October 25, 2000
gives pause; new logo, new look
John Martin Remembered
to Professor Garvey
PAW welcomes letters.
We may edit them for length, accuracy, clarity, and civility. Our
address: Princeton Alumni Weekly, 194 Nassau St., Suite 38, Princeton,
NJ 08542 (email@example.com).
gives pause; new logo, new look
The new design for PAW
is, without exaggeration, appallingly ugly. The logo is silly; the
pages of the magazine look cluttered and thrown together; fonts
are dull and juxtaposed irrationally.
None of the "improvements"
to the classic PAW design of the 1940s and '50s has ever struck
me as much of a step forward, visually. But till now, none has been
truly offensive, either. This new design is offensive, if for no
other reason than its utterly amateurish look. If, in visual terms,
the new PAW represents the body of Princeton alumni, it makes a
Thomas Artin, '60 *68
It is awful. Please respect
the tsunami as it rolls over you and get rid of the logo ASAP. Thank
Rob Vaughan '65
Little Silver, N.J.
You are admittedly prepared
to ride out heavy weather and have begged to be spared only the
tsunami (From the Editor, September 13). Evidently you already recognize
how self-indulgent was your decision to overhaul PAW into its current
form. Showing you can be "spectacular" in your design
and editorial choices proves nothing more than that you have missed
the point and are unfit for the responsibility. PAW is about the
university and its students, past, present, and future. PAW does
not exist to bolster staff résumés with lines about
shouldering through the crowd of current thought.
Perhaps the PAW staff
have become "journalists" and forgotten that their responsibility
is to report the news and opinion of the community to the community.
The personal opinions of a quality staff should be a trivial tint
in that tapestry. Report the facts. Your audience is perfectly capable
of drawing its own conclusions and forming its own opinions.
It's time to raise your
game. Long overdue, in fact. If nothing else, lose the new cover
graphic. Digital crayola is better suited to the half-life of a
basement e-zine, not the cover of the alumni magazine of Princeton
Joseph K. Myers '80
You may add my name to
the list of those alumni who think the new logo thoroughly warrants
"thunder and heavy rains" from those who love Princeton.
It is inexcusably tacky. If it were up to me, I would not spare
you the tsunami.
Joseph Neff Ewing, Jr.
West Chester, Pa.
After 35 years in the
aviation business, I was surprised to find a Pratt & Whitney
brochure in my mailbox today containing some Princeton news and
Class Notes. Next year, will we get Piggledy Wiggledy annual reports?
Adrian V. Woodhouse '59
I am afraid I don't agree
with you on the new PAW cover. I concede it is different. However,
both my wife and I thought it was a catalogue when we first looked
at it. The logo is unreadable without close scrutiny, and the name
itself is much too small.
Also, I believe the new
type is much less readable than the old type.
While I am at it, the
overlaying of the class numerals over the name of the class secretary
On the positive side,
you have a wonderful magazine, and I look forward to receiving it.
James C. Wallace '50
Chagrin Falls, Ohio
Perhaps this is just
grumbling in the manner of the wistful alumnus, one who laments
the installation of a new light bulb by celebrating how good the
old one looked, but I must register my opinion that the new logo
is a miss. As journal after journal has "freshened" its
graphics with the addition of sans-serif blandness or a bitty, fussy
logo, PAW has remained a happy surprise to find in the mailbox.
Inside the cover, I found pleasing, structured writing about Princeton
and the world, and on the cover, I found a pleasing, structured
title that looked sleek and dignified but not crusty. Sorry, but
I liked the old cover better. I'll still look forward to receiving
PAW; I'll just dive inside it a little more swiftly now.
Jeremy Beer '86
San Antonio, Tex.
Seems to me that you
missed a trick there at PAW with respect to your change in cover
design. What you don't understand is that for us folks more than
50 miles or so from Old Nassau, one of the most important things
about our alumni magazines is to be able to display them in our
offices, studies, living rooms, etc. Guess I'll just have to put
my monthly Harvard Magazine - with HARVARD in big, bold letters
across the front - on top of
Dallas Brown '78
If you care one
whit about alumni interests,
you will put Princeton back into PAW.
