danny Welbeck has been ruled out of England's clash with Italy after suffering a knee injury.
28 March 2015
Almost 80 per cent of Arsenal fans would like to see manager Arsene Wenger sign Chelsea's Petr Cech to replaced goalkeeper Wojciech Szczesny.
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27 March 2015
Wojciech Szczesny is set for showdown talks over his Arsenal career at the end of the season with the club lining up Chelsea goalkeeper Petr Cech to replace him.
27 March 2015
Arsene Wenger once accused Stoke of turning football into rugby but the Arsenal manager was happy for his players to swap a round ball for an oval-shaped one.
27 March 2015
Premier League clubs have pledged to share at least £1billion of TV money outside of the top flight from next year.
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26 March 2015


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Mega Star Viewed In Unprecedented DetailScience & Tech(tags: science, astronomy, space, nasa, research, Eta Carinae, supernova, hypernova ) - 38 minutes ago - iflscience.com A star millions of times as bright as the sun has been imaged using a combination of space and Earth-based ... Care2, 2 months ago
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NASA Discusses The Unique Characteristics of Eta Carinae Pioneer News - Malaysianewsjournal.com, 2 months ago
41 images for eta star
NASA Creates 3D Model of Superstar Eta Carinae Explosion [Video]
The binary star system Eta Carinae has been recreated in a 3D model. What did astronomers learn from this unusual project? (Photo : NASA / ESA / Hubble SM4 ERO Team) Eta Carinae is a binary pair of stars, located roughly 7,500 light-years away ...Tech Times, 2 months ago Nasa reveals massive Eta Carinae star system in amazing 3D models Capital Bay, 2 months ago Explosive Star System Eta Carinae Gets In-Depth Look By NASA (WATCH HERE) Hngn.com, 2 months ago NASA unravels mysteries of huge space explosion Christian Science Monitor, 2 months ago
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Explosive stellar tussle revealed
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12 Mar 2010
The Nose, New York
When the orchestra re-tuned itself between the intermissionless acts of the Met premiere of The Nose last week, many in the audience were uncertain whether they were hearing practice or prelude.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari's exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner's Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser's and Patrice Caurier's 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble's 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash's visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi's production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder's dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the 'rightness' of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.
At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill's teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi's King Roger, cannot be all bad.
RILM Abstracts of Music Literature is an international database for musicological and ethnomusicological research, providing abstracts and indexing for users all over the world. As such, RILM's style guide (How to Write About Music: The RILM Manual of Style) differs fairly significantly from those of more generalized style guides such as MLA or APA.
Unsuk Chin's Alice in Wonderland returned to the Barbican, London, shape-shifted like one of Alice's adventures. The BBC Symphony Orchestra was assembled en masse, almost teetering off stage, creating a sense of tension. "Eat me, Drink me". Was Lewis Carroll on hallucinogens or just good at channeling the crazy world of the subconscious?
Dominic Cooke's 2005 staging of The Magic Flute and Richard Jones's 1998 production of Hansel and Gretel have been brought together for Welsh National Opera's spring tour under the unifying moniker, Spellbound.
Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for "those in the know" — and if you are not one of those it is about time you were.
Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by 'madness, misunderstandings and mistaken identity' which proved witty, sparkling and imaginatively realised.
Saturday, February 28, 2015, was the first night for Los Angeles Opera's revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon's Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked 'it's that intimate side that interests me I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]'.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year's presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet's Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera's various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
When the orchestra re-tuned itself between the intermissionless acts of the Met premiere of The Nose last week, many in the audience were uncertain whether they were hearing practice or prelude.
Should they talk or should they shush? Was it time to recharge the cell phone? Would that just sound like more of Shostakovich's raucous, blurting score?
True, no one was singing at that moment but people hardly do sing in this opera, and the leading character — Kovalyov, a faceless bureaucrat who has just awakened to discover that he is noseless as well — performs much of his role in falsetto or in oaths and exclamations and excited jabber. Paulo Szot, who's been singing Ezio Pinza's role in South Pacific next door to great acclaim (with a microphone) might not be impressive as Don Giovanni in so huge a house as the Met, but he's splendid in what is largely an acting part and in a staging that stints nothing on the acrobatic shenanigans it demands of all the performers. The actual title role — Kovalyov's nose, portrayed by Gordon Gietz — runs about committing antics, getting into fights, picking up strange women, but hardly sings at all except when impersonating an officer.
