Articles Written By: emae2021@pomona.edu

Major League Math

Major League Math: meet the two sides of guy stevens '13, a former sagehen pitcher who hit a major league home run with his statistical savvy.

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The odds were not in his favor. Guy Stevens ’13 didn’t need his double major in math and economics to understand that. His right arm made him a good enough baseball player to pitch for the Pomona-Pitzer Sagehens, but it was not going to get him to the major leagues.

 About 450,000 youngsters play Little League Baseball each year. Some go on to play in high school and almost 32,000 played in college for National Collegiate Athletic Association teams last year. A fraction of those high school and college players are drafted, destined for long bus rides and budget hotels in the minor leagues. They are all fighting for one of 750 jobs in the big leagues. In the history of Pomona College, precisely one player, Harry Kingman, has made it, playing in four games for the New York Yankees in 1914.

Stevens already made it to the majors last summer with the New York Mets and is back again this season with the Kansas City Royals. His bankable talent is with a computer, not his fastball, and he is taking the multiple internship route to try to land a coveted job doing statistical analysis in the front office of a major league team.

“I was really into baseball, but didn’t know it was a feasible career path,” Stevens says. “Now I’m going to see how far I can take this, see if I can do this.”

Stevens, 21, is riding the wave of a sea change in professional baseball in the decade since the publication of the 2003 book Moneyball: The Art of Winning an Unfair Game—later a movie starring Brad Pitt—about the Oakland Athletics’ use of statistical analysis to try to maximize a low payroll. A game traditionally run by executives who were either former professional players or scouts who spent years in the stands with a stopwatch and a radar gun is increasingly dotted with Ivy Leaguers, academics and young people with math or finance backgrounds as the 30 major league teams—some of them billion-dollar businesses—try to mine the avalanche of available data.

“There aren’t many jobs,” says Adam Fisher, a Harvard graduate who is director of baseball operations for the Mets and supervised Stevens last summer after starting his career as an intern himself. “But I think he has the ability. I would bet on him, yeah. “He kind of comes at it with a unique blend of skills and talents, having played college baseball and having a real strong math and stats background. Generally, you see one or the other.”

GREGARIOUS AND HANDSOME despite his wonkish affection for stats, Stevens grew up an Oakland A’s fan in the East Bay town of Lafayette and played baseball at Campolindo High School in Moraga. His father is an investment portfolio manager in San Francisco, and his mother once worked in finance as well.

“I thought I’d do something like that. I knew I was good with numbers,” he says. His early forays into the numbers behind the game started as a teenager.

“I read Moneyball pretty soon after it came out. My freshman year in high school, I started playing fantasy baseball, and I was playing with some of my friends on the baseball team,” says Stevens, noting that those teammates were not quite as numbers-savvy. “So I thought, ‘I’m going to see what I can do to get an edge,’ and I really started looking at his stuff and just got caught up in it.”

stevenstwoimages1Statistics always have been important in baseball, but in recent decades the familiar stats such as batting average, ERA (earned-run average) and RBI (runs batted in) have been supplemented by an alphabet soup of acronyms, all trying to quantify aspects of the game. There’s WHIP (walks and hits per inning pitched) WAR (wins above replacement) BABIP (batting average on balls in play) and FIP (fielding-independent pitching) and those are just some of the more well-known ones.

The challenge is to sift through the gargantuan amount of data and shape it in useful ways—and most important, to try to predict performance and assess the monetary value of a player’s skill. The A’s, for example, concluded a stat such as on-base percentage, which includes walks, might be as important as a traditional stat like batting average in determining a player’s value to a team. The Boston Red Sox used some of the same principles in putting together the teams that won the 2004 and 2007 World Series with a brain trust that was led by Yale graduate Theo Epstein and included advisor Bill James, an influential figure who has written about statistics since the 1970s.

Today, technological advances help fuel the stats craze. Leaning over his MacBook Pro in an empty office in Millikan Laboratory, the 6-foot-2 Stevens stares at a screen full of columns of stats and mostly indecipherable abbreviations. To his trained eye, flesh-and-blood players and games that were played seasons ago appear.

Since 2006, Major League Baseball has used a system that positions cameras to track the speed and movement of every pitch thrown in a game, giving statisticians a deep resource of information. So does a site called Retrosheet.org, which has digitally recorded the play-by-play accounts of most major league games since 1956.

To illustrate, Stevens called up a 1997 game between the Angels and Boston Red Sox in Anaheim and showed that a first-inning pitch against a right-handed batter was fouled back. That sort of detailed information can be used to identify tendencies of certain batters and pitchers that, when put together, can give clues to a player’s value to a particular team. “Sites like this make it possible for people outside front offices to do analytics,” Stevens says.

Stevens did just that at Pomona, where his time on the field was limited by injuries until the 2012 season when he emerged as the team’s closer. (He also played a stint on the national team of Israel, where his mother grew up. See story on page 28.) So Stevens huddled in his room in Lawry Court and dug deeper into the world of stats. Eventually, he created a blog, DormRoomGM.com that impressed major league executives.

“I’d do a lot of hypothetical, ‘Could Team X improve their roster by trading Player A for Player B?’” Stevens recalls. “That was mostly for fun because those trades are so unlikely to happen.”

IT WAS DURING THE SUMMER before his junior year that Stevens became focused on his track toward more sophisticated work in baseball analytics —also sometimes called sabermetrics, taking the name from the Society for American Baseball Research. In Claremont for the summer to work on an ill-defined academic project involving minor league baseball stats, he kept running into Gabe Chandler, a Pomona associate professor of statistics who also helps coach the baseball team.

Chandler helped Stevens focus the project, and the two used a statistical method called random forests to try to determine which qualities in minor league players predict they will progress to the majors. The work grew into a scholarly article published in the Journal of Quantitative Analysis in Sports that the pair coauthored. The study got the attention of Wired, which ran a story on its website.

“He had collected some interesting data, data nobody really had,” Chandler says. “Everybody and their sister has analyzed major league data, so that’s not a new problem. But for whatever reason, nobody had really looked at the minor leagues. … But he probably knew that, because he thinks about this so much.”

Among their conclusions: Strikeouts in rookie ball, the lowest level of professional baseball, bode poorly for success. That might seem obvious, but the same didn’t hold true at higher levels of the minor leagues.

“It really only shows up in rookie ball,” Chandler says. “Because usually the people that get sent to rookie ball are high school players. College players usually start in low-A ball. You see a high school kid and they’re not facing quality pitching, so somehow you’re drafting these kids based off of, I don’t know what—athleticism or ‘tools.’ But you’ve never seen these kids try to hit a 95-mile-an-hour fastball. So you draft them and give them a lot of money and then send them to rookie ball, where they’re facing the few high school pitchers that can throw 95. And if they can still put the bat on the ball, then that’s a good sign. And if they can’t.…”

That’s the sort of insight teams that hire statisticians are looking for—anything that can give them an edge in evaluating talent to predict performance and the probability of winning on the field.

