Articles Written By: emae2021@pomona.edu

Excerpt From Episode 4: Catch Us If You Can

A Mufti burger from 1974–75

A Mufti burger from 1974–75

Tidmarsh:  “… Joshua Tremblay, the editor of TSL in fall 2003 actually did a ride-along with two Mufti members for a night, and they told him that most of the 20-odd members at the time had either been approached by an active member or caught them in the act. But good luck trying to catch them. A TSL columnist in 1981 wrote that, quote, ‘Mufti is to Pomona College what Bigfoot is to Northern California. Nobody’s really sure who or what it is, but the telltale evidence for its existence is everywhere.’ Conor O’Rourke, who graduated in 2003 … is one of the few people who can give some insight into how Mufti recruits students. He went through the majority of the induction process, but he couldn’t attend the final challenge.”

O’Rourke:  “My senior year, things had relatively calmed down, I guess, with Mufti, and they seemed to be somewhat inactive. But that spring semester of senior year … we had been looking closely, I guess, for whatever reason, and came across an unusual message in the Digester that on first glance seemed a little incoherent. It was complete sentences and actual words but didn’t mean anything either. If you were really reading into it, you might have been able to interpret that it was somehow in reference to a return of some kind. There was something that was trying to make a return to campus. So it was cryptic enough that our ‘spidey senses’ told us it might be Mufti-related. And the idea of a return certainly fit with where Mufti was at the time, which was that they were relatively dormant that particular year. So we tangled with this message for a while.

“Eventually, you know—one of us was a computer science major and started kind of taking a more technical approach to deciphering this and used some type of number-to-letter language—I’ve forgot what it was called. But what happened was that we found that these numbers corresponded to, essentially, a Dewey Decimal code, and the book that came up with those numbers was called The History of Secret Societies, or something thereabouts. And that was a light bulb going on. Wow! This has gotta be—this has gotta be it. And so we went to the library—we went to Honnold-Mudd—and we looked up that book. It was there, somewhere deep in the stacks—didn’t seem like it had been checked out for a very long time. It was an old book, from maybe the 1920s or 1930s. So we checked out the book, and we played with it a little bit. … One of us actually read the entire thing. Again, we were looking for answers. It was kind of hard. And one of us had the idea of kind of cracking open the book—literally cracking open the book. Took a pen knife and made a very small incision on the back cover, and lo and behold, hidden beneath that was a small note that basically said, ‘Congratulations. You’ve come this far. If you want to go further, you know, contact us.’ And there was an email address, some AOL address or something like that.

“And it took a day or two to hear back from them, but eventually we did. And their message back was written in a cryptic way, but it was another challenge—once we interpreted what the message meant, it was another challenge to us. The challenge was: they essentially wanted us to bring back the Mufti T-shirt to the Coop Store. You know, it was a very large challenge. So we thought long and hard as to how we were going to do that. I don’t know how it came about, but eventually we decided to take the scarecrow from the farm up at Pitzer, and we put a suit on this scarecrow, which fit, actually, quite well, and took him down to the Campus Center and propped him up against the door to the Coop Store, and then pinned to him a document that we called ‘Peter Stanley’s Last Will and Testament.’ And Peter Stanley was, of course, David Oxtoby’s predecessor, and this was his final year as president of Pomona College. So this last will and testament was written as a will in which he was requesting the Coop Store to bring back the Mufti T-shirt. I happened to be writing for TSL at the time and in charge of something called the Security Briefs—I don’t think this is a section they have any more, but it’s essentially a police blotter from CampSec [Campus Security], and I worked that into the police blotter for the week. … [Mufti] contacted us and said, ‘Congratulations—you’ve gotten this far. And if you want to keep going, you know, you need to meet us out on the Quad at midnight’ or something, of this particular night that was down the road. Now unfortunately for me, when we got this response from Mufti inviting us to learn more and meet them on the Quad with a blindfold on—they wanted us to blindfold ourselves—I was already down in San Diego for Senior Week, and I actually got the call about the email from one of my friends, who was a junior and obviously not in San Diego for Senior Week. It was at that time that I thought, ‘Darn!’ This was happening too late for me. …”

This entire episode is available for download at soundcloud.com, iTunes or Google Play.

Excerpt From Episode 3: The Place Below Snowy Mountain

Cahuilla HarvestDesai: “… By the time that some of the early founders of Pomona College arrived in Claremont, much of the Tongva population had been decimated by a major smallpox outbreak in 1862, a generation before the College’s founding. After the outbreak, the population of the Tongva in the area fell to around 4,000, a fraction of what it once was. When the founders of the College actually came to Claremont, there was barely a trace of the original people.”

Tidmarsh: “The accounts of interactions between the Pomona students and Native Americans around this time are tantalizingly sparse. In an account of Pomona’s history, Charles Sumner wrote that, in 1913, quote, ‘a party of wild Indians, fittingly mounted, invaded the town soon after daybreak, racing through the streets, brandishing their weapons and giving the war whoop at every turn.’ It would be great to have more context or information or anything about this event, but it’s all that Sumner mentions. We’re left to guess what happened that day.”

Desai: “One of the most enduring legacies of the interaction between early Pomona people and the Native Americans of the area is the song ‘Torchbearers.’ Originally titled ‘Ghost Dance,’ the song was written in 1890, and it’s been performed countless times in a million different versions since then.”

Tidmarsh: “The story goes like this. Frank Brackett, an astronomy professor, went with David Barrows, a student at the time who was interested in the local tribes. They went away off campus to the San Jacinto Mountains, around where the town of Idyllwild is today. This land belonged to the Cahuilla people, who’d lived in that area for thousands of years. Brackett and Barrows ostensibly went up there to observe the native people, and the two wrote down what they could remember of the Cahuilla dance that they’d observed. At a college celebration soon after, they broke into the chant they’d half-remembered, but it was a huge hit. Someone wrote words, and another person a melody. The finished product was titled ‘Ghost Dance,’ and before anyone knew it, Barrows’ and Brackett’s trip up to the mountains was memorialized. And it was apparently quite the sensation among Pomona students at the time. Some archival photos show members of Pomona’s Glee Club performing the song dressed in white robes, dancing around a mock-up of a ritual fire.”