When the opera premiered in 1930, Shostakovich had the happy advantage of being certain everyone in his audience — and every literate Russian — would know Gogol's classic short story by heart, and therefore be able to follow the surreal twists and turns of a plot that echoed Gogol's in detail. (Those planning to attend might want to read the story, too — it's easy to find on the Internet.) Much of the opening night audience appeared to be Russian, but those who were not were often uncertain whether director/designer William Kentridge was making fun of them or just being silly. Madly inventive as his creations are, Kentridge was following Gogol (and Shostakovich) pretty closely in the storyline, though his sets seemed more inspired by the "Constructivist" epoch of early Soviet art during which Shostakovich wrote the opera.
You may or may not care for Shostakovich's anti-lyrical — indeed, anti-operatic — score, which lacks the yearning, emotional center that endears his Lady Macbeth of the Mtsensk District, composed four years later, to audiences around the world. In any case, here we have an appropriate production for this strange, unoperatic opera. This isn't the only way to present it, but it's a way that takes the work seriously and deals with it in terms of contemporary stagecraft. The contrast to, say, the awkward, undramatic production of Verdi's Attila that premiered at the Met a week earlier was striking: Though often handsome, nothing about that staging suited the opera being performed or helped make sense of it to a public who did not know it. The Met, it seems, will only suit the production to the work if that work is modern and alien to grand opera tradition.Paulo Szot as Kovalyov and Gennady Bezzubenkov as the Doctor
The set of The Nose is a wall of newsprint and graffiti, crisscrossed by bridges and inset with rooms, houses, offices, railway stations. The newsprint with its excitable but meaningless headlines seems to emphasize that the events of the opera are at once the very latest news and as insignificant as the filler of so much popular journalism. A man's nose has run off — or been sliced off by a drunken barber (Vladimir Ognovenko, growling superbly) — and the hapless legal owner has pursued the runaway appendage to church and been snubbed in his polite request that it return to its place. The nose has not even admitted to working in the same bureaucratic department! And now our hero hardly dares approach the haughty lady whose daughter he was hoping to marry because — well, it's plain as the nose on your face — he really can't right now, can he? The authorities are unsympathetic and the newspapers will not print this story, even as a paid advertisement — he might be faking it, after all — and when the police do apprehend the runaway schnoz (attempting to leave town with a passport to Riga), poor Kovalyov has to bribe them in order to get it back. And then, at first, it won't stay on!
Gogol's depiction of the dullness and egocentricity of everyone in this world when faced with impossible events is precise and funny — and a forerunner of such writers as Kafka, Borges, Calvino and Barthelme. Shostakovich has set the tale with fiendish glee, in percussive explosions and astringent parody of popular song styles. The instruments often seem to sneeze or whine or fart as much as they play music. Pretty "vocalism" is a sure sign of hypocrisy — as in the case of the snobbish mother and daughter, sweetly sung by Barbara Dever and Erin Morley, or the police inspector serenely warbled by Andrei Popov — or of brainlessness, as in the charming serenade sung to balalaika by Sergei Skorokhodov as Kovalyov's uncomprehending valet. Claudia Waite is both the barber's shrewish wife and a bagel-seller raped by the police (a scene very like the rape of Aksinia in Lady Macbeth), Gennady Bezzubenkov is Kovalyov's unsympathetic doctor, Adam Klein is Kovalyov's sympathetic friend. There are twenty minor parts in the passing parade Kovalyov encounters — all too busy with their own problems to notice his — and all of them seemed to be sharing the high old time.Gordon Gietz as the Nose
Yet, well before the end of the evening one tired of the shenanigans of both plot and score. Gogol's story is short. So is the opera (less than two hours when played, as here, with no intermission), but I can't say it flew by — it's draining. One joke, since there is never an explanation for it, hardly sustains an entire evening.
All the singers and actors and dancers merited their applause, but the musical star was Valery Gergiev, who kept the joint jumping from start to finish with an energy that never seemed to wear out. It wore me out, but Gergiev could clearly have played a few Shostakovich symphonies as encores.