Chandler made what turned out to be a key connection for Stevens at a conference when he met Ben Baumer, now a visiting assistant math professor at Smith College in Northampton, Mass., but previously the statistical analyst for the Mets for nine seasons. By last summer, Baumer and Stevens were both working for the Mets.

“Very few jobs doing this existed 10 years ago,” says Baumer, who collaborated with noted sports author and economist Andrew Zimbalist to write a book, The Sabermetric Revolution: Assessing the Growth of Analytics in Baseball, to be published in December.

“I got a job with the Mets in 2004 and they had never had someone doing that before. Things have changed quite dramatically,” Baumer says. “There are only about five teams that aren’t doing it now, and the Rays (Tampa Bay’s major league team) have about eight people dedicated to this, several of them with master’s degrees, and a programmer.

“Guy did a good job for us,” Baumer says. “It’s hard to speculate, but I think he’s definitely put himself in a good position with a strong quantitative background, playing college baseball and the internships.”

While working for the Mets, Stevens learned more data an programming skills using SQL, or Structured Query Language. His duties were as varied as summarizing the player reports sent in by minor league managers each day, using statistics to analyze how to put together a major league bullpen and, at some games, identifying pitches for the stadium scoreboard display—fastball, changeup, curve, even R. A. Dickey’s knuckleballs. After nervously working his first game charting pitches after being teased that fans would boo if he got one wrong, Stevens walked into an office for his review.

“One of my bosses is sitting there and he’s got a piece of paper in front of him and he was like, ‘Guy, so, you got about 82 percent of the pitches right, which is pretty low.’ And I was, ‘Oh, God,’ and super nervous. But he was just holding a [random] piece of paper. They didn’t keep track.”

The Royals saw Stevens’ experience with the Mets, read his blog and were impressed: After hiring him for a six-month internship starting this summer that he hopes might grow into a regular job, the club asked him to take down his blog, considering it proprietary information. He works for Mike Groopman, the Royals’ director of baseball analytics, a graduate of Columbia University who broke into the game with internships with the Cincinnati Reds and the Mets.

STEVENS’ SAGEHEN PITCHING CAREER ended with a loss in the NCAA Division III regionals a week before his May graduation from Pomona. He pitched a final time, gutting through the pain of an elbow injury that cost him much of his senior season.

He understands that statistics, too, have their limits. For example, analysts have struggled to quantify fielding ability, though new technology is coming. “That’s something I’ll hopefully get to work on in Kansas City,” Stevens says.

Or what about deception, he suggested, such as a pitcher’s ability to hide the ball and disguise a pitch? Or the quality of being a clutch player, or a good teammate whose work ethic sets an example?

“I think the next big edge a team could get would be either if they’re a little bit better at preventing players from being injured, or just knowing who’s an injury risk and either getting rid of them or just not acquiring them in the first place,” Stevens says, knowing that with his history of arm problems, he would be considered such a risk.

Armed with his degree and experience, he will take a swing at the big leagues, understanding how competitive a field it is and knowing there are only 30 of the holy grail of front-office jobs, general manager. If not baseball, Stevens said, maybe he will turn to a career in finance.

“I’d really like to be a GM,” he said. “That’s the dream. I mean, the dream used to be to play, but I’m realistic.”

Reassuring Research

They don’t know it, but Pomona Economics Professor Gary Smith is the big-league ballplayers’ best friend in academia. That’s especially true for the superstars, the future hall of famers, the kind of guys who make the cover of Sports Illustrated. Truth is, the Joe Mauer crowd should be hoisting Smith on their shoulders and pouring champagne over his head. The professor has done them something better than clinch a pennant. He has added years to their very lives!

sicurse1In his paper, “The Baseball Hall of Fame is Not the Kiss of Death,” Smith has debunked research that purported to show getting into Cooperstown would shorten a player’s life expectancy. He also has taken apart a study that suggested major league players with names that start with “D” die younger than others. (Derek Jeter really should send Smith a fruit basket.) Ditto for another piece of research that concluded players with negative initials (think ASS) die younger than players with positive initials (think ACE).

And what about the so-called Sports Illustrated cover curse? Smith offers a perfectly logical explanation for the phenomenon in which players who get on the cover see a drop-off in performance soon after—and it has nothing to do with a true deterioration in skills.

Smith, whose classes include economic statistics, draws on baseball because the sport offers such a large and well-defined body of data to work with. The problem, he says, is that tempting treasure trove of data also can be “ransacked” by researchers.

“You look at it enough, you’ll find patterns,” he says. “They just ransack the data and come up with something a little off and they come up with these ridiculous things.”

The methodological flaws Smith found in the aforementioned studies vary. In the case of the Hall of Fame research, the study drew upon a database of every known big league player, but in cases where there was no death date listed, researchers assumed the player was still alive (though, in reality, that was not always the case). The snag: For hall of famers, in contrast to lesser-known players, death dates are almost always known. That fact alone skewed the research.

Assessing the good/bad initials study, Smith found the results were invalidated by “selective inclusion of initials in a very small database.” As for the letter “D”-early demise research, Smith noted that the study was based on selective data, and that it didn’t hold up under a “valid test applied to more comprehensive data from the same source.”

If those studies were easy outs for Smith, the Sports Illustrated cover curse brings up the meatier statistical issue of regression to the mean. Simply put, you get on the cover at a time when you are doing your very best, and then “the only place to go is down,” explains Smith, the Fletcher Jones Professor of Economics.

“The fallacy is to conclude that the skills of good players and teams deteriorate,” Smith writes in his upcoming book, Duped By Data: How We Are Tricked Into Believing Things That Simply
Aren’t True. “The correct conclusion is that the best performers in any particular season generally aren’t as skillful as their lofty records suggest. Most had more good luck than bad, causing that season’s performance to be better than the season before and better than the season after—when their place at the top is taken by others.”

The misunderstood phenomenon of regression to the mean, writes Smith, is “one of the most fundamental sources of error in human judgment, producing fallacious reasoning in medicine,
education, government and, yes, even sports.”

Baseball is only one field of play for Smith’s research. The prolific professor has also taken on topics ranging from stock ticker symbols to poker players’ “hot hands” to measuring and
controlling shortfall risk in retirement. But with so much data available over so many years, the national pastime is one research realm he keeps going back to, even if he’s not big on watching the old ball game. “I’m more of a statistics fan,” Smith says.

