Articles Written By: Staff

Swimming for her Life

swimming for her life: facing aggressive cancer and family tragedy, lucy embick kunz '78 took her fight underwater

Lucy Embick Kunz ’78 climbs onto the arm of the sofa, squats in her white sock feet and throws her whole body into the tale of her recent near-gold experience at the German Life Saving Championships.

The small-framed swimmer grabs below the arm of the sofa and demonstrates how she was perched on the block—one that was more slanted than usual—and ready to dive in.

Just then, Lucy recounts, she tipped forwards off the block, starting before the gun fired, disqualifying her from the second discipline, the combined swimming event. Lucy had already finished 12 meters ahead in the 50-meter freestyle, the first event of the three-part competition. She knew gold in her age category was within easy reach. “I would have won,” she says, squinting her blue eyes, clearly still furious with herself.

Lucy’s intensity serves her well because she is racing for more than medals: She swims for her own survival. Lucy has been fighting aggressive ovarian cancer since 2003, and she has done it, in large part, by throwing herself into competitive swimming. In a sense, every lap, every moment in the pool is a victory. As a medical physicist who knows her case confides: “The doctors say Lucy Kunz should have been dead seven years ago.”

Lucy has endured 157 days of chemotherapy, three months of radiation and 13 operations on what was once a near-perfect body. She has demonstrated pure mind over matter—winning dozens of golds and breaking an International Life Saving Organization world record in obstacle swimming with a body pumped full of toxic chemicals designed to fight off tumors. She says her greatest achievement may have been when she won the German Masters gold for the 200-meter backstroke in April 2010, about a week after her 118th day of chemotherapy.

She has done all this while grieving an unfathomable family tragedy. Her older brother, Dr. Andy Embick ’72, the one she followed to Pomona, the brilliant and restless Rhodes Scholar she had always looked up to, committed suicide just months before she was diagnosed with cancer eight years ago.

The combination of the two events launched Lucy on a journey of survival. “I never did give up. I never ever ever ever did,” says Lucy. “I have to be like the pop-up figures in comics. I’m shot down and have to get up again. If I give up swimming, I’ll give up my health and my life.”

LUCY’S LOVE AFFAIR with swimming started in kindergarten at her local YMCA in Salem, Ore., where she grew up as the third of four children. Her mother is a lawyer, and Lucy’s late father worked as an orthopedist. Lucy says the Embick children weren’t pushed to achieve. But excellence was in the air at home. She and Andy were always close, and he swam too, even though swimming was not something they shared in a big way.

Andy learned to love gymnastics as a teenager and later preferred the thrill of pursuits such as rock climbing and whitewater paddling. Lucy remembers the time, when she was a kid, that Andy embarrassed her at the pool by walking around the deck on his hands, as if in a gym. That was Andy.

Still, Lucy looked up to her big brother, the firstborn, to the point that he was nearly infallible in her mind. “He was always my example of doing everything right,” Lucy says, adding, “I had absolute trust in him. Andy took me climbing. He got me to rappel. I didn’t even think about it twice. Most people wouldn’t even go over the edge. Andy said ‘go’ and I went.”

Lucy followed Andy to Pomona after he told her she’d like it better than the other schools she’d applied to. Somehow, Andy was always right.

At Pomona, Lucy still went to the pool to keep fit, but she gave up swimming competitively to concentrate on her studies. Burdette Poland, a Pomona professor of history emeritus who taught Lucy in three courses, recalls Lucy as competitive, honest and determined. He remembers how she “broke loose” in her comprehensive exams in history, doing better work than she had ever done before and ranking third among history majors that year.

Andy, for his part, did compete on the swim and water polo teams, but was better-known for his mountaineering exploits, including eight days spent on Yosemite’s El Capitan. Richard Preston ’76, today a bestselling writer (The Hot Zone, The Cobra Event), recalls a conversation in which he reminded Andy that a single mistake during his solo ice-climbing expeditions could lead to his death. “Andy looked at me with this little smile and said, ‘Of course, I know that.’ I said, ‘Why do you do it?’ Andy said, ‘Because I don’t make mistakes.’”

Lucy and Preston dated steadily for two years when Lucy was a sophomore and junior. The pair would lose themselves in conversation about archeology and art history. Looking back, Preston recalls Lucy being in her prime during her Pomona years, except for having to live in the shadow of the monumental reputation of her brother, who had routinely scaled the side of Smiley Hall to get to his room instead of taking the stairs.

Andy and Lucy both were accepted at Harvard in their post-Pomona years, and Andy did go on to Harvard Medical Schoolafter his time at Oxford on the Rhodes Scholarship. But Lucy, after earning a master’s degree in art history at the University of Oregon and going on a Rotary Foundation scholarship to Munich, chose to attend the University of Pittsburgh for her doctorate because of the financial aid package.

The siblings maintained a close relationship despite the thousands of miles between them. Andy, a physician, made his home in Valdez, Alaska, and Lucy settled in southern Germany, raising three sons with her husband Roland, who works in banking. Lucy met Andy regularly for ski trips in the Alps, followed his expeditions with interest and consulted him for medical advice regarding her children.

All along, Lucy would find time for brief swims, but only when her children joined a team did Lucy return to competitive swimming. Within no time, Lucy began racking up the medals at swim competitions across Germany, pleased that she had found a way to combine her love for swimming with her responsibilities to her family. In 2002, Lucy won three gold medals at the Life Saving World Championships in Florida and was named athlete of the year in Schweinfurt, where she practices swimming and teaches everyone from toddlers to triathletes.

Then came the news that Andy had rowed his skiff out onto Prince William Sound and killed himself.

Why Andy made this choice remains a mystery to Lucy. She confesses, “It’s a tragedy which, in its profoundness, is incomparable to anything else in terms of being an incalculable shock to me and to our whole family.” Lucy believes the shock compromised her immune system.