John Yohalem


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The U.S. Federal Maritime Commission has received 11 ocean transportation intermediary license applications and changes for review.
The port has expanded use of Portsmouth Marine Terminal and increased chassis supply.
S.C. port director says Southeast ports like Charleston have built-in advantages to gain market share.
After extensive debt restructuring, the Israeli ocean carrier aims to "return to profitability and growth in 2015."
Logistics real estate developer's white paper on facility obsolescence finds the bulk of warehouses and DCs are either obsolete or too far removed from population centers and transport infrastructure.
The integrated logistics provider saw increased revenues in both its Global Integrated Logistics and infrastructure business units.


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Revealing Israel's Nuclear Secrets - The Pentagon Declassifies a Surprising 1987 Report
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By: ebolism | Comments: 59 | Views: 759 | Votes: 1 | Shared: 0
Location: Dimona, Southern District, Israel | Leaked: 2 days ago in Other News
Russia Seeks AIIB Membership
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Location: Russia | Leaked: 2 days ago in Other News
174 Killed in Saudi Led Aggression to Yemen
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Leaked: 2 days ago in Other News, Other Middle East
Truck pushes car sideways
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Location: São Paulo, São Paulo, Brazil | Leaked: 3 days ago in WTF, Vehicles
Tibet celebrates Serf's emancipation day
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By: Lake8737 | Comments: 18 | Views: 427 | Votes: 2 | Shared: 0
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Villagers in China demand stolen mummified Buddha be returned from Netherlands
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US on UNHRC: Continues to single out Israel
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Annual baby seal clubbing season begins in Canada
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8 Anti-Fascist Protesters Arrested by Russian Police In Saint Petersberg Outisde The Russian Hosted 'Global Nazi Forum' Gathering
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Visitors must be naked to watch nudity paintings in Canada
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Australia the latest country to join AIIB
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MASSIVE 34Gs. Arianna was sexy and on point. She was a beautiful European fox with an agenda. To shove a giant cock between her immaculate chests. She was hot and craved to be rammed. James knew he had to fuck Arianna right to please her so thats exactly what he did.
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World Cup 2015 live:South Africa win toss, elect to bat agains...South Africa skipper AB de Villiers won the toss and elected to bat against West Indies in their pool B match of the cricket World Cup at the Sydney cricket ground here today. South Africa made three changes, leaving out JP Duminy, Vernon ... Samaylive, 4 weeks ago
World Cup 2015 South Africa v/s West Indies: SA win toss, elect to bat - DNA India, 4 weeks ago
South Africa Win Toss, Elect to Bat Against West Indies - New Indian Express, 4 weeks ago
49 images for ch gayle ab de villiers
De Villiers assault razes West Indies in Sydney
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Gayle-storm floors Zimbabwe
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Black Caps v South Africa - as it happened
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Top performers (after group stages) Batsman Mts Inns NO Runs HS Ave 100 KC Sangakkara (SL) 6 6 2 496 124 124.00 4 BRM Taylor (Zim) 6 6 0 433 138 72.16 2 AB de Villiers (SA) 6 6 1 417 162* 83.40 1 TM Dilshan (SL) 6 6 1 395 161* 79.00 2 ...Gulf News, 1 week ago
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ICC Cricket World Cup, 28th Match, Pool B India v West Indies at Perth Live Scorecard 2015-03-06 19:18:48 Four! Dhoni smashes it through covers. India need 3 more to win. 2015-03-06 19:16:22 India need 9 more to win. ...IBNLive India News, 3 weeks ago Live Score: India back on track with Dhoni's gutsy knock IBNLive India News, 3 weeks ago
Standings, top performers Pool A P W L T NR Pts NRR New Zealand 4 4 0 0 0 8 +3.589 Sri Lanka 4 3 1 0 0 6 +0.128 Bangladesh 3 1 1 0 1 3 +0.130 Australia 3 1 1 0 1 3 -0.305 Afghanistan 3 1 2 0 0 2 -0.760 England 4 1 3 0 0 2 -1.201 Scotland 3 0 3 ...Gulf News, 3 weeks ago
Russell carries WI to one-wicket victory
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Spent 3 nights in Royal Suite Citadines for my birthday in Paris. The apartment has only been opened for 2 months. Its very clean, big for Paris standard, and nicely decorated. Well located - 5 min walk to Eiffel Tower, 10 min walk to Arc De Triomphe. Plenty of restaurants, cafes near by. Mini mart and Carrefour within mins walking distance. The area has lots of tourists, some beggars around, watch out for your handbag, wallet.
