Blog Articles

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.

Top of Mind

In an impressive feat for Pomona, a pair of alumni will helm the nation’s 40,000-plus neuroscientists in back-to-back presidencies of the prestigious Society for Neuroscience.

Moses Chao ’73 has been in the lead since November 2011, and in October, President-elect Larry Swanson ’68 will take over. Both began their scientific careers in Claremont as the study of the brain and nervous system came of age.

Moses Chao '73

Moses Chao majored in biochemistry at Pomona, where he did research with Professor Corwin Hansch.

After a break from academics, working as a counselor in New York City, he returned to Southern California to earn a Ph.D. in biochemistry at UCLA. It was not until he started his own laboratory at the Cornell University Medical College in New York in 1984, that Chao turned his attention to something brain-related: a molecule called nerve growth factor, or NGF. He sought to identify the receptor that nerves use to grab onto NGF, like catching a baseball in a mitt.

Today, in his laboratory at New York University, Chao still works on growth factors including NGF and brain-derived neurotrophic factor (BDNF). As their names suggest, these proteins promote nerve survival and growth, so they are crucial during early child development. But they continue to work in the adult brain, maintaining the connections between nerve cells. With aging, these growth factors often start to disappear, and the nerve connections begin to disintegrate. Too little BDNF, for example, might lead to Alzheimer’s disease, Chao says.

Therefore, it’s no surprise that scientists have tried providing growth factors as treatments for diseases of the nervous system such as Alzheimer’s or Lou Gehrig’s disease. But they have had little luck; the problem, Chao says, is that growth factors are large, sticky proteins that do not cross the blood-brain barrier and penetrate to the right location.

What if there was a better way? In 2001, Chao and colleagues reported, in the Proceedings of the National Academy of Sciences, on another option: a small molecule, adenosine, which mimicked the effects of growth factors on cells living in a dish. Adenosine has side effects in many tissues, such as the heart—but Chao says the paper proved that it should be possible to find small molecules that move through the body to the brain cells that need them. A decade later, his hunt goes on:

“We’re still plugging away and trying to identify drugs that have protective effects,” Chao says.

With the Society for Neuroscience, Chao served on various committees, as secretary, and as an editor of the Society’s Journal of Neuroscience before his presidency. In his current role, Chao is focused on science funding. “Everybody’s anxious about funding because of the gridlock in Washington,” he says.

Larry Swanson '68

Larry Swanson discovered his love for neuroscience before it was called “neuroscience.” While studying chemistry at Pomona, he took a course with Professor Clinton Trafton in what was then referred to as “physiological psychology.” Hooked on the study of the brain, he furthered his studies with a Ph.D. in neurobiology, from one of the nation’s first programs at Washington University in St. Louis. There, he was wowed by scientists studying how different chemicals controlled the appetites of rats: one treatment made the animals hungry, another made them thirsty. How did the nerves in the brain control these desires? Swanson is still trying to figure that out today as a professor at the University of Southern California.

Although neuroscientists have a good handle on the interactions between one nerve cell and another, they don’t have an overall picture of the brain’s circuitry, Swanson says. The brain has between 500 and 1,000 regions, and they talk to each other via a myriad of mostly-unknown connections.

Swanson is part of an effort to map how all the different parts of the brain interact. This unified wiring diagram is the “connectome,” so-called in a nod to the sum of all genetic codes called the genome. It’s the nervous system equivalent of the old skeleton song—“the leg-bone connected to the knee-bone,” and so on— but with an estimated 100,000 connections, the brain’s interactions are unlikely to be summarized with a simple ditty. Swanson’s team is developing computer programs to keep track of all the interactions.

The current lack of a brain map is stonewalling researchers trying to develop medicines for conditions like schizophrenia. “We’re almost at a dead end in terms of trying to get effective cures,” Swanson says. “We need to know how the brain works in order to fix it.” For example, he wants to suss out the parts of the brain that connect together to control appetite. If he knew which part of that circuit goes wrong in someone who is obese, for example, he might be able to repair the wiring, shutting down hunger.

Swanson attended the first Society for Neuroscience meeting in 1971 and has come back every year since. Like Chao, he served on committees, as secretary and as editor for the Journal of Neuroscience. During his tenure as president, Swanson hopes to boost international collaboration among neuroscientists.

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.”

Richard M. Sheirich

Richard M. Sheirich, emeritus professor of German, died from cardiac arrest at his home in Claremont on Dec. 11, 2011. He was 84 years old.