Field Notes

Raye Calderon1aWhether it’s a practice or game day, Raye Calderon and his crew are always first to arrive at Pomona’s Alumni Field. During the season, daily maintenance of the ballpark requires about as much time as it takes to play a game. Scrape, pack, rake, repeat. Grooming the field just right helps prevent bad hops of the ball that can lead to injuries. “We’re trying to keep our players in good condition without any black eyes or fat lips,” says Calderon, who has been maintaining the field for more than three decades.

RayeCalderonphoto1Work begins at home plate, which today is a mess after an April shower. Somebody played ball in the mud after the rain, leaving imprints for Calderon and Co. to fill in. Then it’s on to the pitcher’s mound, packed hard with clay that arrives by truck from Corona. Next he works the base paths, groomed with crushed red brick—but not too much. Calderon doesn’t want the infield to feel “like a litter box.” He aims to make Alumni Field, where the oak-studded Wash provides a bucolic backdrop, the kind of diamond he would want to play on.

Calderon was a ballplayer himself while growing up in Claremont, playing Little League and later as an infielder for the Claremont High team. He started working at the College as a summer job at the age of 18. Then a supervisor asked him to stay on full time in the Grounds Department. Later, in 1982, when another worker was out with an injury, Calderon landed his spot maintaining the sports fields. Then baseball coach Mike Riskas taught him about tending the diamond, and Calderon has attended field-grooming seminars at Dodger Stadium and minor league parks. He also visits other schools’ ball fields.

Nowadays, when Calderon goes to a ball game, he still can’t help but notice the condition of the grass. The payoff for all his diamond-polishing: When the players reach the field, Calderon gets his share of compliments. There also are times when he gets a bit of ribbing for all the work he puts into the field. “A lot of people say ‘you’re spoiling them, you’re spoiling them,’” says Calderon. “I’m just doing my job.” That’s what I’m supposed to do.”

Changeup

Changeup: In no other sport do the rules of the game -- and the experience of playing -- change so drastically after college.

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Striding onto the freshly mowed field at Wig Beach, I began my Sagehen softball senior day with a smile on my face, caught up in the festive mood. Streamers, balloons and banners celebrating the soon-to-be graduates on the team sparkled in the sunlight of a Saturday afternoon. But as I stood, a few hours later, about to step in to face Cal Lutheran’s top pitcher, tears filled my eyes. I wiped my face with the V-neck of my once-crisp, now grass-stained uniform and took a deep breath.

It wasn’t just my final at-bat for the Pomona-Pitzer Sagehens or my final at-bat after four years and 300 at-bats as a collegiate softball player. It was my final at-bat ever in the somewhat obscure world that is fastpitch softball, a realm I had been competing in since the third grade.

Fastpitch softball doesn’t have the name recognition of baseball, basketball or soccer. Yet, 2.4 million people in the U.S. above the age of six, mostly females, play fastpitch, according to a 2012 report from the Sports and Fitness Industry Association. At the college level, that number dwindles to 29,670 women. A select few women’s college fastpitch players go on to play for the U.S. National Team. Others will join the handful of adult fastpitch leagues. But for the vast majority of us, college marks both the pinnacle and the abrupt end of our fastpitch careers. After that, players must learn to accept a recreational form of the sport. As my former teammate Kindra Wilson ’08 puts it: “When you graduate it’s a forced retirement. The only option is slowpitch softball.”

With more than three times as many participants, the slowpitch version of softball far exceeds fastpitch in both numbers and name recognition. It is an all-inclusive game that draws skilled former fastpitch softball and baseball players, recreational players and novices looking for a social activity. Young and old play it at picnics and parks across the country. For former fastpitch athletes, it’s the only way to stay connected to the game, but it’s not our game.

I started playing fastpitch when I was 8. Within four years, I was competing year-round on select teams, traveling around California from my home in Marin County to play four to seven games each weekend. We would play in the early mornings or late at night, in fierce wind or light rain, in 110-degree July heat in Modesto and 40-degree chill at Lake Tahoe. I would return home with bumps and bruises and a coat of dirt covering my face.

On weekdays, I attended practices or met with a private hitting coach who taught me to shorten my swing to get around on a fastball–at the college level, pitchers throw upwards of 65 m.p.h. from only 43 feet away forcing the batter to react more quickly than a Major League Baseball player connecting with a 90 m.p.h. fastball.

For many of us skilled enough to play in college, fastpitch became our identity. We sacrificed parties, hanging out with friends or even taking coveted classes, to be at the field daily until the sun set. We attended 8 a.m. weight training and shared meals and weekends together. We were a family, united by the same goals: to play to our potential and to win and lose as a team. We all loved the rush of competing on the field for each other and our schools. We celebrated our wins, and lingered over losses. Another former teammate of mine, Ali Corley ’11, who still holds the Sagehen career homerun record, sums it up best: “It was such a huge part of my life. It’s hard being very good at something that doesn’t matter when you graduate.”

Back to my own final at bat as a Sagehen, I vividly recall standing in the batter’s box as Cal Lutheran’s pitcher sent the ball rising toward the plate. I swung and heard the loud ping of rubber meeting metal. The yellow ball soared nearly 200 feet toward the left field fence. The outfielder sprinted back, looked up, and, in one fluid motion, extended her glove toward the ball.

Out! Nothing came easy in fastpitch. Only a few months after I graduated from Pomona, I stood on a makeshift softball field in tennis shoes with a group of colleagues at the UC Berkeley Graduate School of Journalism. As the captain, I brought extra gloves for my new team and assigned positions at request. We talked about where we would grab drinks afterwards and I suppressed my urge to give my new teammates pointers on their swings. I secretly wanted to stack my team with the best players.

I’m not the only former Sagehen player who has had to adjust. Shortly after Wilson graduated, she too joined a company slowpitch team. That lasted a season—it was too hard to get 10 players to commit to weekly games. But she found another team and kept playing. At first, Corley wanted nothing to do with slowpitch. As a point of pride, she doesn’t even compare it to fastpitch. But after a few months of inactivity, she joined a team to throw and swing again, even though, “it’s not the same level of intensity as fastpitch.”

And that intensity is what we former fastpitchers miss. When I first started playing slowpitch, it was difficult to watch teammates let lazy fly balls drop in the outfield or forget to tag up. And I didn’t have the same pride hitting a slowly pitched ball grooved down the center of the plate. In the box, it took me a few tries to sufficiently slow down the compact swing I had been polishing for years, so as to squarely hit the high arc lob pitch characteristic of slowpitch.

I found my mood fluctuating with the score of the game, my competitive nature sometimes making my teammates anxious. But with time the fastpitch world has felt farther away. Over the last two seasons, playing in games filled with forgotten errors, I have become far less concerned with softball pedigree. Some of my teammates are skilled athletes in their prime, who are as immersed in following Major League Baseball as I am, and channel their energies and competitive juices into slowpitch. Others are less experienced, but still relish the camaraderie that comes with playing for a team of like-minded colleagues. When my team spiraled through a losing streak this season, I found it didn’t detract from light hearted bantering with my newfound friends. We tossed the ball around on the sidelines, chewed over projects we were working on and leisurely took photos of our teammates up to bat. No statistics and no pressure.