Desai: “Fun fact: Barrows went on to become the first person to receive a Ph.D. in anthropology from the University of Chicago, and eventually he became the president of the University of California system. A lot of his work as an anthropologist had to do with Native Americans. His doctoral dissertation was titled ‘The Ethnobotany of the Cahuilla Indians of Southern California,’ and he conducted his research by returning to Southern California for the summer. So his relationship with the tribes of Southern California wasn’t just some passing craze.”

Tidmarsh: “That being said, though, he and Brackett got a number of facts wrong. For one, they interpreted the Cahuilla dance as warlike, and the lyrics reference ‘Indian maids and warriors.’ But they were just completely off base with this. It wasn’t a war dance at all, like they assumed. An article in the Pomona magazine recounting their trip noted that the shaman who was leading the dance was advocating for racial harmony. It was a peaceful dance. In its original incarnation, the song also included bits of nonsense words that were supposed to approximate the Cahuilla language, but neither Brackett nor Barrows spoke the Cahuilla language at the time, so they did the best they could to transcribe the refrain they heard at the dance. ‘He ne terra toma’ is what they ended up with, but no one’s been able to say for sure what these nonsense syllables were actually supposed to mean. …”

This entire episode is available for download at soundcloud.com, iTunes or Google Play.

Excerpt From Episode 2: When Carnegie Was Bombed

Special hand-drawn TSL after the Carnegie bombing in 1969

Special hand-headlined TSL after the Carnegie bombing in 1969

Tidmarsh: “… The bomb was placed in Government Professor Lee [’48] McDonald’s mailbox, which led some to question whether the bomber was targeting him directly. Claire McDonald, Lee’s wife and a Pomona alum from 1947, remembers how scary of a time it was for them.”

Claire McDonald: “Lee called me and said there was bombing going on at his office, and I was to be careful and stay in the house. And the kids were to stay in the house. So we were immediately scared. And I called up my daughter, and she and her husband joined us, and we had a very bad night. Every car that went by, we wondered if they were going to throw a bomb at us.”

Tidmarsh: “Professor McDonald was known on campus for being an opponent of the Vietnam War and an ally for the student protesters. However, Professor McDonald was told by law enforcement, and believes to this day, that it was completely random that the bomb was placed in his mailbox. He told us that the bomb wasn’t addressed to him in particular.”

Lee McDonald: “The mail, all the faculty mailboxes were adjacent to the staircase that goes from the lobby of Carnegie down to the first floor. And the mail is usually delivered in the morning. Our secretary for what was then the Government Department just happened to be coming up the stairs in the—guess it was around four o’clock. I’m not exactly sure of the hour. And she saw this shoebox, wrapped in brown paper, in my mailbox. It was a good question, why it was in my mailbox, but I think the ultimate conclusion of everybody was that if a person was running up the stairs, or in a hurry up the stairs, this was the box on the bottom level of all of the boxes and right in the middle. And that would have been the easiest place to quickly place the bomb.”

Desai: “About 40 seconds before the bombing in Carnegie, an identical bomb exploded in a women’s bathroom in the basement of Scripps College’s Balch Auditorium. While no one was injured, the windows were blown out, and the building needed a lot of repairs.”

Lee McDonald: “I also remember that it was Tom Brokaw, who was a pretty well-known NBC reporter for the rest of his life—[he] was a local reporter for the local NBC station in Los Angeles, and he came out and interviewed me. We stood in the Quad.”

Desai: “It’s worth noting that Pomona and Scripps weren’t the only colleges that this happened to. In the late ’60s and early ’70s, college campuses across the nation were bombed. Just in California, San Francisco State University and Southwest College were bombed within a couple of weeks of the Claremont bombing. In 1970, a bomb at the University of Wisconsin, Madison, killed a physics professor and injured three others. The Department of Commerce and the Portland, Ore., City Hall were also bombed. While some remain unsolved, most of the bombings that were prosecuted were tied to statements against the war in Vietnam.”

Tidmarsh: “At Pomona College and across the nation, protests erupted over the Vietnam War and racial justice. It was a tense and tumultuous time that disrupted the status quo in idyllic Claremont. …”

This entire episode is available for download at soundcloud.com, iTunes or Google Play.

Excerpt From Episode 1: Strangers in a Strange Land

Pomona’s 1919 Debate Club, including Arthur Williams 1919 (front row, second from left). The College’s second Black graduate, Williams would go on to become a physician in White Plains, New York.

Pomona’s 1919 Debate Club, including Arthur Williams 1919 (front row, second from left). The College’s second Black graduate, Williams would go on to become a physician in White Plains, New York.

Desai: “… For the next three months, we’ll be investigating the questions about our school that we’ve had since orientation. What were relations like between the College’s founders and the original inhabitants of the land? How exactly did this decidedly New England-style liberal arts college get founded in the middle of Southern California? And what are the stories of the early students of color at the school?

“Let’s start with that last one. Right now we’re going to focus on the period between 1887, when Pomona was founded, and 1958, when the College accepted its first cohort of Black students. But for its first seven decades, the College was almost entirely white. That’s not to say that some students of color didn’t attend or even thrive at Pomona, however. …

“Winston M.C. Dickson arrived in Claremont in 1900 at a time when there probably weren’t any other African Americans in the Inland Empire, and only about 2,000 in the entire city of L.A. He was born to two freed slaves in 1872 in a farming community close to Crockett, Texas, which means he actually would have been almost 30 when he arrived at Pomona. There basically wasn’t any public education for Blacks in the South at the time, so it makes sense that it took him some time to get to Pomona. I’m really curious as to how Winston Dickson could have ended up here in 1900, especially considering that Claremont is more than 1,000 miles away from Houston and that Pomona was pretty much unknown at that point and had fewer than 100 students. Probably the only explanation that makes sense is that the Congregationalist Church played some role in getting him to Claremont. Both Pomona and Tillotson College, a small Black college where Winston Dickson studied before coming here, were founded by the Congregationalist Church. During his four years at Pomona, Winston Dickson seems to have thrived. I looked through all the yearbooks from his time on campus and was absolutely floored by how many clubs and organizations he was a part of—The Student Life, the Choral Union, the Literary Society and the Prohibition League…”

Tidmarsh: “Wow, he was all over, as Pomona students are wont to do.”

Desai: “So there’s a ton of photos of Winston Dickson from his time at Pomona, and he really seemed to be an integrated member of his class. In some pictures, he’s standing off to the side, and while he’s a member of an early frat on campus, he’s not pictured in most of their photos, for some reason.”