AFTER THE CANCER DIAGNOSIS, Lucy at first focused on the pain, the suffering and the fear she felt in the face of cancer and the treatments. But she intuitively understood that she had to turn negative feelings into positive emotions in order to survive, so Lucy began swimming in even more competitions, just when most people would have believed that impossible. The initial diagnosis of cancer and the ensuing treatments only kept Lucy away from swim meets briefly. To her doctors’ amazement, she won four gold medals at the Bavarian long-distance championship in March 2004, less than four months after her first operation.

Lucy began to develop a personal philosophy about living with the disease. She had seen how other cancer patients had given up quality of life during treatment, and she resolved to follow a different path. And, as the years went by, Lucy says Andy’s death increased her determination to survive. “He gave me even more reason never to give up,” she says. Lucy’s medical advisers say her attitude has been a key part of  her survival. “Frau Kunz keeps fighting … Such illnesses do not have to be accompanied with weakness and low performance, if patients are willing to actively do something about it and fight their way through,” says biochemist Ulrike Kämmerer, who Lucy consults on her diet.

Kämmerer and a colleague at the University of Würzburg, medical physicist Rainer Klement, were co-authors on a recent paper about the benefits of a high-fat, low-carb diet for those diagnosed with cancer, the diet Lucy keeps and one she calls the “Atkins diet” for cancer patients. In the paper, titled “Is There a Role for Carbohydrate Restriction in the Treatment and Prevention of Cancer?” published in October in the journal Nutrition and Metabolism, the two explore the effect of glucose on tumor cell proliferation.

The diet is not widely recommended by doctors because many don’t know about it, and there have been too few tests of the diet, Klement says. But the researchers say the sugars in a high-carb diet actually feed tumor cells. By lowering the amount of sugar in the blood, a cancer patient can “starve” a tumor of the nutrition it seeks. “Several factors play a role in Lucy’s survival,” Klement says. “One is the swimming, which gives her lots of strength because she loves it, and she swims with abandon. The swimming helps to detoxify her body. Doing sports in some sense is like reducing carbohydrates—both work together well, and both are helping Lucy. And then she’s strong psychologically and has an extremely strong will. That surely also plays a part.”

Lucy herself says having strong and supple muscles has helped her recover quickly from numerous surgeries to remove tumor growth from different parts of her body. Her rigorous swim training has reduced her pain substantially and become her best physical therapy. “After all that radiation, if I hadn’t really pushed myself, I wouldn’t be able to move today much at all,” Lucy says.

Still, from a medical point of view, Lucy’s swimming ability defies explanation, given her metastatic condition and the large number of chemotherapy treatments she has undergone. Kämmerer says, “Lucy is swimming times that hardly any healthy (and younger) person could. It’s extremely exceptional.”

IT’S TUESDAY, THE DAY when Lucy devotes herself to her students at the pool. She is conducting a class with nine small children. As she helps the little ones with their backstroke, Lucy’s strongest stroke, she holds their small heads in her palm like a healer.

On this particular afternoon, Lucy skips the nap she usually takes poolside. Typically, she lies down on the tiled stadium bench for a doze. Lucy has organized her chemotherapy treatments and her schedule around her coaching commitments and her own swimming routine. She even manages her available energy throughout the week so that she can be at her best on Tuesdays.

Dealing with her lack of energy is just one side effect that Lucy has had to learn to live with. She says it took her years to come to terms with the limitations that the disease brings with it. Lucy has hit multiple physical low points but, she says, the thought of giving up doesn’t enter her mind. In 2010, while on holiday in Michigan, she says she experienced pain at a level of 13 on a scale of one to 10 after two months of thoracic radiation. “I basically lay on the floor of the summer house all vacation,” Lucy recalls.

Lucy says her unusually well-tested pain threshold allows her to keep going. “I am able to transfer the tolerance of pain and suffering I have had to develop to survive the treatments for my cancer to my competitions in the pool. … I can let swimming hurt. I can go beyond my limit.”

Professor Poland compares her fight with cancer to the story of Persephone from Greek mythology, since Lucy is forced to live another life in a different realm when she’s undergoing cancer treatments. “Lucy has the good fortune to be able to come back but always with the limitation that she has to return to the underworld before the end of the year,” says Poland, who has been corresponding with Lucy in recent years.

He adds, “When I was a kid, I would get a fever and go to bed, waiting for deliverance. I would lie back and let nature take its course. Lucy is the extreme opposite of that. … She is indefatigable.”

Lucy’s story of courage also helped Richard Preston as he recovered from a shattered pelvis after a ski accident in 2010. A few years earlier, the author had taken up tree-climbing while researching his 2007 book, The Wild Trees, about the people who climb some of the world’s tallest. After the ski mishap, he feared he “would never climb a tree again,” Preston says. “I thought a lot about Lucy during that time. If Lucy Embick Kunz can break the world record in swimming with ovarian cancer, then climbing trees with a shattered pelvis ought to be doable.” Preston has now increased the vertical distance he can climb to that of a redwood tree. He did it in honor of Lucy.

“I see her as a breathtaking athlete—but her accomplishments are not just physical,” says Preston. “They’re spiritual at the same time. People who have seen this deeply admire it.”

EIGHT YEARS INTO THE FIGHT, Lucy hardly seems battle-weary.Just recently, she received news that her tumors had not shown medically relevant growth, which meant she could extend the pause in her chemotherapy for another three to four months. “I feel like I have been saved from a burning airplane,” she says.

Amid her cancer treatments and swimming meets, Lucy still grieves the loss of Andy: “There is never a day when I do not miss him.” Resolving the tragedy isn’t possible, but she is no longer trying to find answers about why Andy did what he did. “Andy was always absolute in his decisions. I have accepted it,” Lucy says.

It’s not just the swimming that helps her cope, but the people she meets in occasional competitions for people with disabilities. At these meets, Lucy swims with people who are blind, deaf, paralyzed or have limbs missing. (She is categorized as “generally” handicapped.)

Lucy’s eyes well up as she describes a swimmer who has no arms and legs: The swimmer bites on a cord with his teeth to hold him at the edge of the pool (any body part counts). When the starting gun fires, the swimmer releases the cord and begins to propel himself through the water with sinuous short dolphin motions. “You watch people who swim 50 meters without arms and legs, and everything becomes quite relative,” Lucy says, adding, “I don’t think it’s fair for me to complain about my health.”