For the first time in my recent memory, I could simply play softball for the pleasure of the game and the people around me. Best of all, as I began to adjust to this style of play, some of the old adrenaline came back. I was competing. This season, as I stood in left field, body hunched over, anticipating the ball, it didn’t matter that half of my team were novices, or that they would never understand what it felt like to play fastpitch. This had to become my new experience of “softball,” too—the game I can play throughout the decades of my life until my legs or arms won’t hold up anymore. And so I’m learning to let fastpitch go.

Slowly.

Four Games

Four Games: Harry Kingman, Class of 1913 and the sole Sagehen to make it to the major leagues, only played briefly for the New York Yankees. It's what he did after baseball that left a lasting legacy.

Harry Kingman struck out in his very first at bat for the New York Yankees and, decades later, he would still recall the walk back to the dugout as “long and grim.” His major league career, on the other hand, was short. An athletic superstar at Pomona, where he graduated in 1913, and the first and only Sagehen to make it to the major leagues, Kingman would appear in only four games of the 1914 season—just a historical footnote, really.

It’s what he did with his life after Major League Baseball that was extraordinary. His remarkable career took him to China, where he started speaking out after a student massacre. His willingness to stand up for the voiceless carried on to UC Berkeley and the frontlines of the battle for free speech, civil rights and affordable student housing, then to Washington, D.C., where he was an underdog lobbyist. His work drew the attention of The New Yorker, and words of praise from luminaries ranging from Indian leader Mahatma Gandhi to Peace Corps Director Sargent Shriver.

kingman1“We are all deeply indebted to Harry Kingman—such men are almost unique,” wrote Earl Warren, during his time as chief justice of the U.S. Supreme Court. “Few have given so much of their lives to ensure man’s birthright of equality and liberty.”

Kingman’s accomplishments must have surprised people who met the rowdy preacher’s kid in his early years. He was born in 1892 in Tientsin (Tianjan), China, as part of a long line of missionaries. As his father’s health deteriorated and Chinese soldiers began marching by the school where the minister taught, in a prelude to the Boxer Uprising, the family moved to Claremont.

The elder Kingman became pastor of the Congregational Church and a trustee of Pomona College. When Harry rebelled as a teenager, smoking and shooting pool—he could run up to 40 balls in a straight pool—his parents shipped him to military school, where he was expelled for fighting. “I … wasn’t getting along well and I didn’t think I was going to amount to much. I was unhappy, very unhappy,” he recounted in an oral history that reveals a humble man, with a wry sense of humor and strong sense of justice.

At his father’s urging, he attended a YMCA conference where he vowed to change his life. He entered Pomona, where he excelled in basketball, track, swimming, tennis and baseball. Captain of the baseball team, Kingman was dubbed by the Los Angeles Times as “the heaviest hitter ever developed in the southern end of the state.” But he also fell behind in his studies. Once, a professor offered to give Kingman a test Saturday morning to make up for failing grades. If he passed, he could play in the game that afternoon.

“My father and the fans and everybody would be out there at the ball park…waiting to see whether Pomona was going to have Harry Kingman pitching or not,” recalled Kingman, who also played first base. “When I would show up in my suit, you know, they would applaud, and I would be in the game. But it was pretty uncertain.”

On summer break, Kingman worked as an assistant bricklayer on Pomona’s dormitories, climbing up tall ladders and earning 17 and a half cents per hour.

After graduating as a history major, he embarked on his brief professional baseball career signed on by the Washington Senators, then quickly traded to the New York Yankees, who wound up using him a few times as a pinch hitter. He only played on the field once, at first base, notes his biography with the Society for American Baseball Research.

Unsatisfied warming the bench, Kingman left the Yankees in 1916 and joined the staff of Stiles Hall, UC Berkeley’s off-campus student branch of the YMCA, because he wanted to help disadvantaged youth. Yet he was never far from the sport.

A year later, he was drafted and sent to Camp Gordon in Atlanta, where he was captain of the varsity baseball team. The commanding general told Kingman, an infantry officer, to put together the best service ball club in the nation. The general protected the team members, preventing their deployment. World War I ended the following summer and his initial disappointment over not being in combat turned to pacifism.

Victory hadn’t made the world safe for democracy. In 1921, Kingman sailed for China as a missionary and student sports coach. “When I first went to China … I did it primarily with the idea of helping its people. But very soon it dawned on me I had something to learn from the citizens of a nation with a long and respected civilization.”

He sent for his fiancée, Ruth, also the child of missionaries, and their daughter was born in 1924—the fourth generation of the family to live in China. He also began writing short mimeographed newsletters on Chinese politics that drew admiration from novelist H.G. Wells and the British philosopher Bertrand Russell, among many prominent thinkers and leaders.

While playing baseball on a spring day in 1925, Kingman noticed a huge traffic jam on the main boulevard in Shanghai. Police officers in the foreign-controlled section of the city had opened fire on Chinese demonstrators, killing and injuring dozens, including a promising student Kingman coached. In a letter to a local newspaper, Kingman defended the students and their right to protest foreign exploitation, which drew a flood of angry replies from the expat community. Within a month, he was pushed out and transferred to Tientsin (Tianjin), his birthplace, in the heart of warlord country.

It was the first time the Kingmans had come up against such unrelenting opposition, and the experience seared the couple, sensitizing them when they fought years later for the rights of minorities.

In the winter of 1927, on his way back to Berkeley, he stopped in Japan for a month to coach baseball in Osaka. He then returned to the student YMCA, Stiles Hall, began coaching Cal’s junior varsity baseball squad, and worked on social justice and free speech issues that resonated for decades.

Stiles Hall started hosting left-wing students who weren’t permitted to meet or speak on campus. During the Great Depression, he helped establish a housing co-operative where students contributed their labor to cut down expenses. (In the 1960s, Barrington Hall, one of the earliest co-ops, became the epicenter of the Berkeley free speech and anti-war movements.)

From their inception, the co-ops broke down prejudice by allowing different races to live together, unusual in the 1930s. As a Berkeley undergraduate, Yori Wada worked as a houseboy, unable to find a landlord willing to rent to a Japanese-American. “I remember knocking on the doors of houses that had signs saying, ‘Rooms for Rent,’ but the turndowns were universal,” Wada told the San Francisco Chronicle. Wada, who later became a University of California Regent, praised Kingman for opening doors for minorities.

Kingman credited his experience of living as a child in China, playing with black athletes, and the attitude of his parents for growing up without prejudice. “[My father] gave me the idea that people should try to stick up for and help the underdog or the person that is getting a bum deal and that the stronger person should stand up for the weaker person.”