We paid for the opening rate, half price compared with 4-5 star hotels!
Wifi is free, however, its slowish..
The gym was not open yet during our stay. Although there is washing machine in the apartment, however, no dryer facility. Staff are friendly and helpful.
Our apartment over look Kleber Avenue, its interesting, however, it could be noisy with window open!
Good quality breakfast, and early evening snacks and drink - all Free! No extra to pay!
Had nice lunch at restaurant Jeremi on Rue de Longchamp, not expensive.
Great place to stay with family, or gourp!
- Official Description (provided by the hotel):
- Citadines Suites Arc de Triomphe Paris is an elegant contemporary embodiment of the Parisian art de vivre. This prestigious address offers the ideal combination of independence and personalized service in a luxurious setting. Located in Paris' 16th arrondissement, between the Trocadero and the Avenue des Champs-Elysees, the residence comprises two buildings, each with its own unique ambience. They effortlessly combine celebrated architect Ricardo Bofill's modernism with stately Haussmannian style. Enjoy the warm, elegant atmosphere of this exceptional 19th-century building, with its wood paneling, drapes, fine net curtains and exquisite gilding. The tasteful color palette perfectly accents the subtly refined decor. The building designed by Ricardo Bofill offers a more contemporary style, which features rounded contours and natural light. Our 112 spacious rooms and apartments boast generous volumes - a rare luxury in the City of Lights. The Suite Tour Eiffel offers an exceptional view of its namesake monument. You'll enjoy the welcoming atmosphere in the different lounge areas, where plush sofas invite you to put up your feet and relax while taking in the sumptuous surroundings. The residence enjoys direct access to the fine dining restaurant, where you'll find incomparable flavors that do justice to the French art of gastronomy. If you need to relax, take a break in the residence's Turkish bath. The gym and a personal fitness coach are also at your disposal. The Citadines Suites Arc de Triomphe Paris Board Room, fully equipped with the latest technological innovations, is the perfect place for your business meetings. Live like a Parisian in the French capital's most exclusive neighborhood, just a few steps from museums, theaters, luxury-brand shopping and celebrated restaurants. ... more less
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- Also Known As:
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- Costes k Hotel


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A Weather Announce Hiatus
I have no clue who these guys are, but that picture is really hilarious.
Based on your dig Geoff I think you'll like them.
That blonde...
...isn't as hot as she looks.
i got one of their CDs in a random 'grab bag' of 10 CDs for a dollar in a CD store in Arizona
it wasn't bad, honestly. but I had no idea they were even a notable enough band to announce a hiatus and have anyone care.
after typing that post, I checked and it turns out the band I was thinking about was simply Weather. whoops disregard i suck cocks
lol tables fail
• Slint guitarist survives suicide ..• Tool + Mastodon supergroup• Scarlett Johansson forms band• Muse unleash new single• Nickelback get groovy • New Godspeed You! Black Emperor a..• New Muse song• Steven Wilson premieres new tune• New Incubus Song• Kendrick Lamar unveils new single
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Bands: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z


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Overall score
would recommend to a friend.
Reviewer score
Would recommend
Near Macy's
The Lobby's old architectural detais are amazing, Just wish the rooms were as equally well decorated, the bed was old and uncomfortable, but, overall, still a Great value!!!
The Italian Restaurant Bella Napoli is wonderful, a Great Value for delicious italian Cusine. I suggest to arrive with a helthy apetite for the portions are LARGE!!!!