Nor does she complain. Andreas Moser, who coaches triathletes with Lucy at the Silvana pool in Schweinfurt, notes that Lucy doesn’t talk much of her cancer. She will just occasionally mention in a neutral way that she’s going to lose her hair again, something that makes her bathing cap the perfect accessory.

“I don’t look for excuses,” says Lucy. “I just swim.”

Edward W. Malan

Emeritus Professor Edward W. Malan ’48, one of the most influential members in the history of the Pomona College Physical Education Department, died Sept. 6, 2011, at age 88.

Malan came to Pomona as a student in the early 1940s and was already active in athletics, playing football and earning a letter as a running tackle, when, in May 1943, he was among a contingent of men who left campus for the U.S. Army. After serving with distinction in Europe, he returned to Pomona, graduating in 1948 and joining the faculty as an instructor two years later. He went on to earn a master’s at the Claremont Graduate School as well as an Ed.D. from UCLA, and in 1960 was promoted to professor of physical education and named director of athletics, a role he filled through 1978. During this time the challenging yet rewarding process of equalizing men’s and women’s athletics was begun, and the number of intercollegiate competitive sports rose from seven to 17.

In addition to coaching several years of both varsity and frosh football (including an 8-0 season with the 1950 frosh football team in his first year), Professor Malan coached track and field until 1966 and golf later on in his career. He founded the department’s Athletic Hall of Fame in 1958, oversaw its induction ceremonies for 42 years and in 1989 was himself awarded an honorary induction. That same year, he also received the SCIAC Distinguished Service Award. Along with serving as the College’s NCAA representative, he was very active in the NCAA Council and was elected to the presidency for Division III.

As a resident of Claremont, he was elected to the City Council twice, for the 1962-66 term and again for 1968-72, during which time he was mayor from 1970-72. He retired from Pomona in 1989 but remained active with the College and, in 2001, received its Alumni Distinguished Service Award.

“Coach Malan was a class act and a wonderful person,” says Athletics Director Charles Katsiaficas. “We all looked up to him; he was a great role model and mentor to so many of us through the years. We are blessed for the many years he shared with us here at Pomona.”

Taking the Baton

Sharon Paul ’78 may never have launched her career in choral conducting if the late William F. Russell, Pomona’s music director from 1951-82, hadn’t been tardy to choir practice. Paul serendipitously took the baton in his stead, unaware of her professor’s arrival.

“I think he watched from the back and thought, ‘Oh! That’s what Sharon should do with her life,’” Paul says. “He saw my abilities, felt I had strengths and nurtured them. I don’t think I would have found conducting if I went to any other school.”

Since then, Paul has carved out an illustrious career in choral conducting and, in February, will return to the Pomona campus as clinician of the 2012 Pacific Southwest Intercollegiate Choral Association (PSICA) Festival. Pomona, a founding member of the association in 1922, is hosting the festival for the first time in the College’s recorded history. Per tradition, the host school’s choral director selects the festival’s clinician. Donna Di Grazia, Pomona’s choral director and music professor, knew exactly who she wanted.

Sharon Paul '78

Di Grazia, who is coordinating the festival, points not only to Paul’s talent as a musician and choral conductor, but also to the fact that her “professional work serves as a terrific example of how a liberal arts education can set a foundation that can lead to a significant career in the performing arts.”

Paul, who entered Pomona at age 16, is equally pleased. “I’m so excited, I feel silly. I’m so happy to be coming back,” says Paul, who lives in Oregon with her husband of 16 years and their seventh-grade son. “I’m feeling very nostalgic about my time at Pomona, and the further I get in my career, the more I realize how seminal that time was. I can’t wait to walk the campus, be in the music building, just remember.”

Paul has directed choirs around the globe—Berlin, Estonia, Finland, Germany, Italy, Latvia, Russia, Singapore and elsewhere. Holding an M.F.A from UCLA and a D.M.A. in choral conducting from Stanford University, Paul currently serves as professor of music, chair of vocal and choral studies and director of choral activities at the University of Oregon. For eight years prior, she was the artistic director of the San Francisco Girls Chorus (SFGC) and conductor of the organization’s acclaimed ensembles, Chorissima and Virtuose. Paul joined the SFGC following what she called a “quirky career move,” having left a tenured professor position at Chico State to do so.

As clinician of the 2012 festival, which will bring together about a dozen Southern California collegiate choirs to perform for each other, Paul will provide expert critiques of each choir’s performance, lead a two-hour master class comprised of eight singers from each ensemble and conduct these top vocalists in a performance. She also will coach student conductors during the master class. Visiting performers will find in Paul an engaging conductor and teacher, enduringly influenced by her former instructor, Leonard Pronko, a Pomona professor since 1957. “He was the most engaging educator I’d ever seen, and that stuck with me,” Paul says.

The PSICA festival will be held Feb. 25. Information: www.psica.org.

Stellar Vision

Professor Choi with Will Morrison '12 and Daniel Contreras '13

Tucked away in the basement of the Andrew Science Building, Room 58 carries a light-hearted vibe as students trickle in after lunch, chatting and cracking jokes as music blares in the background.

Then, back to work. Alongside Astrophysics Professor Philip Choi, the students turn to the tiny instruments that are deliberately arranged on a large table in the center of the astrophysics lab. This has been their calling for the past two years.

In January 2010, Choi and his research team received a four-year, $637,138 National Science Foundation grant to build a groundbreaking adaptive optics system for the College’s Table Mountain Observatory one-meter telescope in Wrightwood, about a 45-minute drive from Claremont in the San Gabriel Mountains. The optics will correct for the distortion in the atmosphere that is manifested in the twinkle of stars. The result? Image quality rivaling that produced by the Hubble Space Telescope.

Choi explains that the turbulence in the atmosphere—a result of clashes in air density and temperature—causes the distortion of stars, planets and other astronomical bodies viewed through telescopes. This is analogous to ripples in a swimming pool blurring the image of a penny at the bottom of the pool. Adaptive optics systems solve this problem with deformable mirrors that bend beams of light back on track based on how much distortion has altered their paths.