He was born in 1927 in Erie, Penn., and attended local schools through high school. As his parents felt 16 was too young to go to college, he spent an extra year at Deerfield Academy in Massachusetts, graduating in 1945. He attended Colgate University in Hamilton, N.Y., for part of his freshman year before enlisting in the U.S. Navy. After a year’s service at Williamsburg, Va., he was discharged and returned to Colgate to complete his undergraduate degree in 1949.

He earned a master’s degree in German from Northwestern University, and a Ph.D. in German from Harvard University in 1965. He also held a DAAD Fellowship at Universität Hamburg in 1957-58. After teaching at Colgate and UC Berkeley, he joined the Pomona faculty in 1965, and for 31 years taught courses in German language, literature and culture ranging from early tribal migrations to the Cold War and reunification. He also conducted research on Viennese poet, novelist and playwright Richard Beer-Hofmann, producing a number of articles as well as an edition of Beer-Hofmann’s correspondence, Der Briefwechsel mit Paula, 1896-1937. Most summers, Professor Sheirich spent time in Vienna, doing research.

In the 1990s he led a major grant-funded project, “German across the Curriculum,” to better integrate the study of German into non-language courses in the humanities and social sciences.The goal of the project, funded by the National Endowment for the Humanities, was to improve foreign-language skills and to promote, among both faculty and students, a greater understanding of the complexities inherent in a foreign culture and of the relationship between language and other disciplines in the humanities and social sciences.

He also served on the Alumni Council and, more recently, on the Emeriti Committee. Many in the college community will miss seeing him walk with his wife of 49 years, Perdita, class notes editor for PCM, to and from campus in the early evening.

Upon retiring, Professor Sheirich expressed his gratitude for the fact that “one becomes a part of college life, yes, but it works the other way, too. The College, and a surprising number of students, also become a part of our lives.”

Memorial contributions to a fund supporting research and travel for students in German may be made to Pomona College, in care of Don Pattison, Donor Relations, 550 N. College Ave., Claremont, CA 91711.

Herbert B. Smith

Herbert B. Smith, emeritus professor of history, died Sept. 28, 2011, at his home in Mount San Antonio Gardens, Claremont, where he had lived since 1985. He was 93.

After obtaining his B.A. from the University of Iowa in 1940, he taught social studies for a year before he enlisted in the U.S. Army and was sent to Officer Candidate School. After graduation, he became the post chemical officer at Camp Butner, N.C., where, among other duties, he conducted countless drills against chemical attack for the units stationed there. He later was assigned to the information and education headquarters in Paris, helping to establish a post-hostilities education program for soldiers awaiting their return home.

After earning his M.A. degree in history at the University of Iowa and a Ph.D. in history at UC Berkeley, Professor Smith came to Pomona College in 1952. He was hired to teach French history, which he did for many years, regularly offering such courses as Absolutism and the Enlightenment in Europe, The French Revolution and the European Response and the History of Russia, in addition to Western Civilization. Smith also served as associate director of admissions and director of financial aid during the 1960s, and it was on his watch that Pomona established a policy of “need-blind” admissions.

After a one-year, Fulbright-funded sabbatical at Chulalongkorn University in Bangkok, he returned to full-time teaching at Pomona in 1969. Besides offering a new course on Southeast Asia, Smith was one of the creators of the two-semester introductory Asian history sequence—Asian Traditions and Revolution and Social Change in Modern Asia—that is still taught today.

He loved to travel, and he and his wife Dorothy traveled in the way that adventurous people did in the 1950s and early 1960s—by freighter and local trains and buses—to countries in Central Asia, the Middle East and Africa that did not see many American tourists in those days.

Smith retired in 1983 as the John Sutter Miner Professor of History after 31 years of teaching at Pomona. At the time, the College reported that he confessed to having had three serious loves in his life: his late wife, Dorothy, formerly a psychologist at Monsour Counseling Center; Clio, the muse of history; and the goddess Pomona. Shortly before he died, his fellow residents at Mount San Antonio Gardens made him the poet laureate of the Gardens.

World at her Feet

As a high-school athlete in Singapore, Annie Lydens ’13 loved to run along the forested nature trails near MacRitchie Reservoir at the center of the urban island nation. The only drawback: monkeys. The place is full of them, and if the monkey-mobs think you are carrying food, “they’ll chase you and jump on your back. You have to be on your guard.”

There are no monkeys on her back here in Claremont: This fall, she won four straight individual races by wide margins. Lydens started the streak by winning the Pomona-Pitzer Invitational on Oct. 1 by nine seconds, the SCIAC Multi-Duals by 29 seconds, the SCIAC Championship by 25 seconds and finally the NCAA West Regionals by seven seconds.