Good location
it locates at an excellent area! only about 10 mins walk to Empire state building. but no free wifi
Small room smallest bathroom I've ever seen hard mattress good coffee and muffins great location
Lots of restaurants on fifth ave and broadway great food venders on broadway 10 min walk to times squares
great location
only 10 mins walk to Empire state building, but no free wifi
Good Value if you get the Right Room
Went to NY with my fiance for 4 days. We were satisfied with the Wolcott primarily, I think, b/c we were able to book a junior suite. The suite, while not large, was roomy enough for two people to occupy comfortably. Anything smaller would have
tested our patience.
The hotel room was clean and stayed clean, which is not always a given in NYC. The TVs in the room were from the early `90s, and only one of them actually worked (and about half the channels at that). Still, we didn´t end up spending much time in the room, and if you´re watching TV in your hotel room when NYC is in front of the door, you probably deserve a lousy TV from the `90s.
Front desk personnel weren´t unfriendly and were helpful when given a request. Overall, a good experience in a great location.
Sarge´s Deli on 3rd Ave at 36th Street. Homemade pastrami or lox, fresh corned beef, and large portions. Great for breakfast or lunch.
Would not recommend
Eh, it's fine if you don't plan on spending any time in it
In Hotel Wolcott's favor, they did let us check in several hours early, free of charge. This was a lifesaver as my wife and I and just gotten into town on the redeye and felt terrible.
However, everything else was either mediocre or just plain
annoying. Reasonably close to the subway. Nothing in the bathroom worked well. The wifi was overpriced and only usable on one device and one location. The bed was extremely hard. No thermostat controls. Windows in our 12th floor room opened easily and had no screens. Only one nightstand. There were three electrical sockets in the bedroom, two of which were inaccessible and the other was as far from the nightstands/desk as it could get.
We'll be trying someplace else next time.
Needs drastic improvement in terms of hospitality and more attention to customer needs
The Hotel location is ideal for business people but the staff are not friendly/helpful and have very little time to listen to customers. I did not like the hotel as my room was not what I requested for and when I enquired, the response was not
encouraging and I let it stay.
Cannot be a repeat customer nor recommend the hotel to any one.
No meals offered at the Hotel or at least we were not told of the existence of such facilities.
In the shadow of Empire State Building
Be sure to read the interesting history of the hotel in the room information notebook.
Macy's, the World's Largest Department Store.
Perfect Location
Good location to access most local amenities with small walk.
Very Great Location
The hotel was great! It had great charm to it and the staff was quick and ready to serve. The location was great too, only two blocks away from madison square garden, and walking distance to times square.
Walking distance to macys and times square.
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Iraqi Schoolchildren: 5 Years of War
Five years ago this month, a U.S.-led coalition of troops invaded Iraq. Since the invasion, Mary Ann Zehr, an assistant editor at Education Week, has reported on the U.S. government's involvement in education reform in that country and Washington's eventual decision in June 2006 to withdraw financial support for Iraq's schools. Her reporting has included interviews with Iraqi education officials, teachers, students, and parents, as well as U.S. officials and others involved with the schooling of Iraqi children. Recently, Ms. Zehr traveled to Amman, Jordan, to see how displaced Iraqi children were faring.
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text:
Keys to Paul Goldschmidt's Success: Improved Plate Discipline and Contact on Balls Inside
Paul Goldschmidt was an above-average hitter last season, putting up AVG/OBP/SLG numbers of .286/.359/.490. This season, he's taken a big step forward in becoming a significant offensive force for the Diamondbacks, posting .292/.387/.534 marks. He eclipsed his 2012 mark for home runs on July 1st of this year, and he leads the National League in RBI with 106. In 2012, he created runs at an above-average clip (124 wRC+), but he's been 51% better than the average hitter this year (151 wRC+, tied with Joey Votto for 8th overall).
So what's the secret to Goldy's improvement? I expected to find the answer in Goldy's platoon splits, but didn't find quite what I was looking for – I'll post those findings over the weekend. I also took a look at Goldy's plate discipline and swing rates, relying largely on maps from ESPN Stats & Information and statistics from ESPN and FanGraphs. I was a little surprised with the findings.
Plate Discipline
Goldy's walk percentage has increased from 10.2% in 2012 to 14.8% this year. That lags behind the incredible Joey Votto (17.5%), but it's still good for third among the 147 hitters qualified for the batting title. Had Goldy repeated last year's 10.2% mark, he'd be tied for 42nd this year. That's a pretty big jump.