First, wave front sensors measure the distortion of light from a reference star. The sensors then send signals via high-powered computers to flexible mirrors that compensate for the distortion by deforming ever so slightly, as though there are little fingers pushing and pulling them from behind. This must occur every 1,000th of a second to keep up with the ever-changing atmosphere. If the system has done its job, stars that are blurred due to the turbulent atmosphere instantly come to a sharp focus, with a factor of 10 improvement in image resolution.

The adaptive optics system is set to be integrated into the Table Mountain telescope by the end of 2013. Although the opacity of the atmosphere in some wavelengths will prevent adaptive optics telescopes from rendering space telescopes like the Hubble obsolete, Choi says that adaptive optics will allow scientists to “tailor the space missions to complement what we’re doing from the ground.”

Interestingly enough, Dr. Choi went into his undergraduate years planning on majoring in philosophy. A poor freshman enrollment time locked him out of philosophy seminars and opened up a slot for Astronomy 101. He came to realize that the natural sciences in general and astrophysics in particular would be the perfect avenue to allow him to continue exploring “the big questions…of why we’re here, how we got here, where we’re going.”

Choi’s research team includes Pomona Astronomy Professor Bryan Penprase, along with additional co-investigators and collaborators from Caltech, Harvey Mudd and Sonoma State. Add to that a crew of Pomona undergrads; among the most recent are Daniel Contreras ’13, Claire Dickey ’14, Anne Hedlund ’14, Lorcan McGonigle ’13, Will Morrison ’12 and Alex Rudy ’11.

Choi enjoys doing research with undergraduate students because they are “not jaded. They’re doing it for the enjoyment and for the love of it. … To be in that exploratory mode is the most exciting part of science, I think. And so to be working with students who are all in that mode is inspiring.”

For their part, the students like working on so many different aspects of the project, from software and programming to optical alignment and machining. Contreras notes the feeling of being “in the lab working on the code behind our instrument and just seeing everything work and everything just fit together so nicely. It’s really awesome.”

The research team also fits together well, with occasional In-N-Out runs when their work is done. As Morrison puts it, Professor Choi is “a fun person to be locked in a lab downstairs with for eight hours.”

 

No Time to Look Back

Cruz Reynoso ’53

Cruz Reynoso ’53 during his time on the California Supreme Court

Since the 2010 release of an award-winning documentary about his life, Cruz Reynoso ’53 has been appearing with producer- director Abby Ginzberg at high school, college and law school screenings around the country. But the 80-year-old, who led a ground-breaking fight in the ’60s for the rights of farm workers and served as the first Latino justice on the California Supreme Court, has not stopped for long to look back.

An emeritus law professor at UC Davis who still teaches one semester each year, Reynoso is spearheading two investigations— one into the death of a young farm worker shot by police and another into the pepper-spraying of students at UC Davis during a peaceful protest last fall.

“I’m too active,” says Reynoso with a laugh. “I’m also a member of the board of California Forward, a group that is trying to reform our dysfunctional state government. One of the things we are trying to do is get an initiative on the ballot this year to reform how the budget is put together. We realize how difficult it is to do anything, and we’re prepared for failure. But we have to try.”

That persistence is illustrated in the new documentary about his life. Shown on PBS stations nationwide and recently released on DVD, Cruz Reynoso: Sowing the Seeds of Justice (www.reynosofilm.org) combines archival footage and interviews with Reynoso and his contemporaries to tell the story of a turbulent time in California and U.S. history. “What makes biographies interesting to me is the historical period in which a person lived,” says Ginzberg, a former attorney who has been making documentary films for almost 20 years.

One of 11 children, Reynoso grew up in Southern California, working in the orange groves alongside his parents. At 16, he made what Ginzberg describes as the most pivotal decision in his life, when he chose to pursue an education, despite his mother’s wishes that he continue working. A scholarship brought him to Pomona College and, after serving in the military, he went to law school on the G.I. Bill at UC Berkeley, where he was the only Latino in his class.

After graduating, he started a small law practice and joined the Community Service Organization, where he met Cesar Chavez. It would be the first step in a life devoted to public service. “One needed to do something beyond simply having a job just to support your family,” says Reynoso in the film. “That was important. But the community and what was happening around you was always important to me.”

In 1966, he was named director of California Rural Legal Assistance, Inc. (CRLA), the first legal aid program aimed at helping the rural poor. The success of CRLA drew the ire of agribusiness and Gov. Ronald Reagan, who vetoed funding for the program and accused it of undermining democracy. Reynoso led a successful three-year court battle to overturn Reagan’s veto and is credited for helping to save the organization. “I think the fact there is an institution still there defending workers is a testimony to the ability of people like Cruz to navigate the shoals when you have enemies like Gov. Reagan,” says Jerry Cohen, a former general counsel to the United Farm Workers Union who was interviewed for the documentary.

Ginzberg calls Reynoso an unsung hero of the legal profession and describes him as calm, focused and vigilant, even during the most trying periods of his career. ”He could rise to the temperature of the moment, but he never raised the temperature, and that really made a difference,” says Ginzberg.

Appointed by Gov. Jerry Brown to the state Supreme Court in 1981, Reynoso again became a political target, when supporters of the death penalty and business interests mounted a campaign for a statewide retention vote that ousted Chief Justice Rose Bird, Justice Joseph Grodin and Reynoso.

“With respect to the attacks on the court, I never took it personally because I knew the attacks were false,” says Reynoso. “Sad to say, those who were attacking the courts were very vigorous, and those defending the court had never been involved in that type of issue before, so they were in disarray. Most of what voters heard were attacks on the courts, particularly that we were not following the law. I told people if I believed what was being said, I’d vote against me.”

“Cruz was the first Latino on the California Supreme Court, which was one of the biggest honors you could have, and then he suffered one of the biggest defeats four years later,” says Ginzberg. “Neither one defined him. His attitude was: what can I do next? He didn’t sit around licking his wounds.”