Tidmarsh: “It’s not hard to imagine why.”

Williams’ daughter, Eileen Williams ’50, the first Black woman to graduate from Pomona College.

Williams’ daughter, Eileen Williams ’50, the first Black woman to graduate from Pomona College.

Desai: “What’s really amazing to me is that Winston Dickson was the Class Day speaker for the Class of 1904, and an L.A. Times reporter who made the trek to Claremont for the event wrote that he had, quote, ‘the magnetic voice and manner of a trained orator.’ He was actually the first Black graduate of any college or university in Southern California. Then he got law degrees from Harvard and Boston University, and for the next half-century, he established himself as one of the most well respected Black attorneys in Houston, Texas. In 1915, there were just 19 Black attorneys in all of Houston, serving a Black population that had swelled to 30,000 people. Most of the cases he litigated were in the divorce or probate courts, which seemed kind of strange to me, but then I talked to a professor who studies the history of Black Houston, and he said that basically, this was all the work that Black lawyers could do at that point. It was such a difficult profession that many Black attorneys decided to leave it entirely. Over the course of his career, he became the president of the city’s Colored Bar Association and then later helped found the Houston Lawyers Association, a mentoring organization for Black attorneys that still exists today. From a son of freed slaves to a Pomona- and Harvard-educated lawyer in Houston, it’s hard not to think that Winston Dickson lived an absolutely remarkable life.”

Tidmarsh: “But to this day there’s nothing named after him on the campus—not yet, at least.”

Desai: “Right. Other schools have buildings and scholarships named after their first Black graduate, but I think it’s pretty surprising that Pomona doesn’t have anything, especially since he was the first Black grad of any college in Southern California. Anyway, after Winston Dickson graduated in 1904, it’s not like Black students suddenly became a frequent presence on campus. There wasn’t another Black student in Claremont for the next 11 years, when Arthur Williams enrolled at Pomona in 1915.

“Born in Houston in 1897 to an influential columnist for the Houston Informer, a powerful Black newspaper at the time, Arthur Williams grew up in Houston’s fourth ward, just a few miles southwest of where Winston Dickson lived in Houston. There weren’t that many African Americans in Houston in the early 1900s, so I have a hunch that it must have been Dickson who introduced Arthur Williams to Pomona and then played a role in his coming to the school. …”

This entire episode is available for download at soundcloud.com, iTunes or Google Play.

Hidden Pomona

Hidden Pomona: Saahil Desai ’16 and Kevin Tidmarsh ’16 set out to shine a light on some important but little-known chapters in Pomona College’s past. The rest, as they say, is history.
Winston Dickson 1904 (in bowler hat), Pomona’s first Black graduate, chats with members of the Class of 1906 football team. See “Strangers in a Strange Land,” page 30. (From the Boynton Collection of the Claremont Colleges Digital Library)

Winston Dickson 1904 (in bowler hat), Pomona’s first Black graduate, chats with members of the Class of 1906 football team. See “Strangers in a Strange Land,” page 30. (From the Boynton Collection of the Claremont Colleges Digital Library)

It begins with two alternating voices, each carefully modulated for audio recording:

“I’m Saahil Desai.”

“I’m Kevin Tidmarsh.”

“And this is ‘Hidden Pomona.’”

The podcast’s signature burst of electric piano music swells, then vamps in the background as Tidmarsh picks up the thread: “Hidden Pomona is a podcast about the forgotten, obscure and overlooked parts of Pomona College’s history. We’ll be releasing episodes every other Friday until the end of April. Stick with us as we uncover the hidden history of our school.”

The theme music fades, and the story begins…

Excerpt from Episode 1: Strangers in a Strange Land


Desai: “… For the next three months, we’ll be investigating the questions about our school that we’ve had since orientation. What were relations like between the College’s founders and the original inhabitants of the land?


Read more Excerpt from Episode 1.

Looking back, the two classmates and friends agree that the idea of a podcast first came to them in the fall of their senior year, in Professor Susan McWilliams’ class on W.E.B. Du Bois and his famous book, The Souls of Black Folk. McWilliams recalls that both Kevin Tidmarsh ’16 and Saahil Desai ’16 were excited about their final projects, which involved a journalistic approach that dovetailed with their career interests. For Tidmarsh, it was research into the history of the Black population of his hometown, South Bend, Ind. It was Desai’s project, however—digging deeply into the life of Pomona’s first Black student, Winston Dickson, Class of 1904—that would open their eyes to new possibilities.

As he uncovered lost details from Dickson’s time at Pomona and Harvard Law School and his subsequent career as an attorney in his segregated hometown of Houston, Texas, Desai was struck by the relevance of this little-known story to Pomona students today. “As a student of color at Pomona, it’s hard to feel like you have a stake in its history,” he explains. “It’s much easier, I think, to connect to your school and feel like you belong there when you see other people who have done that in past decades and past generations. So I think doing that research project made me really more connected to the school, but it also made me realize that I wish these stories were more accessible at a broader level.”

As the students discussed these ideas with McWilliams, a plan began to take form that would lead them in a new and wholly unexpected direction. “Somehow, we got to talking about how Pomona is a place where—especially compared to other elite institutions—we have very little written-down history,” McWilliams remembers. “And so, those casual conversations, as they do sometimes at a place like Pomona, became a formal proposal for them to do an independent study—where they would take what they learned in four years of politics classes and their education more generally and do this podcast about hidden episodes in Pomona’s history, especially those that had something to do with what we in political science would call the political development of the institution.”

Excerpt from Episode 2: When Carnegie Was Bombed


Tidmarsh: “… The bomb was placed in Government Professor Lee [’48] McDonald’s mailbox, which led some to question whether the bomber was targeting him directly. Claire McDonald, Lee’s wife and a Pomona alum from 1947, remembers how scary of a time it was for them.”


Read more Excerpt from Episode 2.

And so, in the last semester of both students’ four years at Pomona, Hidden Pomona was born. Its purpose was simple—to tell obscure but relevant stories from Pomona’s past in the friendly style of radio journalism. “It’s almost like you’re sitting someone down in a coffee shop or in a bar or whatever and telling them the story—it’s just that you can’t see the other person,” Tidmarsh says. “You don’t know who the other person is, but you still want to try to capture that same sort of intimacy with the listener. So that was one hundred percent what we were trying to do—just tell stories.”