When the United States entered World War II, the Kingmans opposed the government’s evacuation of Japanese on the West Coast to internment camps, with wife Ruth taking the lead. Meanwhile, Harry was appointed as head of the West Coast office of a federal commission to combat racial employment discrimination at defense contractors.

“Their interests and causes had a national and even international focus —racial justice, civil rights— but they had day-to-day impact on the people within their own community,” says Charles Wollenberg, a historian who teaches at Berkeley City College.

Kingman’s niece, Claire Mc- Donald, ’47, who followed the couple into public service for three terms on the Claremont City Council, says Harry and Ruth taught her: “You participate in government if you can. You don’t sit at home and complain. You go out and change the world.”

Kingman retired from Stiles Hall in 1957, but his career went into extra innings: he and his wife formed the Citizens’ Lobby for Freedom and Fair Play—a two-person volunteer civil rights lobby—and moved to Washington, D.C. “We could have lobbied in Sacramento,” he told Coronet magazine in 1961. “But I always liked the big leagues best. That’s where they play the best ball.”

In those years, Kingman was described in a New Yorker piece as raw-boned and sun-tanned, with a gravelly, drawling soft-spoken voice, still moving with an athlete’s grace. Harry and Ruth were oddities in the capital. The two senior citizens living off his pension and Social Security, were beholden to no corporate interests, with no bottomless expense account. They invited guests to “California patio suppers,” a big pot of spaghetti and green salad, served on a red-and-white checked tablecloth and paper plates.

Baseball also helped Kingman find common ground in Washington, D.C., when he coached the Democrats in an annual game against the Republicans. In a class note Kingman submitted to this magazine during that time, he wrote: “We operate on a shoestring, but never had more friends nor experienced a more exciting, adventurous and satisfying experience. This week my friend Billie [sic] Martin, of big league fame, visited me on Capitol Hill, and I had the fun of introducing him around. Senators ganged around him.”

Harry and Ruth lobbied hard for the passage of the 1964 Civil Rights Act. They were at the office doors when congressional leaders first arrived in the morning and the pair kept making the rounds late at night. Opponents, meanwhile, launched into a Senate filibuster that included a 14 hour and 13 minute address.   From the crowded gallery, Kingman held his breath as Sen. Clair Engle, a Democrat from California, was carried in for a cloture vote, a procedure in which the Senate can place a time limit on the consideration of a bill. Ill with a brain tumor, Engle, who could not speak, raised his crippled arm for an affirmative vote—breaking a Senate filibuster against a civil rights bill for the first time in history.

Kingman wept, overjoyed.

His creed was simple: “to be for something or somebody, not merely against,” he told Edward R. Murrow on his famed radio program, This I Believe.

In 1970, the couple returned to Berkeley, where the student co-op he helped to create kept growing. (Today 1,300 student members live or eat at 20 co-ops.) Later that decade, a newly-acquired co-op residence was named Kingman Hall to honor Harry. In covering the dedication, the Chronicle called the then-elderly activist “an inspiration to thousands of University of California students. Harry Lee Kingman has lived the kind of life boys read about at the turn of the century.”

Just a few years later, in 1982, Kingman passed away at the age of 90. “I have never felt like I had any great ability. I’ve known so many people who had much better brain power than I ever had,” Kingman once said. “But I’ve kept on the job…. I’ve never stopped trying to become more effective and to show my gratitude to God.”

 

Putting Bytes into the Old Ball Game

computer1In his baseball-loving boyhood, Don Daglow ’74 used to get calluses on his fingers from flicking the spinner for the All-Star Baseball board game that he’d play again and again, sometimes eight times a day. Over time, he even reworked the venerable game to allow changes in pitching.

And then, still in love with the old ball game, he arrived at college, where he met his first mainframe computer, the PDP-10, tied in to terminals in Mudd-Blaisdell residence hall. “That one moment,’’ says Daglow, “changed my life pretty dramatically.” He learned programming and in no time he thought, “‘Oh, wait a sec, now I can do baseball.’”

By 1971, English major Daglow had come up with the first computer simulation baseball game in which the player could make choices—moves like sending in a pinch hitter or having the pitcher walk a batter intentionally—with results from each play printed out on paper.

The game was a hit. Daglow was shocked to get his first fan letter, from someone at a college back east. More acclaim was coming down the road, but for now Daglow was busy digging deeper into programming and writing. Over nine years as a student at Pomona and then a grad student and later an instructor at Claremont Graduate University, he would hone his programming skill through his access to then-rare mainframe computers, even as he pursued his plans to become a playwright.

“Baseball,” says Daglow, “is one of the most spectacular pieces of theatre ever invented by human beings.”

One hitch in the script, though: Working on games on the busy mainframes could you get kicked off the system. “That’s why we were always sneaking about at night,” recalls Daglow. “We knew where all the terminals were at the other five campuses.”

All that covert computing paid off. By 1980, Mattel had hired him and Daglow was put to work on a video game called Utopia for the company’s innovative Intellivision video game console. Ever the fan, Daglow was watching a ballgame on TV after completing that first title when he got a thought for a new video baseball game: What if we could make a game that looked like one on TV, with sweeping camera angles? “That would be new,” Daglow recalls thinking. “It would be a blow to Atari.”

But how to deliver the blow?

Enter the dancer.

Daglow put out the call for applicants from his alma mater, and among the Sagehens he wound up hiring was Eddie Dombrower ’80, who turned out to be perfect for the part.

An athlete, programming whiz and math major who had taken up ballet in high school, Dombrower had just completed a Watson Fellowship studying the computer simulation of dance in Europe and Israel after graduation. That led him to create a system for computerized dance notation, with an animated figure repeating the moves. “In those days computers were really, really slow,” recalls Dombrower, noting that the Watson work came in quite handy. He used the tricks he learned in math to make the animation go fast on slow computers.

Daglow crafted the initial specs and statistical simulation design, then Dombrower came through with a prototype for TV-style baseball, bringing the challenging visuals to life. “Most programmers would have crashed and burned,” says Daglow.

Now Daglow had something to show off within the company, and the bigwigs liked it. Maybe a bit too much. “The marketing V.P. looked at it and said, ‘you know we can have TV commercials running for that in three to four weeks, in time for the Christmas selling season,’” Daglow recalls.

Daglow was taken aback: “I looked at him and said ‘we’ve got months to go on this.’” The marketing exec wouldn’t budge: “You have to understand we’re at war with Atari,” he warned. “It’s going to be us or them. If this is what we can do in the future, we want to show it now.”

So the company did just that, with George Plimpton unveiling the baseball game in TV commercials, intoning: “This is the future of video games.”

And it was. But not yet.