R. H. Van Fossen, Jr.
'63, p'84, p'87, p'91
The new PAW, September
13, has been lying on my coffee table since it first came in the
mail. On that day, I eagerly opened it, only to be surprised by
the injudicious use of color and the small print. It has sat on
the table since then as
I thought about what
I wanted to say
Forty-seven years after
graduation, my eyesight is still good, but I find the new PAW hard
to read! The small type size and new type face are not clear or
legible, due to the lack of contrast with the background color of
the page and the thin lines of the font. In the Class Notes, the
names of classmates are in bold caps, which makes scanning the column
difficult. The class numerals are superimposed on the class secretary's
name and address, making both hard to read. If you are looking for
good examples of easy-to-read journals, try Forbes, U.S. News and
World Report, and the Wall Street Journal.
Frankly, you've labored
hard and brought forth a mouse, not a Tiger.
William B. Gardner '53
West Simsbury, Conn.
Now that you've experimented
with one issue of this typographical catastrophe, can PAW please
revert to a readable font size? "Better legibility . . . "?
That's a hoax played on you by your "renowned designer."
Let sanity prevail, and eyestrain cease.
Leif Wellington Haase
New York, N.Y.
One of the few polite
words I can come up with to describe the new cover, logo, layout,
and overall design of the new PAW is "ghastly." It was
arrestingly ugly when I took it out of the mailbox, and so visually
jarring when I tried to read it (where it wasn't trite, that is)
that I found myself looking at the ads for relief.
The page numbers are
hard to find, there are almost no visual breaks between editorial
content and advertising materials, and the overall effect of
the various visual doo-dads
is a very "busy" page.
I hope you will listen
to feedback from alumni on this, and then go with the majority sentiment
if one should develop - as I suspect it will. PAW exists to serve
its readership, not to be a vehicle for marginal avant-garde design.
I simply can't switch
to another publication in order to get news of the campus and my
classmates, as you're the only game in town; nor can I cancel my
subscription and get my money back. This presents a very different
publication-to-reader relationship, and if you'll forgive my putting
it this way, it means that you're under some institutional pressure
to deliver a modicum of "comfort food" to the inmates.
In other words, let the controversy come from the text, the issues,
and the ideas; and let us at least be soothed by the appearance.
We like seeing pictures of Blair Arch on the cover, etc., etc.
Jeffrey A. Kehl '70
New York, N.Y.
Awful, ugly, inappropriate,
meaningless, meeskeit, illegible, brutal, and besides that, I don't
It references nothing,
stands for nothing, evokes nothing, and is not even clever. I could
Dick Limoges '60
Inside format is clean
and readable. On Class Notes, the orange year behind secretary's
information makes it hard to read and is visually irritating. The
slogan, An independent magazine . . . supported by your class dues,
is no longer strictly true. LOSE the new logo. Ugh. Looks like three
people stuck together in a phonebooth. Or a train wreck.
Andrea Matthews '78
Having lived in Holland
for the past few years, I didn't see PAW in its previous design;
having designed the first all-white cover the summer of 1969 with
Lanny Jones '66, then editor; and also having edited, published,
and founded five art and architecture magazines in the past 15 years
in New York, including Metropolis Magazine, I find the new cover
design of PAW not radical or abstract enough to be truly new or
Yet, I do like the dissolution
of the whole iconic and totemic word of Princeton into a deconstructivist
Andrew Pierce MacNair
Love the new look. Especially
the dazzling logo - despite previously expressed reservations about
hanging on to "Alumni."
Abandoning the equally
traditional and outdated "Weekly" tag, however, would
have truly distressed me.
That anomaly simply confirms
the primary truth my curmudgeon city-editor years taught me: "There
is no such thing as logic!"
Brad Bradford '44
Highland Park, Ill.
Graphic Revolution! Hurrah
for Old, make that New, Nassau!