In 2000, Reynoso was awarded the Presidential Medal of Freedom by President Bill Clinton. The following year, as vice chair of the Civil Rights Commission, he led the only official investigation into voting irregularities in Florida in the Bush-Gore presidential election.

As a professor, Reynoso has become a role model to a new generation of idealistic young attorneys, says Ginzberg, who admits she too has been influenced by the subject of her film. “I’ve sort of adopted his view. He told me, ‘I’m an incurable optimist. If I weren’t, I wouldn’t be able to do half the things I’ve done in my life.’ Cruz also says that you can’t think something is going to be easy, or because you win one battle you’re not going to have to fight another. Justice is a constant struggle and we have to keep fighting.”

Reynoso says he sees that same need to keep fighting reflected in the students he’s met as a professor and during his travels with Ginzberg. “My life is simply a continuum in terms of the many hundreds and thousands of people who’ve come before me, who have been struggling for human rights, for social justice,’’ he says. “I see it in the faces of those young people who will continue the struggle. It confirms my notion that things are never still; they’re always moving, and we have to be there to protect those who don’t have economic or political power.”

CRUZ REYNOSO ON:

THE OCCUPY MOVEMENT: “I have really been pleased to see the Occupy Movement because it came at just the right time to balance the political scene. The reality of the last 20 to 30 years is that the rich are getting richer and the poor are getting poorer and the middle class is disappearing, and that is not a good thing for a democracy.”

EDUCATION: “Education is a key to doing well in society. I hate to use harsh terms, but we’ve practically become immoral by placing the financial burden for education on the people least able to pay—the students—instead of having us as taxpayers, who are working or who have retirement pay, carry that burden. It’s so different from what we’ve done in the past.”

JUSTICE: “As a youngster I had what I called my justice bone. When I saw something that was really unfair or unjust it hurt, and so I felt compelled to do something about it to relieve that hurt. And I think that is still true today. So in some ways, what I do is a selfish effort to not hurt by taking on some of those issues.”

GOVERNMENT: “We’re now having a debate about whether the government should be big or small. I’ve always thought in a democracy that government should do what people want it to do irrespective of those descriptions of large and big. In some instances, big programs might be good, in others, small programs might work.“

THE GOOD FIGHT: “I have always felt that even if you lose a good fight, you have gained something by helping educate people about the issue. So, hopefully, you win a number of the battles you’re in, but even when you lose, you’ve done some good. Those of us who feel strongly about those issues have a duty to continue fighting, and I find that invigorating.”

Rockin’ History

Professor Kevin Dettmar

In today’s session of Flashpoints in Rock ‘n’ Roll History, Professor Kevin Dettmar recounts the 1980s rise of Irish rock band U2 to peak popularity with The Joshua Tree. The band becomes known for its sincerity and social consciousness, but Dettmar notes questions to consider regarding how U2 goes about promoting its causes.

The professor plays U.S. concert footage from U2’s 1988 Rattle and Hum documentary in which the band performs an extended version of its early anthem “Sunday Bloody Sunday,” about the conflict in Northern Ireland. Lead singer Bono interrupts the song with a fiery speech: “Irish Americans who haven’t been back to their country in 20 or 30 years come up to me and talk about the resistance, the revolution. … What’s the glory in taking a man from his bed and gunning him down in front of his wife and his children? … No more!”

That sets off the classroom discussion, abridged and edited here. Does the midsong monologue undermine the music— and the message? Can Bono’s American concert audience even grasp what he’s talking about?

DETTMAR: So tell me what you saw …

WILLIE: Bono was very emotional throughout. That’s part of what makes him such a good performer. He was becoming really close with his audience, talking about the terrorism in his country.

LEE: The monologue in the middle just seems kind of over the top. If I had gone to see a band I really like I would mostly be going there to listen to their music, not to have them tell me about how I should change the world.

DETTMAR: I think that the band and Bono, they have the best of intentions. … But you can question their strategy. Part of the problem with these sermons in the middle of songs is they are implicitly saying the songs aren’t powerful enough to do the work that we want them to do: We don’t trust the song to carry the message.

SHERIDAN: The song keeps losing its momentum. All of a sudden Bono starts talking and preaching for two minutes. Then the song ends. Then they start playing again. They’re trading off the actual musical quality for the preachiness and the message.

SARAH: Maybe they don’t trust their songs to carry the message, but people in America do have a really big problem with not knowing what’s happening outside of the U.S. I think this is one of the ways, maybe, that they can get people’s attention.

DETTMAR: The problem is that if you don’t understand the political situation—if you don’t understand that they’re from Ireland and that the violence is actually in Ulster, for instance—then what he says is too telegraphic. You’re never going to understand it.

BEN: I find it interesting that people react against Bono being “preachy.” Without that preachy nature, what is U2?

The Professor: Kevin Dettmar

At Pomona since 2008, Kevin Dettmar is the W.M. Keck Professor of English and chair of the English Department. He splits his research and teaching between British and Irish modernism, with an emphasis on James Joyce, and contemporary popular music. He is the author of Is Rock Dead?, editor for Oxford University Press of the book series Modernist Literature & Culture and general editor of the Longman Anthology of British Literature.

The Class: Flashpoints in Rock ‘n Roll History

Rock ’n’ roll has both endured and enjoyed a rocky public reception since its earliest days: Bill Haley & the Comets’ “Rock Around the Clock” (1954) provoked riots across the country. We will trace the “scandalous” history of rock ’n’ roll through its public controversies. In such moments, we learn a great deal about what rock hopes to be, about its intrinsic contradictions and structural instability, and about the resistance it meets from its own fans.

Acting Globally

As a high school exchange student in Japan, Sam Holden ’12 developed a strong interest in international relations and Asian studies. At Pomona, he has twice conducted summer research in Japan, studied abroad in Germany and lived in Oldenborg’s language halls. He speaks four languages and is a mentor to two international students from Asia. A native of Colorado, Holden plans to pursue graduate study in Japan, with a focus on how that country’s shrinking population and economy inform new approaches to sustainable urbanism.