The whole industry tumbled, if only temporarily, in the video game crash of 1983. Intellivision World Series Major League Baseball was released during the freefall, hardly any copies were
made and soon enough Intellivision itself went kaput. But the knowledge and experience Daglow and Dombrower gained would still be put to work.

By the late ’80s, the pair had gone on to work for industry powerhouse Electronics Arts, working with legendary Orioles Manager Earl Weaver on the game that became Earl Weaver Baseball. Crafting innovations like customized play for different ball fields such as Boston’s Fenway Park, Dombrower and Daglow created a title that went far beyond the once-futuristic Intellivision game.

First, though, Daglow had to do the statistics and Dombrower had to do the physics. How do the parabolas diminish from bounce to bounce as a ground ball slows down hopping on grass? On artificial turf? With Fenway’s famous, close-in Green Monster, how often would a ball that bounces off the wall wind up as a single instead of the expected double?

With so many variables at work in the game, “you create this really interesting, very natural feel,’’ recalls Dombrower. “It doesn’t feel canned any more. The drama just ratchets up.” So did sales.

Earl Weaver Baseball was a hit, and Dombrower hatched a sequel a few years later. By the ’90s, Daglow, meanwhile, was on to another stat-laden baseball game, this time picking the brain of another standout manager. Tony La Russa Baseball, which carried on in a series of versions from 1991 to 1997, built on the earlier innovations, with more sophisticated stats and better graphics during its long sales run.

Even today, as an accomplished, Emmy-winning game developer, Daglow still can’t believe he got a chance to work with legends like La Russa, with whom he’s now designing a new game title. “How the hell did that happen?,” Daglow asks. “I’m so freakin’ lucky I’m just beyond words.”

The Summer of Turrell

James Turrell '65 installation
 James Turrell's The Light Inside, created with neon and ambient light, at the Museum of Fine Arts, Houston. © James Turrell

James Turrell’s The Light Inside, created with neon and ambient light, at the Museum of Fine Arts, Houston. © James Turrell

 

The master of light and space delivered the remark with a smile. “I have a business of selling blue sky and colored air,” James Turrell ’65 told a group of arts reporters after they had previewed his long-awaited retrospective at the Los Angeles County Museum of Art. But if he counts exhibitions as sales, business is extraordinarily good this year. While Dividing the Light, Turrell’s Skyspace at Pomona College, continues to attract students, alumni and visitors to Draper Courtyard, celebrations of his work are popping up from coast to coast.

The centerpiece of the “Turrell festival,” as LACMA director Michael Govan calls it, is a trio of major museum exhibitions in Los Angeles, Houston and New York. LACMA’s James Turrell: A Retrospective is a five-decade survey, composed of 56 works, including sculptures, prints, drawings, watercolors, photographs and installations. “This is the largest exhibition of works by this artist assembled anywhere at any time,” Govan says. And it will have an unusually long, 10-month run (ending April 6, 2014), so that the expected thousands of visitors can experience the artist’s mind-bending installations as he wishes—slowly, silently, and singly or in small groups. As the museum director reminds guests, “The slower you go, the more you get.”

Turrell traces his interest in light to an art history class at Pomona, where he began to see the beam of light emitted by a slide projector as something to look at, not just a means of illuminating something else. As his work evolved, light became his primary material and a path to perceptual discovery. The retrospective follows his career from early light projections in darkened rooms to holograms and “immersive environments” that surround viewers with other-worldly orchestrations of colored light and deceptive space.

Rendering by Andreas Tjeldflaat. © Solomon R. Guggenheim Foundation

Rendering by Andreas Tjeldflaat. © Solomon R. Guggenheim Foundation

One large section of the show is devoted to Turrell’s Roden Crater project, which began to take shape in 1977 when the Dia Art Foundation provided funds for the artist to buy a dormant volcano near Arizona’s Painted Desert. With a goal of transforming the crater into an observatory of celestial events and perceptual phenomena, he intended to complete the job around 1990. Challenges of fundraising, engineering and construction have repeatedly extended the project. Now Turrell jokes, “I have said I would finish in the year 2000 and I will stick with that.” He likens himself to a graduate student who can’t seem to complete a doctoral thesis. But his biggest obstacle is the need for an unspecified amount of money, which he concedes is in “the millions.”

Despite persistent delays with Turrell’s magnum opus, the museum exhibitions attest to his productivity in other areas. Over the years, he has made a wide variety of drawings, prints and sculptural pieces related to the crater, as well as installations including floating volumes of projected light, environments that heighten perceptual awareness, and spatially disorienting Ganzfelds. None of his architectural Skyspaces are at the museums because of the difficulty of cutting holes in their walls and ceilings, but he has completed 82 of these structures, each tailored to a specific site. He has also developed Perceptual Cells, designed for one or two people to recline while watching a constantly changing program of phased and strobed light. In the cell at LACMA, called Light Reignfall, a single viewer lies on a narrow bed that slides into a closed chamber.

In Houston, the Museum of Fine Arts has devoted a huge portion of its gallery space to James Turrell: The Light Inside (through Septembber 22). Named for the subterranean installation that connects the museum’s two buildings under a street, the show is entirely drawn from the MFAH’s extensive collection. The museum acquired its first Turrells in the mid-1990s and went on to amass a holding that spans the artist’s career. While some works in the exhibition are familiar to the museum’s core audience, Tycho, a 1967 double-projection, is making its public debut. So is Aurora B, a 2010-11 piece from Turrell’s Tall Glass series, in which LED light is programmed to produce subtle shifts of color on rectangular panels of etched glass over long periods of time.

In New York, the Solomon R. Guggenheim has turned its spectacular rotunda into a Turrell. Called Aten Reign (and scheduled to remain in place until September 25), the installation is billed as “one of the most dramatic transformations of the museum ever conceived.” Turrell has converted the soaring central space of the Frank Lloyd Wright building into an enormous cylindrical volume of fluctuating light, both natural and artificial. Instead of opening to the sky, Skyspace-style, Aten Reign surrounds visitors with concentric lines of glowing color, which lead to the glass-covered oculus at the apex of the historic structure. Adjacent galleries offer more conventional works by Turrell as a complement to the dramatic installation.

The three exhibitions evolved from tentative plans for a traveling retrospective, says Govan, a long-time Turrell associate and former director of the Dia Art Foundation. Leaders of the Los Angeles and Houston museums began a conversation that expanded to include the Guggenheim. “But then we realized that James Turrell exhibitions don’t travel in the typical way because you end up building most of the works on site,” Govan says. The solution was “to do three shows all at once, but with different content.”