Their first episode grew directly out of Desai’s research paper, focusing on Pomona’s early students of color. The next two—on the bombing of the Politics Department in w Carnegie Hall in the late ’60s and the relationship between Pomona College’s founders and their Native American predecessors in the Claremont area—were topics that had long intrigued them both. The final two episodes—examining Pomona’s secret society known as Mufti and relating the story of the Japanese-American students at Pomona during the World War II-era internment—were developed on the fly.

“It wasn’t like we had a set-in-stone schedule from the beginning,” Tidmarsh recalls. “And it was great to have Professor McWilliams be so flexible with what we were trying to do. She was basically just like, ‘Hey, if you have a good idea, go out and do it.’” As a result, he says, they felt free to follow their own curiosity. “And we figured that, hey, if we’re wondering about this, there’s probably a good number of other people at Pomona who are wondering the same thing,” he adds.

McWilliams describes her own role in the process as a mix of sounding board and cheerleader.

“I’ll tell you what I told their parents at graduation,” she says with a laugh, “which is that in some ways, it was the easiest independent study ever to supervise. They would come to my office, sketch out this elaborate plan for an episode. I would ask a couple of questions, but they knew what they were doing, so mostly, I said, ‘Yep, sounds good to me.’ And they’d come back two weeks later with an episode and plans for the next one. It really was probably the most independent independent study I’ve ever supervised, which is really a tribute to how competent and talented they were.”

Hidden Pomona creators Kevin Tidmarsh ’16 (left) and Saahil Desai ’16

Hidden Pomona creators Kevin Tidmarsh ’16 (left) and Saahil Desai ’16

But if they made it look easy at the time, today they remember their struggles and failures as clearly as their triumphs. Though both had some journalistic experience, having written for the student newspaper, The Student Life, neither student had ever tackled anything so complex or demanding as a podcast. For each of the five episodes, there was in-depth research to be done, interviews to be conducted, scripts to be written and rewritten, music to be chosen, voice-overs to be perfected, final edits to be completed, deadlines to be met, and through it all, a range of new technical details to be mastered.

Excerpt from Episode 3: The Place Below Snowy Mountain


Desai: “… By the time that some of the early founders of Pomona College arrived in Claremont, much of the Tongva population had been decimated by a major smallpox outbreak in 1862, a generation before the College’s founding. After the outbreak, the population of the Tongva in the area fell to around 4,000, a fraction of what it once was.


Read more Excerpt from Episode 3.

“There were definitely new skills we had to develop along the way,” Desai says. “When I’m listening to them now, I realize how the episodes progressed in quality. There was definitely a big learning curve that we had to overcome.”

“Yeah,” Tidmarsh agrees. “Right around episode three is when I can start listening to them and not feel totally ashamed of the editing.”

The high-water mark of their work that spring, they agree, was their fourth episode—focusing on Mufti, the decades-old secret society known for papering the campus late at night with small slips of glue-backed paper known as burgers, bearing succinct little messages full of double entendres, sly jokes and cryptic allusions to the most current campus controversies, from grade inflation to the difficulty of getting ice in the dining room.

“The research there was the most ambitious,” Desai says. “We definitely went into it having no idea whether it would all materialize. That was really scary at first, but everything came together. We put a lot of time into that, and it all really kind of came together at the last minute.” One of the things he learned from that episode, he says, was: Never stop hunting for new information. “I’m just glad that w we kept on researching through the entire process and didn’t give up at any point.”

In fact, they were about halfway through recording the episode when new information forced them to start all over. But as a result of their persistence, the finished product included the first-ever recorded interviews with members of the secret society itself, as well as a revealing discussion of the group’s eccentric induction process with Conor O’Rourke ’03, whose effort to join the group was ultimately interrupted by graduation.

Excerpt from Episode 4: Catch Us If You Can


Tidmarsh: “… Joshua Tremblay, the editor of TSL in fall 2003 actually did a ride-along with two Mufti members for a night, and they told him that most of the 20-odd members at the time had either been approached by an active member or caught them in the act.


Read more Excerpt from Episode 4.

After the episode aired, the secret group even acknowledged Hidden Pomona in one of its signature burgers, with the comment: “Mufti Saalutes Hidden Tidbits: Catch Us If You Conor!”

“That was great,” Tidmarsh recalls. “I never would’ve thought as a first-year I would’ve been name-checked by Mufti before I graduated.”

That burger may have been the oddest bit of feedback they received, but it was far from the first or last. “Initially, I wasn’t sure how many people on campus, how many students would be interested in it,” Desai recalls. “So it was satisfying that there were a lot of students that came up to us and told us that they really enjoyed listening to it, which was a nice thing to hear.”

They also heard from a number of alumni as the podcasts were passed from friend to friend on social media. “Our audience just kept getting bigger and bigger with each episode,” Tidmarsh says. “I think the biggest one was probably the Mufti episode.”

Looking back at what they learned during that frenetic final semester, the things that stand out in their minds aren’t the technical details they mastered, but less tangible lessons in project management and persistence. “I think the biggest thing that we learned,” Tidmarsh says, “was probably how to take a super ambitious project like Hidden Pomona and make it manageable—break it down into steps and processes that in the end lead to a finished product.”

The project also gave their fledgling careers an unexpected boost. After graduation, Desai was accepted for a highly competitive internship with the NPR news program Morning Edition, after which he moved on to his current job as an editor with the Washington Monthly, a political magazine in the nation’s capital. After taking some time off due to an illness in his family, Tidmarsh applied for and won the same NPR internship that Desai had just vacated.

“I think it’s definitely paid off way more than I thought it would, honestly,” Desai says. “I didn’t do this project for a semester with the idea that, ‘Oh, I’m going to do it just so I can get a job or it can lead to some career opportunities,’ but it’s been so helpful for that, I think, for both of us.”

Excerpt from Episode 5: Farewell to Pomona


Desai: “… By now, we can accept as historical fact that the Japanese internment happened in the United States, and most people agree that it’s one of the darkest periods in American history.


Read more Excerpt from Episode 5.

Without Hidden Pomona, both students say, that sought-after internship would probably have gone to other applicants with more impressive résumés. “I had been editor of TSL but that only gets you so far,” Tidmarsh says. “And being able to say that you have experience putting together an ambitious audio project—that’s big. That definitely was something that I think they were looking for.”