Cuthbert R. Train '64
Northeast Harbor, Maine
As a settler in Shanghai
for the past 10 years, I have moved from daily bewilderment at the
strangeness of my adopted city to familiarity and even, at times,
acceptance and understanding. But rarely do I feel in harmony with
the views and interests of Shanghai's mainstream. At the same time,
when I receive PAW I feel reassured about my state of estrangement;
the orange-and-black parading Princetonians seem even more exotic
than the socialists with Chinese characteristics among whom I live.
The progress of Class Notes with baby photos and obituaries provides
some human grounding to the more bizarre Princeton spectacles.
But what has truly given
me a sense of community are the letters over the past year regarding
the appointment of Professor Peter Singer. What started out as a
few angry outbursts have turned into a forum about ethics and the
university, about freedom of speech and religious morals, about
the place of debate and its importance in education.
What has been glorious
is the writers' attachment to the debate and the shared urgency
of weighing in an opinion. Living in a place where the few Falun
Gong protesters can be disposed of without concern or comment by
the rest of the populace, the debate in PAW finally gives me a sense
of the common ideals of Princeton. They are ideals forged by an
education that believes in debate, the efficacy of speaking out,
and the individual's responsibility and power in society. These
are precious values wherever you fall on the spectrum of a professor's
appointment. They have crisply articulated for me what is missing
in Shanghai's daily bustle.
Virginia Moore '86
I've watched with interest
the monthly Letters to the Editor debates over Professor Peter Singer,
with the "academic freedom" arguments being used to attack
the "immoral infanticide" arguments. If academic freedom
and the importance of open debates are so important here, shouldn't
they also be in other areas of our political discussion? Why is
it so hard to find a professor to support any other view than those
of the left? Last I heard, over 90 percent of the faculty of our
prestigious universities took leftist positions on most issues.
Maybe we need affirmative action on political views in the faculty
to get real academic debate to flourish for the enrichment of all.
William B. Smith *63
John Martin remembered
I was so sad to read
of Professor J. R. Martin's passing. It was his Baroque class, which
I took during my freshman or sophomore year, that made me choose
art history as my major. Even though his class was early in the
morning, I never missed a lecture no matter how tired I was. In
fact, once I overslept and literally ran over to the lecture hall,
unwashed and unbreakfasted, rather than miss it. I frequently took
the train into New York to go to the Frick and other museums so
that I could see the original works he had discussed. During my
junior year, when I was in Paris on Smith College's year-abroad
program, I went to the Musée Cognacq-Jay one day and encountered
a little-known Rembrandt painting that Professor Martin had put
on his final exam as an "unknown" work to identify: it
was Balaam's Ass, which the artist had done as a teenager and which
was, therefore, quite atypical and a real stumper for all of us.
I bought the postcard and sent it to Professor Martin with a message
along the lines of "Remember when you nailed us with this one?"
I think he was pleased that I remembered.
Anne C. Powell '84
We will remember Professor
John R. Martin *47 as one of the most exciting, exuberant, and enthralling
teachers we studied with as undergraduates. He instilled a passion
for art in us, along with generations of students over a 40-year
career at Princeton.
In a preceptorial on
Rembrandt, Professor Martin was discussing the famous Anatomical
Lesson of Dr. Nicolaas Tulp, a group portrait in which the eponymous
Tulp, having denuded a cadaver's left arm of skin, is describing
the musculature. Professor Martin, having analyzed Rembrandt's composition,
launched into an anatomy lesson of his own. Here is a flexor muscle
controlling inward finger movements, he said, pointing to a slide
projection, and there is an extensor for outward movements. Next
came an account of 17th-century medicine, including the use of leeches
to bleed patients and of clysters to render their insides as clean
as a hound's tooth.
By this point, some students
been transported back
in the 1630s. Others
were clearly grossed out, and said so. Professor Martin, taking
note of both groups, beamed with pleasure.
Andrew Mytelka '85
Arnold Mytelka '58
Seeing the obituary notice
for Professor John Martin *47 brought back a flood of memories (Notebook,
September 13), and a sense of gratitude for how, when I was a freshman,
he opened my eyes to the whole field of esthetics.