But a player who receives more pitches outside the zone hasn't necessarily exhibited better skill at laying off pitches outside the zone, and while anecdotal evidence is often the farthest thing from reliable, it has seemed to me this year that he's been pitched around more. Walk rate tells a story, but it may be that Goldy's swing rates are most telling.
Goldy's overall swing rate has dropped, from 44.5% in 2012 to 41.7% so far this season. His zone swing percentage (Z-Swing%) has dropped only marginally, from 63.6% to 61.5%.
But Goldy has swung at pitches outside the zone (O-Swing%) 25.4% of the time this season, a drop from 29.4% in 2012. That O-Swing% dip may not seem like much, but as Crash Davis once famously opined, a difference of 5% (between a .250 and .300 average) can be all that separates mediocre from very good. Only 6 hitters (of 147 qualifiers) have an O-Swing% below 23%. Had Goldy put up a 29.4% rate again this season, he'd be tied with Jason Castro for 71th; instead, he slots in at 25th.
When you compare these maps of swing rates, it's readily apparent that Goldy has cut down on his swing rate outside the zone (2012 first, then 2013 through the game of Sept 5):
So, yes, Goldy has swung less of the time at pitches outside the zone. With only one minor exception, each of the 16 boxes outside the strike zone show swing rates that are essentially the same or substantially reduced from 2012 to 2013. That's the story that's told by the 4% drop in O-Swing%, though.
Look at each of the four main directions off of the plate, and despite sample size issues I think we learn something. In both years, Goldy didn't swing much at pitches below the zone or away from him. Above the zone, though? It looks like that's where Goldschmidt's selectivity has been most focused. In contrast, his selectivity didn't change all that much inside. That's pretty interesting.
Contact on Balls Inside
It may be that Goldy didn't really cut down on his swings inside because he's actually having some success. Consider the charts below with batting averages when Goldy puts the ball in play, which tell a stark tale (again, 2012 first, 2013 second):
In 2012, Paul Goldschmidt had virtually no success on pitches inside the plate. Despite that, he was swinging at a pretty good clip – nearly half the time in one box (top, 49%), even though his batting average on those pitches was .091. The other boxes inside (middle, down) were only slightly less awful for Goldy.
Goldschmidt hasn't done better with inside pitches because he's laying off of them a lot more – he's doing better with them because he's doing more with them. He's hitting a respectable .294 middle inside, and an outstanding .385 top inside. Goldschmidt has always been a high ball hitter, but now you can't really jam him – even if you come off the plate a bit, he can still kill you.
The success on balls inside and balls up and in may have come with a cost, however – Goldy isn't doing as well reaching the far parts of the plate. You can see this in the charts just above, with batting average decreases on pitches down and away, down middle, and middle away. But it's a little more obvious when you see it in heat map form:
Note how the 2012 heat map shows almost no red up and off the plate inside, but shows Goldy commanding middle down and down and in. The 2012 Paul Goldschmidt had really just one "happy zone" — it looks like he's become more adept at moving the head of the bat in and out.
Working theory? Pitchers discovered last year that they could jam Goldy, and at the beginning of the year, he made an adjustment (the stance doesn't look more open, so he may be standing a little bit more off the plate or just looking for pitches in). Goldy had a grand old time, perhaps until lately – it seems like he's been getting a steady diet of pitches low and away in the last few weeks. It remains to be seen, maybe, whether Goldy can continue to make adjustments to stay ahead of the league – but he's done a pretty good job of it so far this season.
3 Responses to Keys to Paul Goldschmidt's Success: Improved Plate Discipline and Contact on Balls Inside
[…] Inside The Zona looks at Paul Goldschmidt's plate discipline this season. […]
[…] Inside The Zona looks at Paul Goldschmidt's plate discipline this season. […]
[…] could drive pitches in off the plate. For good reason: as I found in early September of last year, one thing that fueled Goldy's breakout in a big way was a much better contact percentage on pi…. He was swinging at those pitches more not just because runners could be driven in, but because he […]
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The Pool ShotEpisode 20 of The Pool Shot: The guys talk about Sam Miller's piece identifying the D-backs' "Moneyball" strategy and Dave Cameron's piece about why he also thinks the D-backs are different, before setting their preferred 25-man roster to start the season. In so doing, they make use of Twitter questions from @bgrosnick (upside or reliability for bench), @EdwardFShore (whether Archie Bradley is first in line if a starter struggles), and @IvoryTiger (whether Goldy's slow start is concerning). They also have a blast discussing a question from @Ascend_Descend about which pitcher and which "plus" pitch they would add to a D-backs pitcher's repertoire if they were omnipotent. Subscribe on iTunes!