For her part, McWilliams considers the project a perfect conclusion to a Pomona education. “I thought it was one of those projects that are a testament to liberal arts education—where the two of them, at the end of college, put a lot of things together that they’d learned and came up with this interesting and innovative project that made a serious contribution to their community. And so, I was very proud of them.”

Today, a year after the last of the five episodes was released, all five remain available to listeners online on the podcast-hosting site SoundCloud, as well as on iTunes and Google Play. They’ve also become an official part of Pomona history, in both the Pomona College Archives and the special collections of the Library of The Claremont Colleges, which also plans to offer them for download.

That kind of availability was exactly what Hidden Pomona’s creators had in mind.

“That was one hundred percent an intention of the project,” Tidmarsh says, “so that people 20, 30 years from now can use this for their own research and sort of work off the threads of what we have already done.”

It ends as it began, with vamping theme music and two calmly alternating voices.

“Thank you for listening.”

“I’m Saahil Desai.”

“And I’m Kevin Tidmarsh. And this is Hidden Pomona.”

To listen to any of the five podcasts, search for Hidden Pomona at soundcloud.com, iTunes or Google Play.

Bulletin Board

Winter Break Party in San Francisco

Winter Break Party in San Francisco

Winter Break Party in Los Angeles

Winter Break Party in Los Angeles

Winter Break Parties
20+ Years of Sagehen Spirit

Sagehens have been flocking to Winter Break Parties since at least 1994. In January, more than 700 alumni and guests braved winter weather in Chicago, Los Angeles, New York City, San Diego, San Francisco, Seattle and Washington, D.C., to take part in the 2017 edition of this favorite tradition.

Frank Albinder ’80, host of this year’s party in D.C., offers Sagehen friends who could not attend a peek into a party:

Where was the reception held? “In the Billiards Room of a historic D.C. apartment building. A friend of mine lives there and arranges for us to use the space every year. I’d say there were about 50 of us this year.”

And there were snacks? “Oh yes. The reception was a Costco special—all your favorite snacks from a company founded by a Pomona alumnus. Everything from giant cheese wedges to giant cookies, giant bags of chocolate, giant chips and salsa, and other large-sized treats.”

A few favorite memories of the evening? “Hearing news from the Pomona campus was great. It was also fun to discover that a recent Pomona alumna had moved into the same building where we held the party just a couple weeks before the reception. I told her she’s in charge next year.”

To be sure you hear about Winter Break Parties and other Pomona events near you, update your contact information at pomona.edu/alumniupdate.


Countdown to Alumni Weekend 2017

Campus is buzzing with prep­arations to celebrate this year’s reunion classes (and welcome alumni of all classes back to Claremont) for the party of the year: Alumni Weekend, April 27-30, 2017. Online registration is open through April 15 at pomona.edu/alumniweekend and on site during Alumni Weekend. Don’t miss this chance to tour new buildings, enjoy a Coop shake on the Quad, attend lectures and performances, catch up with friends and professors and slap Cecil a high five.


Hundreds of Sagehens Rally in Support of DACA-mented and Undocumented Students

Since President Oxtoby published his “Statement in Support of the DACA Program and our Undocumented Immigrant Students” in November, hundreds of Sagehen alumni and families have reached out to the College to support Pomona’s own DACA-mented and undocumented students.

Here are two ways you can make a difference in the lives of these students right now:

  • Make a contribution to the Student Emergency Grant Fund. Every dollar you donate goes directly to students who request funds, including students with emergency needs associated with immigration (immigration fees or legal resources, responding to family emergencies, etc.). To join the 296 members of the Pomona community who have supported this critical fund since November, visit pomona.edu/give and select “Student Emergency Grant Fund” from the designation menu.
  • If you have legal expertise related to immigration, join the resource network of Pomona alumni who are offering pro-bono legal services to students with urgent immigration-related needs. The network, comprised of nearly three dozen alumni so far, is coordinated by Dean of Students Miriam Feldblum; Paula Gonzalez ’95, an immigration lawyer based in San Diego; and Derek Ishikawa ’01 of Hirschfeld Kraemer LLP, the College’s legal counsel, which is also providing pro-bono services related to this community effort. To join the network, email RSVPStudentAffairs@pomona.edu and include (1) your contact information and current company/organization information, (2) your legal specialty or focus and (3) your availability.

Oldenborg CenterHappy 50th Birthday to Oldenborg!

When Oldenborg Center was built in 1966, it was believed to be the first facility of its kind to combine a language center, international house and coeducational residence in a single building. And with air conditioning, its own dining hall, two-room singles or four-person suites and a great immersion-like environment for language majors, Borgies like Alfredo Romero ’91 remember it this way: “You never had to leave, even if you could find your way out.” Learn more about the history of Oldenborg at pomona.edu/timeline/1960s/1966 and celebrate this benchmark for the Borg by sharing favorite photos and memories at facebook/groups/Sagehens.


BurgundyTravel/Study
May 30-June 10, 2017
Burgundy: The Cradle of the Crusades

Join John Sutton Miner Professor of History and Professor of Classics Ken Wolf on a walking tour of Burgundy. Burgundy, the east-central region of France so well-known for its food and wine, was also an incubator for two of the most distinctive features of the European Middle Ages: monasticism and crusade. This trip provides the perfect context for exploring “holy violence” in the Middle Ages and its implications for the 21st century.

For more information, please contact the Office of Alumni and Parent Engagement at (909) 621-8110.


Champions of Sagehen AthleticsAre You a Fan of Sagehen Athletics? Why Not Become a Champion?

With scholar-athletes earning SCIAC honors, setting program records and competing in NCAA Championships—among many other achievements across teams—it’s a great year to be a fan of Sagehen Athletics! And right now, as Pomona and Pitzer colleges increase their investments in our athletics community, it’s a perfect time to become a Champion of Sagehen Athletics.