I was lucky enough to
be assigned to his precept in Art, Architecture, and Sculpture in
America, which I chose because of a total lack of knowledge of such
things. He showed us how there were such things as style, design,
and periods within art, and we all signed on for his subsequent
course in Baroque art. Again I was lucky enough to be assigned to
I never visit an art
museum or examine architecture without remembering this master teacher,
and thinking what a wonderful gift he gave to us in his sensitive
teaching and enthusiasm for his subject.
The world is a richer place because of his life.
Rob Roy MacGregor '60
Editor's note: For another
tribute to Professor Martin, go to PAW's Web site, www.princeton.edu/~paw,
to read an essay by Susan Schwartz '88.
to Professor Garvey
Professor Gerald Garvey
*62 took over American Political Thought from the
legendary Alpheus T.
Mason in the 1968 - 69 academic year. He always seemed to be operating
on more than one level, using vivid images (including Cartesian
coordinates) to teach the material. If we'd had the terminology,
we'd have called this "right-brained," something rare
in the Ivy League. Turning the then-prevalent "cepts-man"
idea on its head (a "cepts-man" boiled a course down to
a few concepts, only, nothing too deep, able to generate enough
verbiage to get by), Professor Garvey gave us a take-home final
in which we were to write a mere 20 sentences: the 20 key concepts
in American Political Thought! ("Don't just paraphrase the
syllabus back to me.") Coming during a period of great sensitivity
to hipness and creativity, this was a terrific challenge, a very
creative challenge, from a guy so far beyond hipness that he wore
a three-piece suit to class every day.
Rob Slocum '71
I cannot speak for the
world at large, but I know that Professor Walter Nollner has left
a significant legacy in me personally, and I suspect there are dozens
of other alums that could write similar letters to this one.
I sang under him for
six years, both
in the Chapel Choir and
in the Glee Club, and traveled with him on four
concert tours to numerous
countries including Thailand,
Czechoslovakia, and Puerto Rico.
From him I learned to
pronounce texts in over a dozen different languages; and what I
learned from him about Ecclesiastical Latin has come in handy in
other venues as well.
He was an unusual person
in many ways. Sometimes he would get so caught up in conducting
us that he'd hum or even grunt along without realizing it - this
usually meant we were dragging the tempo and he was trying to get
us to pick it up by flapping his arms faster. He told me once, without
any conceit whatsoever, that he could read music like a newspaper
(even the many-staved orchestral scores). He could do magic with
a keyboard: On one tour we were asked to perform a work by a member
of the royal family of the country we were visiting; the song was
very sappy as I recall, and the vocal arrangement pretty awful.
He saved the day by inventing on the spot an accompaniment that
turned it into something halfway decent.
His greatest asset to
us, however, was his ability to get college students enthusiastic
about singing. Not only about singing, but also about big choral
works, about college loyalties (such as the annual football concerts
sung with the Harvard or Yale glee clubs). We learned, too, that
a work doesn't need to be complicated or difficult in order to thrill
an audience, what really matters is that it be performed with energy
Elizabeth McKenney '84
The late Pete Conrad
'53 was a friend of mine, as was the late Howie Stepp. Shortly after
Howie died, his family gave me two Nassau Hall bell clappers (one
with the distinctive Princeton "P" forged on it) and a
Princeton flag they said Pete had given Howie after Pete's moon
I didn't think that the
flag was one that went to the moon with Pete. However, in PAW's
article about gifts to Princeton (Cover story, February 9), it was
reported that "Conrad carried with him five Princeton flags."
The article accounts for the disposition of three of the flags.
My question is whether or not I am the possessor of a Princeton
flag that went to the moon and back.
I wonder if someone might
remember an occasion, e.g., a party, banquet, private dinner, reception,
etc., at which Pete Conrad made a formal presentation of such a
flag to Howie Stepp, Sr.
Whatever light you might
be able to shed upon this mystery would be greatly appreciated.
Joseph A. Carragher,