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An updated Top 10 with reference to other Top 10 lists.
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FanGraphs Stats Glossary
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Cot's Baseball Contracts
BP Base Running Stats
Previously on The Pool Shot, the guys explained some of their favorite advanced stats. Hitting, including wRC+, HHAV and batted ball; pitching (38:00), including FIP, xFIP and SIERA; and baserunning and defense, including UBR, UZR and DRS (58:00).


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John Kasich
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News on John Kasich continually updated from thousands of sources around the net.
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The time for real charter school reform is now
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Mystery of man walking London streets shirtless with 'terrible' burns
Detectives were today trying to unravel the mystery of a man found wandering the streets bare-chested with "terrible" burns.
London's Chinatown could 'disappear in five years' as West End rents soar
The West End's historic Chinatown will "disappear in five years" as oriental restaurants are squeezed out by rising rents and soaring property prices, traders said today.
Borough stabbings: Nine injured in late night knife fight in high street
Nine men have been arrested following a large violent street brawl in Borough this morning.
Evening Standard comment: A troubling blacklist and our basic rights
Related Articles
Published: 27 February 2013
The blacklist of individuals regarded as troublemakers that was compiled by a body called the Consulting Association and revealed by the Information Commissioners after a raid in 2009 was disturbing in itself, and calamitous for the job prospects of more than 3,000 people whose names were on it and who were sometimes given short shrift by potential employers.
But until now it has been taken as read that the blacklist chiefly affected people working in the construction industry, including trade union activists and those who raised health and safety concerns at work. Now, the GMB union says that it included the names of 200 environmental activists.
One of them is John Stewart, who has led a good deal of the opposition to the expansion of Heathrow Airport. He is respectable, retired, with no criminal convictions and a reputation as a formidable campaigner. Two years ago, he was refused entry to the US, and escorted off a plane by armed guards with no reason given. He feels now that this may be because his name appeared on the list.
If this is true, the problem becomes very disquieting indeed. It's hard to think of anything more inimical to the modern spirit of openness and transparency than the existence of a secret blacklist circulating between employers and institutions. And if it includes people whose only offence is to hold views or conduct campaigns that some companies or institutions find troublesome, it becomes downright frightening, particularly if it affects people's basic rights, including freedom of movement. Totalitarian regimes have secret lists of troublemakers; Britain has the Freedom of Information Act.
It is not clear whether Mr Stewart was barred from America because he was classed as a potential agitator or for some other reason; the US does not give explanations. But he should know what use was made of his data. Plainly, the Government has some way to go to reinforce a culture of openness in private industry as well as public institutions. Good citizens must be free to engage in public-spirited campaigns without fearing for their rights.
History boys
Opponents of Michael Gove's reforms to the history curriculum in schools say they will make history lessons dull, a matter of dates and facts. The same can't be said of the bad-tempered row between historians about the merits of the reforms, which sees distinguished academics such as Richard Evans, regius professor at Cambridge, pitted against supporters such as Niall Ferguson. Today a group of historians supporting the Gove curriculum, including David Starkey, has written to The Times to welcome the essentials of the plans.
Both sides have a point. Certainly it makes sense for history to be taught chronologically and it seems right to expect children to have an understanding of the outlines of British history by the time they take their GCSEs. Equally, it is impossible to understand British history except in reference to European history, and to some extent world history too. It would be difficult to teach about Roman Britain, say, without teaching some Roman history. A chronological approach that embraces both British and European history should not be beyond the reformers. And a fresh insistence on the importance of history in schools should be welcomed by all the combatants.
More policing please
Flooding London today with thousands of police for a day of action against crime is an excellent idea. Most of us will wonder, though, why we can't have 365 of these a year.
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