The Champions of Sagehen Athletics, formed earlier this year, is a group of supporters committed to changing the game for scholar-athletes by giving a gift that goes directly to the athletics program or any one of Pomona-Pitzer’s 21 varsity teams. Every gift has an immediate and profound effect in the lives of scholar-athletes and coaches, supporting team travel, upgraded facilities, equipment and apparel, and other tools and resources that allow Sagehens to thrive in the competitive world of NCAA Division III intercollegiate athletics. Learn more about this exciting moment in Sagehen history and become a Champion today at sagehens.com/champions.


ideas@pomonaideas@Pomona LIVE RECAP: Climate Change & Cleantech Innovation Event

On February 1, more than 30 Sagehens gathered at the Los Angeles Cleantech Incubator (LACI) to think collectively and creatively about the challenges presented by climate change. A distinguished panel of alumni and faculty experts included Bowman Cutter, associate professor of economics at Pomona; Audrey Mayer ’94, associate professor at Michigan Technical University; Amanda Sabicer ’99, the evening’s host and vice president of Regional Energy Innovation Cluster at LACI; Matt Thompson ’96, president-elect of the Alumni Association Board; and Cameron Whiteman ’75, managing director at Vertum Partners. The Ideas@Pomona program curates the best content from around campus and the alumni community to ignite discussion, share ideas and highlight exciting areas of faculty research. Check out pomona.edu/lifelonglearning to find out more.

Slow Art

Dieric Bouts, Annunciation, J. Paul Getty Museum

Slow art isn’t a collection of aesthetic objects, as you might suppose; rather, it names a dynamic interaction between observer and observed. Artists can create the conditions for slow looking—think of James Turrell ’65 Skyspaces like Pomona’s “Dividing the Light.” But what about viewers? How can we do our share?

In a given year, more Americans visit art museums than attend any one professional sporting event. They want and expect to take pleasure, learn and share positive experiences with each other and perhaps with their children. Too often the result is otherwise. Despite massive arts education programs, many visitors still arrive at a museum feeling confused or disadvantaged about how to navigate the place—where to go first, what to look at in any given gallery, how to connect with what they find. (There is a particular disconnect for people 40 and under, on whom museums will increasingly rely for support.) As a Jeffersonian populist, I believe that everyone who passes through a gallery ought to feel enfranchised. Everybody, I believe, can have meaningful, maybe even transforming experiences looking at artworks. Whether or not we possess any particular talent, training, art education or technical vocabulary, we all bring the sole necessary requirements: a set of eyes and lived experience. The playing field is level. But how to look is not self-evident.

How? My answer will come as no surprise: pacing can make a world of difference. Magic may happen when you give yourself over to the process and attune yourself to the artwork, listen to what it asks from you. “Notice how with two or three lines I’ve made this thatched roof,” says a Rembrandt drawing. “Look at how the shadows under the plane trees turn purple,” says a Van Gogh landscape. Give a painting time to reveal itself, I’ve said, and it turns into a moving picture—the experience can be that eye-opening. Over time, you will perceive more and more elements of the image, things that you literally never saw before. However closely you attend, you will never absorb an object’s every visual detail or nuance. There will always remain more to see. In fact, this inexhaustibility is the sign of art itself.

How, then, to slow down? There are many possibilities, old-fashioned (docent tours, audio guides) and newfangled (smartphone apps, iPads on gallery walls, online learning sources like the Khan Academy). The scores of museum-goers who use them testify to a widespread need for guidance. Each of these options may work. Here, I limit my suggestions to rugged individuals, unwired visitors who follow neither audio tour nor app. Or better, take advantage of any external aid—rent an audio tour because you know nothing about Mughal art—but take time also to shut off the devices and linger.

1 / Believe that you already come equipped with everything you need—those eyes and that life experience. Trust that something surprising can come of the encounter, or simply that the experience might be fun.

2 / Don’t go alone. In another’s company you’ll have more stamina and notice more. (More than three people looking together may prove too many.) Best is a viewing partner who is open-minded, prepared to be patient, receptive to being taken aback. Also, somebody you feel free to disagree with. “Opposition,” said William Blake, “is true friendship.” Some of my best experiences have come out of seeing things differently from my companion.

3 / Remember that museums are like libraries. Why do people assume that they need to look at everything on display in a gallery when they would never pull every book off a shelf? Be selective. Once I interviewed the Metropolitan Museum of Art’s longtime director, Philippe de Montebello. I asked him about navigating art spaces. “My wife loves going to museums with me because I tell her: ‘In this room, we will look at X and Z.’” “If we happen not to be your spouse?” I asked. “Head first to the museum shop. The postcards will tell you which works the place prizes most highly. Second, say you’re in a gallery with many objects clustered together and another given its own vitrine. Choose the latter. Finally, whatever the guards say, you have to get up close.” I would add: start by scanning the room to see if anything calls out to you. Don’t even think about pausing before every object. One or two items in a gallery will be enough or more than enough. Don’t worry if your pick is not among the postcards; trust your taste.

4 / Grant your chosen object time—how much is tricky, I acknow­ledge. If, after a spell, nothing clicks, move on. This is a no-fault game. You are nobody’s student; there are no should’s. Eventually you and your companion will find something that you agree is intriguing, striking, ravishing, perplexing, disturbingly unfamiliar—what that thing is hardly matters.

5 / Now let yourself go. Get close, back up, shift from side to side, squint. Notice the surround: does the installation lighting create hot or dark spots unrelated to the artwork? Let yourself wonder about what might seem trivial. Why do Cézanne’s tables tilt up? Why do mountains look stylized in medieval depictions of deserts? What is that strange detail on the curving side of a glass vase, in a still lifepainting of flowers? Might it be light reflected from a four-paned window in the imaginary room? And why is a caterpillar munching on that leaf? Why does one window in an Edward Hopper painting behave differently from its neighbors? There is no telling where seemingly naïve questions may carry you. Remember that frustration is part and parcel of engaged looking; an artwork that doesn’t offer resistance may not offer much at all.

6 / Let images “tell you” how they want to be seen. In my experience, they will do so if you “listen to them” with patience.

7 / Don’t be in a hurry to speak. Start by letting your eyes wander freely. Then zero in on what seems meaningful, or looks to be part of a pattern, or perhaps is an anomaly. Toggle between focused and unfocused looking. Test what you’ve registered by closing your eyes and asking yourself what you recollect. Then look again to compare.

8/ Don’t screw yourself to the spot. A surefire recipe for distraction is to insist that you concentrate on some work for X minutes. You are sure to chafe. Genuine viewing is always a mix of engagement and withdrawal, and as I’ve said, some degree of boredom is integral to the experience of slow art.