Digging Beneath the Surface: “The summer after my freshman year, I went to Japan to make a documentary about Brazilian immigrants. I taught myself some rudimentary Portuguese and made contacts with both Brazilian and Japanese organizations. Japan appears to be a homogenous and equal society, so it was a very eyeopening experience to go to a community where the majority of the people are foreigners and don’t speak Japanese, and to see the struggles they were going through.“

A New Frontier:“I’ve become very interested in the idea of post-economic growth society. In a country like Japan, where the population is declining and the economy has been stagnant, the question is: what does a society do when it can no longer count on growth to sustain the social systems we rely on? Post-economic growth theory is about the need to move from competitive to cooperative economies, to think creatively about building robust communities that use fewer resources.”

Community of Learners: “Oldenborg Center has been essential in helping me develop my language skills. I lived in Japanese Hall my sophomore year and in German Hall for a semester, and I still go to the language tables in the dining hall. Any time you’re in a community of learners like that—and this goes for Pomona College as a whole—it helps to reinforce what you’re doing in class.”

Pray for Japan: “I had the opportunity to translate a collection of Twitter messages that were sent after the March earthquake and tsunami. In the immediate aftermath of the disaster, a 20-year-old Japanese college student created a website cata loguing some of those messages. The site went viral in the first week, and about 70 of the messages, along with photos of support from around the world, were turned into a book, with parallel pages in Japanese and English. Pray for Japan has sold 100,000 copies, with all the money going to disaster relief.“

Financial Aid: “It’s a gift that I think about every day. I’m grateful for the opportunity I’ve had to discover who it is I want to be and what I want to pursue. And to be able to do that free of financial concerns and the stress associated with student loans is extraordinarily important. I want to make the most of the opportunities I’ve had here, and then use my education to give something back to the community.”

Performance at Pomona


On a blustery Saturday in January, more than 2,000 people gathered at the College for Performance at Pomona, part of the region-wide Pacific Standard Time initiative celebrating the art of postwar Los Angeles. The crowd moved from Rains Center to Merritt Football Field and back to Marston Quad to witness recreations of seminal performance artworks from 1970 and 1971 by artists John M. White, Judy Chicago and James Turrell ’65. Each of these artists is represented in the three segments of the ongoing Pomona College Museum of Art It Happened at Pomona exhibition.

The evening began with White’s Preparation F in Memorial Gymnasium. The audience gathered around the center floor as Pomona-Pitzer football players, in street clothes, streamed in to the gym and grabbed chairs from an artfully arranged pile.

The players disrobed and changed into their gear, as they would normally do in the locker room; scrimmaged for a few moments; and then began to follow the choreographed movements of a coach (dancer Steve Nagler). White commanded the performance with a coach’s whistle. After the movements, they put their street clothes back on.

Mark Swed of the Los Angeles Times noted in his review: “The physicality of the thudding of bodies in close proximity was compelling. The gym was crowded, but a sense of intimacy remained.” After Preparation F, the audience streamed outside into the brisk (but thankfully not rainy) air for Judy Chicago’s A Butterfly for Pomona on Merritt Field. This new pyrotechnic performance was inspired by her 1970 Atmosphere environmental performance at Pomona College, for which she used flares and commercial fireworks to soften and feminize the environment. In this 2012 performance, flares were used to slowly light up a large butterfly on the field. Viewers watched as the butterfly shone and, periodically, more fireworks and smoke-emitting pyrotechnics would be set off to heighten the visual effect.

Closing the program, James Turrell recreated his 1971 performance Burning Bridges, a visual spectacle which used road flares to give Big Bridges the appearance of being lit on fire. (The original unannounced performance led a startled witness to call the fire department.) This time, with everyone (including the fire department) in on the joke, there was a crowd watching from Marston Quad as the flares, hidden behind Big Bridges’ columns, enveloped the building’s arcade in a brilliant orange glow and silence gave way to the rising sirens of approaching fire engines.

Letterbox

 Reaction to ‘It Happened’

Re: “Pomona College Museum Curator Rebecca McGrew ’85 and the Making of It Happened at Pomona”: I was a student at Pomona from 1964 –68 and lived in the area throughout the ’70s. While I know nothing of the inner workings and politics of the Art Department in those years, I never had the sense that the College was ever artistically conservative, especially in terms of collaborative artistic efforts and multi-media events.

 I remember quite vividly various campus performance art pieces, “happenings,” midnight concerts and a heady artistic extravaganza in a deserted winery in Cucamonga. Art, dance, film, theatre and musical entertainment combined frequently and pushed cultural limits routinely.

 I’ll never forget performing in a piece by the philosopher/composer Pauline Oliveros: loud electronic music filled the air inside and outside Little Bridges, Ms. Oliveros worked furiously in the balcony projecting ever-changing colored lights throughout the hall, and I had to improvise on my bassoon while a film of a walking rhinoceros’ armpit (leg pit?) was projected on me.

I remember, too, when Tim Paradise ’69 (subsequently the clarinetist of the St. Paul Chamber Orchestra) and I, amongst others, sat around an electric popcorn popper and waited for the popping corn to become our musical notes: We wore glasses with staff lines drawn on them.

Vulgarity was not confined to urinary art, which now strikes me as nothing that would shock anyone who ever went to a keg in The Wash. I remember conducting in Little Bridges at a well-attended midnight concert a trumpet concerto for solo trumpet and men’s chorus called Hum Job.

As far as I experienced, the College encouraged experimentation in the arts. If there was any lashing going on, it wasn’t conservative back lashing. In the current world of tabloid historians, rapacious bankers and cult politicians, a little experimentation might be in order again.

—David Noon ’68
New York, N.Y.

I read with great interest Suzanne Muchnic’s excellent article about the Museum of Art and the “It Happened at Pomona” exhibitions. As one familiar with the museum and its history, I have a good sense of the challenges involved in this hugely ambitious undertaking and applaud the staff, which is richly deserving of the accolades flowing their way. I also know how difficult it must have been to reconstruct a period for which only sparse records exist, and how important it is that this has now been accomplished.