Serious Turrellians must see all three, of course. But that isn’t all. Kayne Griffin Corcoran Gallery has opened a new space at 1201 S. La Brea Ave. in Los Angeles, with Turrell’s assistance. The inaugural show of his work has closed, but he has a continuing presence in the gallery’s lighting and a Skyspace, furnished with comfortable chairs. And in Las Vegas, he has designed an installation for The Shops at Crystals, a high-end fashion center that’s encased in an explosive arrangement of angular walls. Turrell’s outdoor spectacle of changing colored light is attuned to the arrivals and departures of trains at the adjacent monorail station.

Govan calls the Los Angeles museum’s show “a little bit of a homecoming” for “a local boy gone good.” Turrell, who was born in L.A. and grew up in Pasadena, is pleased that his work has settled into an exceptionally large chunk of LACMA’s real estate—an entire floor of the Broad Contemporary Art Museum and about a third of the Resnick Pavilion—for an unusually long time. But when reporters and critics question him about his artistic vision, he gets back to his favorite subject: human perception.

“I am very interested in how we perceive because that is how we construct the reality in which we live,” he says. “We all have perception that we have learned. I like to tweak that a little bit, or push you on that. In the Skyspaces, we all know that the sky is blue. We just don’t realize that we give the sky its blueness. We are not very well aware of how much we are part of the making of what we perceive. That’s what I enjoy giving to you. Basically, I have always thought that I use the material, light, to give you perception.”

This summer three major American museums are presenting exhibitions highlighting the achievements of James Turrell ‘65, best known for his large-scale light installations.

LOS ANGELES COUNTY MUSEUM OF ART
James Turrell: A Retrospective
Through April 6, 2014
The first major Turrell retrospective survey gathers approximately 50 works spanning nearly five decades, including his early geometric light projections, prints and drawings, installations exploring sensory deprivation and seemingly unmodulated fields of colored light, and recent two-dimensional holograms. A section is also devoted to Turrell’s masterwork in process, Roden Crater. www.lacma.org

THE MUSEUM OF FINE ARTS, HOUSTON
James Turrell: The Light Inside
Through Sept. 22, 2013
Titled after the museum’s iconic Turrell permanent installation The Light Inside (1999), and centered on the collection of additional work by the artist at the MFAH, the Houston exhibition makes several of the artist’s installations accessible to the public for the first time. www.mfah.org

SOLOMON R. GUGGENHEIM MUSEUM
James Turrell
Through Sept. 25, 2013, Turrell’s first exhibition in a New York museum since 1980 focuses on the artist’s explorations of perception, light, color and space, with a special focus on the role of site-specificity in his practice. At its core is a major new project that recasts the Guggenheim rotunda as an enormous volume filled with shifting natural and artificial light. www.guggenheim.org

Hollywood and the White House

ronald reagan hollywood star

In his new book, The Leading Man: Hollywood and the Presidential Image, historian Burton Peretti ’82 explores how Tinseltown and the U.S. presidency are sometimes strange, sometimes highly compatible bedfellows that build a relationship based on mass communication.

“It may seem surprising to claim that a president or other politician could cross over to the fantasy world of the movies, but it has happened,” Peretti writes in his introduction. “Such transformations have, in fact, been a major development in American political history.”

reaganstar1So did Hollywood seek out presidents or did presidents seek out Hollywood? Peretti says the answer is yes and yes. The attraction was mutual. “Presidents were fascinated by the cultural power wielded by the movies, while moviemakers were drawn to the dramatic realm of power in the real world,” says Peretti.

With most of his work focusing on 20th century politics, culture and music, Peretti’s previous books include Lift Every Voice: the History of African American Music and Jazz in American Culture. After writing Nightclub City: Politics and Amusement in Manhattan, looking at how local politicians became enamored with the city’s 1920s nightlife, he was asked to follow up with a book on American culture since 1945. Peretti instead found himself drawn even prior to that era, and specifically to the relationship between show business and the White House.

Peretti traces the beginning of the romance to the 1920s, when presidents were as star-struck as ordinary Americans, and movie stars and studios sought out appearances at the side of the executive-in-chief and to influence legislation favorable to Tinseltown on issues such as tax rates and antitrust regulation. It was the beginning of a friendship with benefits.

Some of those benefits to presidents were studio-style advice and movie review-like critiques. In the early days of television, Presidents Hoover, Truman and Eisenhower received letters criticizing their on-camera styles. To polish up, Eisenhower recruited movie actor Robert Montgomery as a consultant who changed the president’s posture, wardrobe, gestures and pace ofspeaking, Peretti says.

Peretti considers John F. Kennedy the paragon, the real golden boy, burnished in part by his father’s brief stint as a Hollywood producer and his contacts in the industry. “Kennedy drew on his experience socializing in Hollywood to look, dress and move like a movie idol. He carefully posed for photos and worked at displaying a casual style at televised press conferences,” says Peretti.

He cites the recollection of Princess Grace of Monaco, the former film star Grace Kelly, after Kennedy’s assassination: “He was almost too good to be true—he was just like the All-American boy, wasn’t he? Handsome, a fighter, witty, full of charm.”

But not everyone was quite as taken with him. Losing in 1960, Richard Nixon found Kennedy’s resemblance to and reception as a movie star was a thorn in his side, one that fed Nixon’s obsession with his own portrayal and led to him hiring numerous media consultants. “He was more concerned about his image than any other president, but it did him little good,” says Peretti, a former professor at Western Connecticut State University, soon to start a new role as dean of liberal arts at Northern Virginia Community College’s Annandale campus.

If Kennedy is the best and most glamorous pick and Nixon the worst, Ronald Reagan might be the most obvious. Thirty years spent in TV and film cultivated Reagan’s effortless mien in front of cameras, and perhaps buffed his quick wit. Like Kennedy, Reagan understood that success as a mass media politician required a movie-star-like touch, Peretti says.

Fast-forward to the 21st century, where President Obama’s approach to Hollywood is a bit more complicated. In both elections President Obama garnered glitterati show-biz supporters like Béyonce, Scarlett Johansson and studio executive Jeffrey Katzenberg. Actor Kal Penn was appointed as associate director of the White House Office of Public Engagement. But when it comes to style, Peretti says Obama has been a somewhat ambiguous case in terms of Hollywood influence.

“In 2008 [Obama] seemed to channel the public’s mistrust of blatant media manipulation by the president, in the wake of George W. Bush’s posturing as a Navy flyboy and ideal commander-in-chief. Obama balanced his charisma before audiences with a diffident speaking style that seemed to reject Hollywood effects.”

However, if Obama is distancing himself, Peretti notes that—on the other side of the White House bed—First Lady Michelle Obama has embraced a celebrity persona in many ways, including appearances on the Oscars and the cover of Vogue.