Dieric Bouts, Annunciation, J. Paul Getty Museum

Dieric Bouts, Annunciation, J. Paul Getty Museum

9 / Say you are looking at a Renaissance painting of a sallow-faced woman whose reading has been interrupted by a man with Technicolor wings. It’s enough to begin by attending to the physical details: the crisp folds of the red linen hanging behind the bed, or the mosaic pattern on the floor, which seems to repeat the design of a stained glass window in the recess at the left. Under the bedchamber’s barrel vault a half lunette appears to float above the bed canopy—like a moon, or the book’s open clasp. It’s good to begin in mystery, because not knowing rouses curiosity. Questions prompted by the act of looking motivate us to learn about the image’s content and about its social, aesthetic, political, historical contexts. By contrast, front-loading information—in a slide lecture sandwiched in with a hundred other images—is likely to generate little interest and leave but a fleeting impression. So studies of museum education repeatedly conclude.

Now—and not before—is when the wall label should come into play: what Dieric Bouts painted between 1450 and 1455 is the Annunciation. Wondering what that refers to—I am assuming no specialized knowledge—brings your smartphone app into the picture. You learn that the Angel Gabriel has just told the Virgin Mary—that is, he has announced—that she is to be the mother of God (Luke 1, 31). His message accounts for her expression, a mix of bashfulness (she refuses to return the angel’s gaze), shock, humility and fear that she will not satisfy the job requirements. Perhaps Gabriel’s words also explain the placement of her hands, which simultaneously express astonishment and are about to meet in prayer. Pursuing your inquiry will teach you that the cloth bundled up at the left-hand corner—a gorgeous, realistic, seemingly gratuituous detail—also symbolizes the great event yet to unfold but already being prepared. This bundle is a visible, external double of Mary’s womb. But what of the single pillow propped up on the bed, square between Gabriel and Mary? Another symbol? On the Getty’s website you can see Bouts’ underdrawing, detect traces of animal glue seeping through the linen, and spot vermillion pigment, thanks to X-ray and ultraviolet analysis. Speed and distraction aside, there has never been a better time to look.

10 / You will get better with practice. You and your interlocutor will become comfortable with each other’s rhythms and styles. You will build up categories to scan for: color, composition, mood, atmosphere, form, depth, quality of brushstrokes—fine or broad, insistent or invisible; awkwardnesses, conventional narratives; stylistic changes over time; political controversies. Over time you will amass episodes of close looking and build a mental library of images, a backlog of aesthetic experiences that will serve as points of reference or comparison.

11 / You will experience a range of pleasures: eye-candy, puzzle-solving, meditative or spiritual moments. You will have fun.

 

… she thought she’d somehow only now learned how to look.

—Don DeLillo, The Body Artist

 

Arden Reed is the Arthur M. Dole and Fanny M. Dole Professor of English at Pomona College and author of the forthcoming book, Slow Art: The Experience of Looking, Sacred Images to James Turrell.

Faculty Books

What the Luck? Professor Gary Smith Explains the Role of Chance in Everyday Life.

WHAT THE LUCK?

Why does your favorite team have an outstanding season and then struggle to replicate its previous success? You’ll look for all sorts of reasons, but it’s likely just a matter of chance.

According to Professor of Economics Gary Smith, we are hardwired to make sense of the world and underestimate the role of luck in our daily lives. In his new book, What the Luck? The Surprising Role of Chance in Our Everyday Lives, Smith argues that understanding the role of luck through the statistical concept of regression to the mean is the key to realizing that exceptional success is often transitory.

“Whenever there is uncertainty, there is regression. It happens in parenting, education, sports, medicine, business, investing and more. Don’t be misled by chance and surprised by regression,” says Smith.

Smith’s vision for the book began with an academic paper more than 20 years ago. He noticed that sports commentators tend to believe that outstanding performances will continue season after season. When they don’t, the commentators attribute the fall-off to laziness, a lack of focus or a sophomore slump. Along with Teddy Schall ’99, Smith showed that baseball performances regress, in that the top players in any season tend to do not as well the season before or the season after.

What the Luck? lies on two main pillars that explain why even the most skilled and talented will regress toward a norm or midpoint. For example, a student with the ability to average 80 percent on her tests, could score 90 percent on a “lucky” day or a 70 percent on an off day.

Second, of those students who do score 90, most were lucky and therefore won’t do as well on another test of the same material. They will regress. It is a mistake to conclude that the student with the highest score is the best student in the class, and it is a mistake to conclude that she didn’t study as hard when she gets a somewhat lower score on a second test.

According to Smith, the same principles can be applied to professional sports, medicine and investments. When a team wins a championship, we conclude that it is the best team and expect it to keep winning championships. When it does not repeat, we assume that it’s the team’s fault—when it may have been lucky to win in the first place. A doctor who sees a worrisome medical test result assumes the patient is sick and prescribes a treatment. When the patient improves, the doctor assumes that the treatment worked—when the patients may not have been ill in the first place. When a stock goes into the Dow Jones Industrial Average because it has been doing well, investors assume that it will keep doing well. When it doesn’t, investors attribute it to the Curse of the Dow, when the stock may have been lucky before it entered the Dow.

“If instead, we recognize that chance may play a role, we are less likely to overreact,” Smith says, “The champion is not necessarily the best team; the patient’s reading does not necessarily imply disease; and the companies entering the Dow are not necessarily the best investments.”

A prolific writer, Smith is the author of eight textbooks, three trade books, and 80 academic papers. His research interests are financial markets, especially the stock market, and the application of statistical analysis to finance and sports.

—Patricia Zurita


A Gambler’s AnatomyAuthor/Professor Jonathan Lethem Discusses his Writing Process.

HIGH-STAKES WRITING

Bestselling author Professor Jonathan Lethem’s new novel, A Gambler’s Anatomy, is the story of a James Bond-esque international backgammon hustler who believes he is psychic but is sideswiped by the discovery of a tumor in his face. He is then forced to grapple with existential questions, like: Are gamblers being played by life? What if you’re telepathic, but it doesn’t do you any good?

Which raises another question: Why did Lethem, a critically acclaimed novelist and essayist, choose to write about backgammon and gambling?

“I always lean forward when someone in a story or a movie goes to the casino or steps up to the pool table or goes to the online poker game. So, I began by thinking in the simplest way, ‘I want to do that. I want to write a gambling story,’” says Lethem.