The innovative art of the period in question, recollected now in relative tranquility, was understandably unsettling to the status quo—such is the nature of the cutting edge. Developing as it did during a period of widespread unrest on college campuses nationwide, it would have represented an additional challenge to already beleaguered administrators. One can only imagine the conversations the activities of the Art Department and gallery must have occasioned with conservative members of the campus community, and we can be sure that President Alexander’s skills at smoothing ruffled feathers were much in demand.

I didn’t move to Claremont until 1981, some years after the events in question, but, having worked with David Alexander for nearly 30 years, I would suggest a different, somewhat more nuanced interpretation of his response to the art scene at Pomona in the late ’60s and early ’70s. When Alexander interviewed me for the directorship, he told me about the gallery’s history and mentioned, in particular, Wolfgang Stoerchle’s performance and Michael Asher’s installation.

About the former, which incensed many and, at the very least, surprised others, he said only that it “raised some eyebrows,” a classic understatement typical of him. Of the Asher, he painted so gloriously detailed a picture that I still remember the mental image I formed. He had clearly been captivated.

Working with David Alexander throughout the last decade of his administration and, subsequently, on the College’s archives project, I gained great respect for his intellectual sophistication; his reluctance to dismiss any serious academic endeavor, however controversial; and his capacity to adjudicate the demands of conflicting constituencies. The last was, no doubt, a particularly onerous responsibility during the period chronicled by the museum’s exhibitions—a challenge quite possibly as daunting as those facing the artists whose work at Pomona helped shift the way we define and understand works of art.
—Marjorie L. Harth
Emerita Professor and Director,

Pomona College Museum of Art

 As someone who was there, I can’t resist offering my own thoughts on the contention that “David Alexander was fed up with the Art Department because the artists were pushing boundaries and taking advantage. It was difficult for Pomona, fundamentally a traditional place, to really embrace that.’”

David Alexander was a most astute, perceptive and fair-minded person. However talented and inventive the student-faculty in the studio arts at Pomona may have been during those critical years, there were at the same time several unfortunate changes and departures in the art history faculty that helped make the department as a whole unbalanced and somewhat anarchic. We may be sure that the decisions and actions he took in the years after his arrival were in an effort to improve the stability and balance of the Art Department as a whole and to make it more responsive to the needs of its students.

As for the notion that Pomona was “traditional” and perhaps even conservative in its approach to the arts, I draw on my experience teaching in the Music Department from 1950 to 1994.

It is true we offered our students, both pre-professional and amateur, a rigorous traditional program of studies in music theory, history and performance (i.e., “applied music”). But our students had ample opportunity to hear and to take part in what was new music, truly contemporary, “avant-garde,” fresh and vibrant. For several decades, beginning in the ’50s, Professors Russell, Briggs and Loucks regularly took students to concerts of “new” (and “old”) music at the Monday Evening Concerts in Los Angeles (an internationally renowned series), as well as to events at USC and UCLA.

In retrospect, the offerings of concerts and lectures by both our own faculty and by many distinguished guests seem quite remarkable, bringing to the campus and to Bridges Hall luminaries that included Pierre Boulez, Karlheinz Stockhausen, John Cage ’32, Luciano Berio, Severino Gazzeloni, Mauricio Kagel, Cornelius Cardew …

We also attended, with some of our interested and devoted students, music-theater-performanceart events that were indeed “pushing boundaries and (perhaps) taking advantage.” One such, at UCLA, I recall, involved the Rachmaninoff Prelude in C sharp minor played with great concentration by a young man totally oblivious to the six naked young women who rode their bicycles around the stage, circling him and the piano! I believe firmly that many of our alumni (including my former students, some of whom are now in their 80s like me) will verify what I have said here, in my attempt to help clarify and to present an additional perspective on “what happened at Pomona.”
—Karl Kohn
Professor of Music and Composer in Residence, Emeritus

 If only we had known! The raves say it all: “artistic feats … avant-garde action … creative energy … mythic status … flash of radical brilliance.”

Tossing lighted matches at a nude woman; getting naked and urinating in public; nothing short of pure genius.

When my cohort of surfers and beach bums did these things in the 1950s and 1960s, we were nothing but childish, antisocial, exhibitionistic idiots. If only we’d thought of calling it art— we, too, could have made history and joined the pantheon of Great Artists.

—Dave Rearwin ’62
La Jolla, Calif.

 A Tragic Loss

As reported briefly in the fall issue of PCM David A. Waring ’03 died on Sept. 28, 2010. Twenty-nine years old, he had suffered for many years from an illness that continues to confound.Having been in touch with the Waring family, and having come to understand better both the challenges his life involved and the impact he had on friends and family, I offer here a bit more about David’s life.

Classmates, friends and family held a memorial service in Claremont in May. According to Matt Leavitt ’03, a roommate and friend, “He was absolutely intrigued by how people behaved, why we did what we did, why we were who we were. … Dave’s musical talent and ability were otherworldly. I used to tell him that while I played guitar, he was a guitarist. … Perhaps one of the most tragic aspects of Dave’s affliction was we’ll never know what he could have accomplished with the world of music. … It is in his thoughtful interpretations of art, music and life that Dave truly flourished both intellectually and spiritually.”

Dave’s mother, Pat Waring, said that “in his freshman year, Dave was ‘beside-himself-excited’ to find a seminar on mathematics and music. Professor Ami Radunskaya nurtured his love of ideas in music, and for her he wrote a paper on ‘the relationship of set theory and improvisation in jazz.’” She also spoke of his love of sports, with baseball his favorite. At Pomona, he was a DJ at KSPC, a calculus grader, a psychology experiment designer and an assistant in a Claremont arts program for the disabled.

After graduating from Pomona and while in Osaka, where he was teaching English, he was stricken with myalgic encephalomyelitis/chronic fatigue syndrome (ME/CFS). Pat Waring noted, “Dave valiantly battled ME/CFS, a disease one expert pronounced ‘monstrous’ and ‘subtle’ in the same breadth. … In the end, he remembered others who suffered from ME/CFS. He requested that his organs be donated to medical science to be used for research to solve the biological questions swirling around his disease. But because of the decades-long medical politics—the titanic battle between those who view ME/CFS as a biological disease and those who see it as a psychiatric one—his contribution is yet to be determined.”