Annie Lydens '13

In November, she went on to the NCAA Division III Women’s Cross Country National Championships in Oshkosh, Wis. Her personal-best time of 21:02 earned her third place, the highest finish in Pomona-Pitzer cross country history, whether men’s orwomen’s. Along the way, Lydens earned the SCIAC Athlete of the Year and the NCAA West Region Runner of the Year honors.

Lydens has been on the move for much of her life. Born in Japan and raised in Singapore, Lydens has visited a different country every year since age 13. She lived with a Maori tribe in New Zealand, taught in a Bhutan village, sailed around Thailand and worked for a nonprofit in Cambodia. Attending Pomona is her first time living in the U.S.

Fittingly, she is interested in pursuing a career in international diplomacy. This past summer, she was an intern at NATO headquarters in Brussels, taking press inquiries, posting to social media and working long hours for meetings of NATO defense ministers. “Those days, I don’t think I sat down more than 10 minutes, running back and forth, fielding calls,” says Lydens, a philosophy, politics and economics (PPE) major.

Back on the running track, her athletic accomplishments are made all the more impressive by the fact that Lydens is relatively new to distance running. Already a soccer player at her Singapore high school, Lydens tried out running at the suggestion of the track coach, and she went on to compete in a variety of races, helping her team rack up points at meets.

It wasn’t until she arrived at Pomona that she began running cross country, just to stay in shape for track season, and finished fifth on the team at the UC Riverside Invitational before shutting down for the fall with a foot injury. In the spring of freshman year, she settled on the 800 meters (leaving the distance events to senior All-American Alicia Freese ’10), finishing fifth in the SCIAC Championships.

But in her sophomore year, with Freese serving as a coach and helping to push her along in practice, she found her permanent niche in the distance events.

The pair became close friends, and started running together on weekends. Soon Lydens broke Freese’s school record as fastest woman in the 6K. Now she has her sights set on breaking records in the 5K and 1500 meters. “I’m a really competitive person so I love racing,” she says. “I just get a thrill out of chasing people down.”

2012 – 1887 = 125

Founders Day 2012 will mark the 125th anniversary of Pomona College’s incorporation. Like all such milestones, this will be a moment for both celebration and reflection.    The observance of Pomona College’s Quasquicentennial—the awkward but proper term I feel obliged to use just once before returning to the more agreeable 125th—will be focused around Founders Day in October. There will be a variety of events and activities on campus—performances, open houses, a campus-wide party—involving not only Pomona students, faculty, staff, alumni and parents, but also the College’s extended community in Claremont and beyond. But while the October event will be the focal point, other initiatives, beginning in coming months and extending into 2013, will commemorate our history, celebrate our present, and project our future. That the 125th falls during the College’s Campaign Pomona: Daring Minds is auspicious, allowing us to set our future goals in their proper context, as a continuation of the long trajectory of our history.

The celebration of anniversaries is a near-universal human activity, one that answers a deeply felt need to mark the rhythms of our collective lives. For institutions, as for families, anniversaries remind us of the commonality of past and future. This anniversary offers us an opportunity to rededicate ourselves to the principles upon which this institution was founded; to recognize the progress made over the past 125 years; and to think about our future—about how to build on the College’s extraordinary accomplishments in the most productive ways for the benefit of future generations of Pomona students and the wider communities they will serve.

You will hear more about this subject both from me and from others in the months to come as planning continues for celebrating this milestone in Pomona College history.

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.

Frozen Moment

 

Roxana Garcia ’13 and Zac Belok PI ’15 hold their places at the Smith Campus Center courtyard fountain as part of a performance put on during Pomona’s Founders Day festivities in October. The pair was among a larger group of students in full blue makeup sitting still for one hour and then slowly mirroring one another’s movements.

 “Blue Mirror” came out of the Site Specific Performance Class taught fall semester by guest artist Jessica Harris ’11, who returned to Pomona last year to finish her degree after dancing professionally for nine years in New York. Other class performances included “Musical Stairs,” in which students, wearing black, lined both sides of the Frary Dining Hall entrance stairs. Each student focused on a single stair and sang “what” in a soft voice as passersby stepped on the stair. Another event celebrated the symmetry and geometry of the Stanley Academic Quad, with students aligning their bodies with the natural lines in the space, creating tangents, parallels and other shapes.

 “Everyone contributed and helped shape each project,” says Garcia. “The best part was the creative process, where someone suggested an idea and after 15 minutes of discussion, the original idea had morphed into something bigger and better.”

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.