Currently, and even more so in the future, Peretti sees less cinematic grandeur and more scrutiny of stars and presidents. Twentyfour- hour news cycles and social media reveal public figures as human, fallible and could possibly make presidents seem insignificant, he says. But the interplay between cinema and the highest office in the land still retains some of its magic. And, Peretti argues, the subject tells us a lot about who we are as a people, showing us “how we balance our civic life with a rich and disruptive dream life, epitomized by the movies.”

What We Gave the Game

what we gave the game: sagehens have left their tracks on the national pastime in all sorts of surprising ways, racking up win after win for the liberal arts

So what if a century has passed since Pomona College sent a player to the majors? Sagehens have left their tracks on the national pastime in all sorts of surprising ways, racking up win after win for the liberal arts.

 

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baseballsmall

1) Computer baseball: The first interactive baseball computer game was born in Mudd-Blaisdell. Here’s how a would-be playwright and a ballet dancer became video game pioneers.

2) The Ultimate Baseball Roadtrip: Over 16 years, Mike Luery ’77 and his son visited ever Major League ballpark in North America, somehow surviving those tense teen years.

3) The Nation’s Smartest Stadium Restaurant: With his acclaimed restaurant in the shadow of Boston’s Fenway Park, Garrett Harker ’89 offers a brainy beacon amid a sea of beer-soaked sports bars.

4) Reassuring Research: The big leagues owe a debt of gratitute to Professor Gary Smith for such scholarly papers as “The Baseball Hall of Fame is Not the Kiss of Death.”

5) Big-League Books: Sagehen wordsmiths such as Professor Jonathan Lethem contribute more than their share to the ever-growing trove of baseball literature.

6) Baseball Worldwide: From Brussels to Tel Avis to Taipei, Sagehens play an outside role in helping to spread baseball fever beyond the bounds of North America.

7) Goofball Classic: A quarter century after its release, the movie Major League by David Ward ’67 has only grown in its appeal as baseball fans’ favorite funny flick.

 

A Different Groove

shattered record
Tae Phoenix '05

Tae Phoenix ’05

Seattle singer and songwriter Tae Phoenix ’05 long dreamed of pursuing a career in music. For years she hesitated, put off by the insidious attitudes of industry insiders. “A lot of people said, ‘God I love your voice; you’re such a great musician. Get your nose fixed and lose 20 pounds and we’ll talk.’”

 It wasn’t until her late 20s that she decided to quit her corporate job and pursue music full time. Since the release last year of her debut “handcrafted acoustic pop” album, Rise, Phoenix has enjoyed a lengthy string of weekends booked with live performances. She’s happy doing things her own way. “In terms of being able to make the art you want to make—get it out there the way you want to—and really sell your product and sell yourself as opposed to what a label wants to turn you into, it’s fantastic, and I would not ever go back to the way things were,” says Phoenix, who was known as Teresa Valdez-Klein during her time at Pomona.

The old industry model saw artists pursue a contract with a record label. Now, the landscape includes more opportunities to find an audience. The catch? Few are lucrative. Artists can self-finance an album—what Phoenix dubbed a “musical calling card.” They can put their music on YouTube. They can build up a fan base with live gigs. They can sell music via websites and apps such as CDBaby and iTunes, often one 99-cent single at a time. One thing hasn’t changed: the lifestyle requires grit.

“There’s a lot of rejection, there’s a lot of people who take more than they give, there’s a lot of emotional struggle,” Phoenix says. “Carving your own path, no matter what it is that you’re doing—if you’re trying to establish a new industry, if you’re trying to start a new company, if you’re trying to do anything outside of the prescribed formula that we’re given for life—can be really brutal. You fail more, you hurt more, you bleed more, you get your heart broken more.”

Allison Tartalia '96

Allison Tartalia ’96

Allison Tartalia ’96 hasn’t followed formula. A theatre major, she left Pomona believing she would pursue a career on the stage. It was work in musical theatre that led her to bridge two longtime interests. The New York singer and songwriter has never pursued a career outside the arts, instead innovating ways to make a living with what she termed a “freelance livelihood.”

She maintains a studio of piano students and licenses a curriculum to teach music classes to young children. She was nominated for a regional Emmy award in 2010 for her musical contribution to a PBS documentary and released Sweet and Vicious, a short album, the following year. She performs regularly, including as part of an ensemble in a Joni Mitchell tribute show.

“It used to be that what you hoped to get was a label deal,” says Tartalia. “Now to some degree it’s not as necessary because you have more direct access to audiences than you did 20 years ago. There’s not necessarily enough financial benefit to sacrificing what you have to sacrifice to justify signing with a label.”

Jason Mandell ’01 did sign an old-fashioned deal. He met with early success in his music career, while still on campus working toward a degree in English. His Claremont band, Think of England, included then-Dean of Campus Life Matt Taylor on the drums. The group first won the nationwide Pantene Pro-Voice contest and then gained national interest by opening for pop star Jewel and others. The attention Mandell garnered helped lead him and a later partner to ink a deal known as a publishing contract, which provided funds to support future songwriting. He had enough income to focus exclusively on creating music for a year.

It was a rare opportunity for any artist. “There was some really awesome stuff happening right out of the gate,” Mandell recalls. But then, the realities of a cutthroat business meant that his subsequent work couldn’t gain a lasting foothold. The company that signed him never recouped its expenses with sales of his work—and still holds the rights to any gains from that music. Mandell and his partner split. He drifted into work with new collaborators, and today performs with the Los Angeles country-folk band The Coals, which releases its album A Happy Animal this summer.

Mandell is uncertain that the industry’s metamorphosis has enriched its output. “I’m not sure that the alleged democratization of music is yielding superior product. I think the opposite,” he says. The audience has changed as well. “The attention span is certainly decreasing. I’m not sure that benefits anybody.”

Mandell laughs, noting that perhaps he sounds like a “curmudgeon” at this point in his career. He remembers a different era. “No one buys music,” he says. “When I grew up, there were two ways to listen to music. You happen to hear it on the radio or you buy it. That’s certainly not the case anymore.”

Mandell pointed to a goal for musicians today: licensing deals. Placing one’s work in film, television and other media can be a boon. His “I Wanted a Lover, I Needed a Friend” appears in the video game Silent Hill: Downpour. Tartalia’s “Ran” was used in the reality television show Dance Moms. Although these steps raise audience interest, income can still be elusive. Mandell’s tune is controlled by his old label. Tartalia receives a respectable 63 cents on the dollar for sales of her single on iTunes, but earns only fractions of a cent from websites like Spotify when fans stream her music from there.

After years of focus on his music career, Mandell decided to pursue what he calls “a proper day job” and now serves as director of public affairs for the United Way of Greater Los Angeles. “Looking back, the truth is I’ve had a lot of experiences that I feel really fortunate to have had and maybe never really expected to have,” he says. “You know it’s fickle and you know it’s difficult. I enjoy it more now because I expect even less of it, financially speaking. It’s really freeing.”