Pat Waring is educating the public about ME/CFS, the diagnosis of which is currently undergoing reevaluation, and inspiring students to pursue research into this tragic and perplexing illness.

—Don Pattison
Past PCM editor

 Bedbug Background

I read with interest the “Bedbugs are Back!” article by Sara Faye Lieber ’03, learning that Stanford Chemistry Professor Emeritus Carl Djerassi founded a company that makes a chemical which battles these pests by sterilizing them. One coincidental bit of information not included in this article is that Dr. Djerassi’s now deceased daughter, Pamela, was a member of the Pomona class of 1971.
—Steve Lansdowne ’71
Austin, Texas

Out of the Box

I always enjoy the magazine. In reference to the photo spread in the fall “Time Travel” issue depicting the Pomona College Wedgwood China, I bought my Pomona plates in 1948. I got them out of their box once for a luncheon in 2003.
—Connie Fabula ’48
La Jolla, Calif.

Tragedy at Sea

Regarding “The Pirate Trials” in the fall issue, Jean Hawkins Adam ’66 was a dear friend, even when we only got together occasionally. She lived life to the fullest, and shared her enthusiasm with those around her. Her e-mails and website made me feel as if I was adventuring with her and Scott on their trips around the globe. They are sorely missed. I can only hope this tragedy will awaken more people to the serious problem of piracy and the need to address it. Nations must take the pirate attacks very seriously and work together to stop them.

—Diana Grover Barris ’66
Long Beach, Calif.

Remembering
Motts Thomas

As the proud 40-year wife of a Pomona graduate, I am deeply grateful not only for the outstanding education Steve (Class of 1970) received at Pomona, but also for the continuing pleasure of reading your magazine. Thank you for the particularly thoughtful, poignant and provocative collection of articles in the summer 2011 issue. Like Dr. Elizabeth McPherson ’71 (“Born Still”), Steve’s future career in genetics research and teaching was set by his undergraduate work with Professor Larry Cohen.

As a proud graduate and trustee emerita of another outstanding liberal arts college, mine located “back east” in Wisconsin, I am also deeply saddened to learn of Dean Motts Thomas’ passing. During his short time at my college, Motts engaged in the same kind of relationship building and commitment to diversity thatled your Professor Swartz to rememberMotts’ time at Pomona with such affection.

But … last time I checked, my college was careful not to refer to your college as Cal Poly in Pomona. Perhaps next time you refer to my college, you could get its name straight as well.

—Priscilla Peterson Weaver
Class of 1969, Lawrence University

[Editor’s note: Our apologies for the mix-up with St. Lawrence University in Canton, N.Y. ]

 Repartee and Regret

When I read the letters in the last issue, I realized that I, too, knew Leslie Farmer ’72 (“The Bequest,” summer 2011), and my memories also capture a distinctive person who walked a path of her own. I have two memories of her. First, Leslie wrote epigrams—short pithy sayings with deep implications. At that point in my life I thought all the epigrams had been written, and it was a complete surprise to realize someone could actually create these things.

The second memory concerns an exchange we had in the Sagehen. Leslie had written something critical of a situation on campus. I cannot recall what it was, but her piece was passionate in an academic way—allusions to literature or references to history or such. I thought she was being overly dramatic and silly, and I wrote a poem in rebuttal. The poem was set as if written by Leslie. It began “Why, oh why, is the ivy dead on the halls of old PC?” From there I threw in a number of disconnected worrisome queries drawn from my still limited liberal arts education. I closed with the vengeful retort, “Stupid Leslie, it’s winter.” (Forty years before “It’s the economy, stupid.”)

 I was very proud of myself, and I assumed there was no possible retort to my sharp pen. However, I was wrong. Leslie took up the challenge and responded with a longer, more complex and probably more informed response. Perhaps she was enjoying the engagement, but I knew I lacked the substance to continue the exchange, and I left the field of battle.

If I’d had the wherewithal to respond, I might have come to know her better. Even all these years later my encounter with Leslie stands out as a very formative event for me.

—Brian Stecher ’68
Santa Monica, Calif.

 

 

 

 

 

Luke Sweeney ’13: How to Become the Nation’s Leading Rusher

Running back Luke Sweeney ’13 led all of NCAA Division III football in rushing this season, averaging 177.4 yards per game for Pomona-Pitzer and setting both single-game and single-season school records along the way. Featured in the Los Angeles Times and USA Today for his standout season, Sweeney’s path to Sagehen sports stardom began half a continent away in the suburbs of Tulsa.

 1) Grow up in Broken Arrow, Okla., in a sports-loving family. Look up to your dad who was a national champion in cross country and track during his college days at Occidental. Attend first football practice in seventh grade. Get hooked on the game so much that you decide to stick with football over other sports.

2) Dominate at the high school level at Holland Hall in Tulsa, despite being undersized for your position. Score six touchdowns in one game to earn the Tulsa World Player of the Week Award. Run for more than 1,000 yards as a senior to rank in the top 10 in the state.

3) Search for a college with good academics and that will allow you to continue to play football and not ride the bench. Remember the stories you’ve heard from your parents about their college days at Oxy in Southern California. Take a close look at schools on the West Coast. Decide that Pomona is the best fit after things click when you meet the football team.

4) Bide your time as a freshman behind senior running back Russell Oka PI ’10. Play fullback and return kickoffs to get some game experience. Become the starting tailback as a sophomore. Take advantage of getting the ball more. Rush for 824 yards on the year while senior quarterback Jake Caron PI ’11 and senior wide receiver R.J. Maki ’11 set school records.

5) Rush 176 yards in the first game of the 2011 season. Prove yourself worthy of carrying the ball 30-40 times a game. Spend lots of time in the training room every week to recover. Set a single-game school record with 265 rushing yards against Oxy. Earn some family bragging rights.

 6) Finish the season with a school-record 1,419 yards rushed. Earn postseason honors from SCIAC and D3football.com. Take a week or two to rest. Then hit the weight room to start preparing for senior year.