Given the high stakes, gambling serves as a rich metaphor for life, he says. “The backgammon board or any kind of gambling arena is a kind of microcosmic world, it intensifies your relationship to life. But it’s also an escape; it’s a bubble you go into; it’s outside of life. While you’re there, everything else disappears,” he says.

And ultimately, life—the house—always wins, he says.

Lethem, whose nine previous books include Motherless Brooklyn and The Fortress of Solitude, is known for his genre mixing and experimentation. He says this book is a more deliberate engagement with genre, classifying A Gambler’s Anatomy as a horror novel, though it doesn’t have the traditional scares. Lethem says he wanted to write a book where the reader can’t take his or her eyes off of the character’s night­marish descent, which is set in Berlin, Singapore and Berkeley.

Lethem’s writing process starts with what he calls “blundering around” and moves to dogged intention. Once he finds a voice that he likes, he works every day. But he says he is not concerned with hours or pages, so as much as with touching the project consistently. When Lethem gets stopped at a crossroads, he says, he will just sit there “staring at the page and tolerating the anxiety.” While so many other writers toss out lots of material and create alternate scenes that don’t end up in their books, Lethem treads carefully. “I try not to put a foot wrong. People sometimes ask you afterwards for the outtakes, asking, ‘Could we publish the deleted scenes?’ And I say, ‘I’m sorry, I don’t really generate those.’ If I’m turning in the wrong direction and it doesn’t please me to write in that mode, I’d rather sit and wait,” he says.

Born into a creative family, as a child Lethem thought about becoming a painter like his father, or a filmmaker or cartoonist. But his mother gave him a typewriter, “which was like ‘Go,’” he says. By the age of 14, the voracious reader announced he wanted to be a writer. His enjoyment of the craft hasn’t dimmed.

“When you begin to break down all the variations that are possible and all the implications of the decisions you’re making at a preconscious level when you write sentences, even in that very basic mode, you can never stop being fascinated by it. I like trying to stay an apprentice to the task.”

Lethem, the College’s Roy E. Disney Professor of Creative Writing, says he finds conversations in the classroom stimulating. “Seeing people trying to enact what they’re dreaming up, what they want to get on the page—trying to close that distance between what you visualize or what you hope your reader will experience and what actually lands on the page—is a very rich and very mysterious area of instability,” Lethem says.

—Sneha Abraham


NOT-S0-GOLDEN HISTORY Professor Char Miller Looks Below the Surface of California’s Ecological History.

NOT-SO-GOLDEN HISTORY

Professor Char Miller’s new book, Not So Golden State: Sustainability vs. the California Dream, is a collection of essays that examine California’s complex and sometimes contentious relationship between nature and humans.

Inspired by his many travels across California’s varied landscapes, and with chapters like “PetroLA,” “Razed Expectations,” and “Strawberry Fields Forever” among others, Miller’s essays give the reader a look into the effects that local, state and federal policies (both good and bad) have had on the natural environment, the impact of recreation on national forests, parks, wildlife and nature refuges, and current efforts to restore what California has lost or is losing.

Covering everything from water politics to wild fires riverbeds and sage and chaparral, Miller nudges the reader to look at the Golden State through a different lens, and Miller hopes, inspire readers to look at, treat and integrate with nature in ways that are beneficial to both humans and the natural environment. In “Razed Expectations,” Miller excoriates the U.S. Army of Engineers for gutting the Sepulveda Basin and the ensuing devastation left on the terrain. In “Water Fights,” he looks at the current battle the city of Claremont is waging to gain local control over water and in “Lesson Learned,” Miller looks at the politicization of wild fires and the cautionary insights gained and soon forgotten from the 2009 Station Fire that burned 160,000 acres of the Angeles National Forest.

“I hope that people reading this start to think about our relationship to nature – and it to us. How do we protect natural habitats, animals, resources, from us?”

“The central argument of the book is that we have agency within the larger world but our actions must be consistent with systems we have to protect the natural environment. The book is an effort to give people a roadmap to act with a kind of grace.”

On field trips with students, and hikes and travels with his wife and on his own, Miller says he gets curious about why things are the way they are and looks to the past to find answers: “My writing is sparked by encounters with a particular place and time in nature that led to thinking about that space in the past.”

A prolific writer, Miller regularly publishes op-eds, blog entries and books on the West and its environmental history.

“Writing is a way of inscribing myself in the landscape and helps make the landscape comprehensible.”

Miller sees his latest book as the end to a trilogy, of sorts, of two earlier collections of essays that are framed by his own westward journey that started out in San Antonio, Texas and takes him through Arizona and ultimately to Claremont, California.

“With Deep in the Heart of San Antonio: Land and Life in South Texas, I am figuring out what’s going on, and On The Edge: Water, Immigration, and Politics in the Southwest is a transitional book that takes me from San Antonio to California. Not So Golden State centers on California but looks east and raises the question about a new world, of where we’re going.”

—Carla Guerrero ’06

Picture This

WINTER SUNSETWinter Sunset

Evening falls over Carnegie and Hahn halls and the City of Claremont
—photo by Jeff Hing

Lost Holmes

Lost HolmesAlong the back wall of the Pomona College Archives stands an overlapping row of heavy bronze plaques. Some are from buildings or spaces that no longer exist; others have simply been replaced by newer plaques.

The plaque at right is one of the largest and heaviest and dates from around 1916, when it was installed in Holmes Hall, the first campus building constructed after the founding of the College in 1887. (The only older building is Sumner Hall, which was built as a hotel before Pomona College was established.)

Holmes Hall was constructed in 1892 as a three-story, kerosene-lit Queen Anne Victorian, but a total renovation in 1916 left it unrecognizable, converting it into a two-story, stuccoed Mission Revival structure to match its neighbors—Bridges Hall of Music and Rembrandt Hall. This plaque was apparently created to celebrate that “rebuilt” incarnation of Holmes.

Originally a mixed-use building housing everything from a chapel to a chemistry lab, Holmes was later associated mainly with theatre. Two years before its centennial, deemed unsafe and impractical to renovate, the building was demolished in 1990 to make room for the current Alexander Hall.

ITEM: Holmes Hall plaque
COLLECTION: Pomona College Artifact Collection
DESCRIPTION: Bronze plaque, 23.5” wide X 35.5” high
DATE: circa 1916

If you have an item from Pomona’s history that you would like to see preserved in the Pomona College Archives, please call 909-621-8138.